Inspirations from Installation Art: Creating Open Stories and Using Found Works in a Post-Apocalypse Animation
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The History of Chinese Animation I
The History of Chinese Animation China has been one of the first countries to develop its own aesthetic for dynamic images and to create animation films with distinctive characteris- tics. In recent years, however, and subject to the influence of Western and Japanese animation, the Chinese animation industry has experienced sev- eral new stages of development, prompting the question as to where anima- tion in China is heading in the future. This book describes the history, present and future of China’s anima- tion industry. The author divides the business’s 95-year history into six periods and analyses each of these from a historical, aesthetic, and artistic perspective. In addition, the book focuses on representative works, themes, directions, artistic styles, techniques, industrial development, government support policies, business models, the nurturing of education and talent, broadcasting systems, and animation. Scholars and students who are interested in the history of Chinese ani- mation will benefit from this book and it will appeal additionally to readers interested in Chinese film studies. Sun Lijun, Professor, Vice President of Beijing Film Academy and Presi- dent of China Animation Institute of BFA. He was appointed as the Vice President of BFA in 2012. Sun Lijun is one of the experts who receive State Council special allowance. He has directed several animated feature films, such as The Little Solider, Happy Running, Legend of a Rabbit, and Harvest, among others. Since 2005 his animated feature films have been screened internationally, including at the Berlin International Film Festival, Annecy Film Festival, Ukraine International Film Festival, Seoul International Film Festival, and more. -
Proquest Dissertations
AFTERIMAGES AND AFTERTHOUGHTS ABOUT THE AFTERLIFE OF FILM A MEMORY OF RESISTANCE Gerda Johanna Cammaer A Research-Creation Thesis In the Department of Communication Studies Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy at Concordia University Montreal, Quebec, Canada December 2009 © Gerda Johanna Cammaer, 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-67380-5 Our file Notre reference ISBN: 978-0-494-67380-5 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
The Commuter Production Notes
THE COMMUTER PRODUCTION NOTES RELEASE DATES Australia, New Zealand & Germany (STUDIOCANAL): January 11th 2018 US (Lionsgate): January 12th 2018 UK (STUDIOCANAL): January 19th 2018 France (STUDIOCANAL): January 24th 2018 CONTACTS [email protected] [email protected] [email protected] [email protected] 1 ABOUT THE PRODUCTION Following the worldwide success of Unknown, Non-Stop and Run All Night, star Liam Neeson and director Jaume Collet-Serra reunite for a fourth time with explosive thriller THE COMMUTER about one man‘s frantic quest to prevent disaster on a packed commuter train. The screenplay proved irresistible to both the director and star, not just for the bravura of the action and the thrill of the suspense but for the moral conundrum the protagonist is faced with and the consequences it has on him, the passengers on the train and his family at home. “THE COMMUTER asks the audience, if someone asked you to do something that seems insignifi- cant but you’re not sure of the outcome in exchange for a considerable financial reward, would you do it?” says Jaume Collet-Serra. “That‘s the philosophical choice that our central character - a man of 60 who’s just been fired, has no savings and is mortgaged to the hilt - is faced with. Is he think- ing just about himself or is he going to take into consideration the possible moral consequences of what he’s asked to do? That’s the question we want the audience to ask themselves.” For Neeson, it was also the story’s real-time narrative that gives it a thrilling momentum. -
Simulating Humans: Computer Graphics, Animation, and Control
University of Pennsylvania ScholarlyCommons Center for Human Modeling and Simulation Department of Computer & Information Science 6-1-1993 Simulating Humans: Computer Graphics, Animation, and Control Bonnie L. Webber University of Pennsylvania, [email protected] Cary B. Phillips University of Pennsylvania Norman I. Badler University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/hms Recommended Citation Webber, B. L., Phillips, C. B., & Badler, N. I. (1993). Simulating Humans: Computer Graphics, Animation, and Control. Retrieved from https://repository.upenn.edu/hms/68 Reprinted with Permission by Oxford University Press. Reprinted from Simulating humans: computer graphics animation and control, Norman I. Badler, Cary B. Phillips, and Bonnie L. Webber (New York: Oxford University Press, 1993), 283 pages. Author URL: http://www.cis.upenn.edu/~badler/book/book.html This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hms/68 For more information, please contact [email protected]. Simulating Humans: Computer Graphics, Animation, and Control Abstract People are all around us. They inhabit our home, workplace, entertainment, and environment. Their presence and actions are noted or ignored, enjoyed or disdained, analyzed or prescribed. The very ubiquitousness of other people in our lives poses a tantalizing challenge to the computational modeler: people are at once the most common object of interest and yet the most structurally complex. Their everyday movements are amazingly uid yet demanding to reproduce, with actions driven not just mechanically by muscles and bones but also cognitively by beliefs and intentions. Our motor systems manage to learn how to make us move without leaving us the burden or pleasure of knowing how we did it. -
