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UPA : Redesigning Animation
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously -
The Lost Laugh
#12 1 April 2020 Welcome to issue 12 of THE LOST LAUGH. I hope, wherever this reaches you, that you’re coping OK with these troubled times, and keeping safe and well. These old, funny films are a great form of escapism and light relief at times like these. In fact, I was thinking the other day that the times they were made in had their fair share of troubles : two world wars, the 1918 flu pandemic, the Wall Street Crash and the great depression, to name a few. Yet, these comics made people smile, often even making fun out of the anxi- eties of the day. That they can still make us smile through our own troubles, worlds away from their own, is testament to how special they are. I hope reading this issue helps you forget the outside world for a while and perhaps gives you some new ideas for films to seek out to pass some time in lockdown. Thanks to our contributors this issue: David Glass, David Wyatt and Ben Model; if you haven't seen them yet, Ben’s online silent comedy events are a terrific idea that help to keep the essence of live silent cinema alive. Ben has very kindly taken time to answer some questions about the shows. As always, please do get in touch at [email protected] with any comments or suggestions, or if you’d like to contribute an article (or plug a project of your own!) in a future issue. Finally, don’t for- get that there are more articles, including films to watch online, at thelostlaugh.com. -
The Gorilla in a Tutu Principle Or, Pecan Pie at Minnie and Earl's
The Gorilla in a Tutu Principle or, Pecan Pie at Minnie and Earl’s Adam-Troy Castro Prior Analog stories set against the backdrop of this very strange period in the history of lunar colonization were "Sunday Night Yams at Minnie and Earl's" (June 2001) and "Gunfight at Farside" (April 2009). Many years ago—and when a man as old as I am uses the phrase, “many years ago,” he means a lifetime—I told Minnie, “I’m an engineer, not a poet.” Minnie was a dear old gal of unfailing honesty, with a central role in what follows. I was