Grant Benjamin Leibowitz
GRANT BENJAMIN LEIBOWITZ Eyes: Brown | Hair: Brown | Height: 6’2” | Weight: 180 lbs SAG-e FEATURE FILMS / TELEVISION / SHORTS Boulder Buddz Feature- Supporting Boulder Independent Productions Rondo Feature - Supporting Rondo, LLC The Autumn Equinox Feature - Supporting Happy Day Productions Dear Eleanor Feature - Featured Appian Way Productions The Frame Feature - Featured Double Edge Films My Haunted House TV - Lead Painless Television Sex Sent me to the ER TV - Guest Star GRB TV Interview- Bangkok Fashion Week TV - Self MTV Asia My First Sale TV Guest Star High Noon Entertainment Relationship Goals Go90 Series Guest Star BuzzFeed Motion Pictures Bad Roommates Trailer Supporting Dark Hope Productions, LLC Perpetrators Short Lead Bison Films Devotional Short Lead E.P. Productions The S Word Short Co-Lead Urban Lights Entertainment The Beauty is in the Streets Short Lead Ben Wilson Films The Dark Knight: A Parody Rises Short Supporting AR Works Productions Bad Kid! Short Supporting Harvard U VES This Boy Had One Short Supporting AR Works Productions Who Says Short Supporting Sam Merten Productions Killing the Cat Short CoLead Project Upward Exposed Short Lead DeVore Film Drugs Short CoLead Beyond Concept Productions Jewels Short CoLead Holy Carp! Films COMMERCIALS Conflicts available upon request PRINT Brooks Model Gil Cope Photography Lodge Casino Model GMAA Group Coleman Model The Coleman Company Swedish Match Model McCann Detroit Editorial Model We Drink it Black -
Et Les Fantômes © Hiroko Reijo, Asami, KODANSHA / WAKAOKAMI Project Project / WAKAOKAMI Asami, KODANSHA Reijo, © Hiroko
OKKOet les fantômes © Hiroko Reijo, Asami, KODANSHA / WAKAOKAMI Project Project / WAKAOKAMI Asami, KODANSHA Reijo, © Hiroko Un film de Kitarô Kôsaka Directeur de l’animation sur LE VENT SE LÈVE présente SYNOPSIS Seki Oriko, dite OKKO, est une petite fille formidable et pleine de vie. Sa grand-mère qui tient l’auberge familiale la destine à prendre le relais. Entre l’école et son travail à l’auberge aux côtés de sa mamie, la jeune Okko apprend à grandir, aidée par OKKO d’étranges rencontres de fantômes et autres créatures mystérieuses ! et les fantômes INTRODUCTION Adapté d’un livre pour enfants très populaire qui s’est vendu au Japon à plus de Un film de Kitarô Kôsaka 3 millions d’exemplaires, OKKO ET LES FANTÔMES est le premier long métrage Directeur de l’animation sur LE VENT SE LÈVE réalisé par Kitarô Kôsaka, ancien collaborateur de Hayao Miyazaki au sein du Studio Ghibli. Une adaptation du livre a d’abord été publiée en manga dans le magazine « shojo » Nakayoshi des éditions Kodansha. Dessinée par Eiko Ouchi, la série compte 7 tomes sortis entre 2006 et 2012 (inédite en France). SORTIE LE 12 SEPTEMBRE Enfin, en parallèle au long métrage, une série TV animée, produite par le studio Madhouse, est réalisée par une équipe distincte de celle du film en proposant une approche différente de l’oeuvre originale. La série est à découvrir en ce moment sur Manga One, disponible dans l’offre JAPON - DURÉE : 95 MIN Pickle TV d’Orange. LES PERSONNAGES Oriko Seki, alias Okko : Âgée de 12 ans, elle est en dernière année d’école primaire. -
Joséphine Magnard Tim Burton's Charlie and the Chocolate Factory
Joséphine Magnard Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion ---------------------------------------------------------------------------------------------------------------------------------------------- MAGNARD Joséphine. Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion, sous la direction de Mehdi Achouche. - Lyon : Université Jean Moulin (Lyon 3), 2018. Mémoire soutenu le 18/06/2019. ---------------------------------------------------------------------------------------------------------------------------------------------- Document diffusé sous le contrat Creative Commons « Paternité – pas d’utilisation commerciale - pas de modification » : vous êtes libre de le reproduire, de le distribuer et de le communiquer au public à condition d’en mentionner le nom de l’auteur et de ne pas le modifier, le transformer, l’adapter ni l’utiliser à des fins commerciales. Master 2 Recherche Etudes Anglophones Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion A dissertation presented by Joséphine Magnard Year 2017-2018 Under the supervision of Mehdi Achouche, Senior Lecturer ABSTRACT The aim of this Master’s dissertation is to study to what extent Tim Burton plays with the codes of the fairy tale genre in his adaptation of Roald Dahl’s children’s book Charlie and the Chocolate Factory (1964). To that purpose, the characteristics of the fairy tale genre will be treated with a specific focus on morality. The analysis of specific themes that are part and parcel of the genre such as childhood, family and home will show that Tim Burton’s take on the tale challenges the fairy tale codes, providing its viewers with a more Tim Burtonesque, subversive approach where things are not as definable as they might seem. -
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Advances in Social Science, Education and Humanities Research, volume 284 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018) Research on the Aesthetics of Current Chinese Three- dimensional Animation Based on Engine Animation Yiran Fan Yidong Liu School of Digital Media School of Digital Media Chongqing College of Electronic Engineering Chongqing College of Electronic Engineering Chongqing, China Chongqing, China Abstract—Because “mechanical cinema" has affinity with Kite [3], an animated short film calculated by EPIC's Unreal 4 three-dimensional animated movie, it should be called "engine in 2015, Adam [4], an animated short film based on Unity3D animation". As a result, the game engines itself pursuits of the game engine calculation in 2016, or the high-fidelity real-time realistic and lifelike technology become as the transcript of the digital role ‘Siren’ that makes a stage pose at GDC in 2018 Chinese "engine animation" producers. In the context of post- produced by Chinese actress Jiang Bingjie’s image, the modernity, the imitation of ending up being a "symbol" neglects technology of "engine animation" are recognized in the above the presence of historical culture, which makes "engine three examples. The fascination with the display effect under animation" and Chinese animated films become the replicas of the standard of digital technology, which leads the world, symbol consumption. A large number of person with basic influences the aesthetic concept of Chinese three-dimensional technical ability have been cultivated because of the pursuit of animators. transcript, but we cannot blindly fall into such technological competition, and ignore the presence of historical culture and the audience’s imagination of the animated films. -
Introduction to Computer Graphics and Animation
NATIONAL OPEN UNIVERSITY OF NIGERIA COURSE CODE :CIT 371 COURSE TITLE: INTRODUCTION TO COMPUTER GRAPHICS AND ANIMATION 1 2 COURSE GUIDE CIT 371 INTRODUCTION TO COMPUTER GRAPHICS AND ANIMATION Course Team Mr. F. E. Ekpenyong (Writer) – NDA Course Editor Programme Leader Course Coordinator 3 NATIONAL OPEN UNIVERSITY OF NIGERIA National Open University of Nigeria Headquarters 14/16 Ahmadu Bello Way Victoria Island Lagos Abuja Office No. 5 Dar es Salaam Street Off Aminu Kano Crescent Wuse II, Abuja Nigeria e-mail: [email protected] URL: www.nou.edu.ng Published By: National Open University of Nigeria Printed 2009 ISBN: All Rights Reserved 4 CONTENTS PAGE Introduction………………………………………………………… 1 What you will Learn in this Course…………………………………. 1 Course Aims… … … … … … … … 4 Course Objectives……….… … … … … … 4 Working through this Course… … … … … … 5 The Course Material… … … … … … 5 Study Units… … … … … … … 6 Presentation Schedule… … … … … … … 7 Assessments… … … … … … … … 7 Tutor Marked Assignment… … … … … … 7 Final Examination and Grading… … … … … … 8 Course Marking Scheme… … … … … … … 8 Facilitators/Tutors and Tutorials… … … … … 9 Summary… … … … … … … … … 9 5 Introduction Computer graphics is concerned with producing images and animations (or sequences of images) using a computer. This includes the hardware and software systems used to make these images. The task of producing photo-realistic images is an extremely complex one, but this is a field that is in great demand because of the nearly limitless variety of applications. The field of computer graphics has grown enormously over the past 10–20 years, and many software systems have been developed for generating computer graphics of various sorts. This can include systems for producing 3-dimensional models of the scene to be drawn, the rendering software for drawing the images, and the associated user- interface software and hardware. -
FIRST CENTURY AVANT-GARDE FILM RUTH NOVACZEK a Thesis
NEW VERNACULARS AND FEMININE ECRITURE; TWENTY- FIRST CENTURY AVANT-GARDE FILM RUTH NOVACZEK A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Doctor of Philosophy March 2015 Acknowledgements Thanks to Chris Kraus, Eileen Myles and Rachel Garfield for boosting my morale in times of great uncertainty. To my supervisors Michael Mazière and Rosie Thomas for rigorous critique and sound advice. To Jelena Stojkovic, Alisa Lebow and Basak Ertur for camaraderie and encouragement. To my father Alfred for support. To Lucy Harris and Sophie Mayer for excellent editorial consultancy. To Anya Lewin, Gillian Wylde, Cathy Gelbin, Mark Pringle and Helen Pritchard who helped a lot one way or another. And to all the filmmakers, writers, artists and poets who make this work what it is. Abstract New Vernaculars and Feminine Ecriture; Twenty First Century Avant-Garde Film. Ruth Novaczek This practice-based research project explores the parameters of – and aims to construct – a new film language for a feminine écriture within a twenty first century avant-garde practice. My two films, Radio and The New World, together with my contextualising thesis, ask how new vernaculars might construct subjectivity in the contemporary moment. Both films draw on classical and independent cinema to revisit the remix in a feminist context. Using appropriated and live-action footage the five short films that comprise Radio are collaged and subjective, representing an imagined world of short, chaptered ‘songs’ inside a radio set. The New World also uses both live-action and found footage to inscribe a feminist transnational world, in which the narrative is continuous and its trajectory bridges, rather than juxtaposes, the stories it tells.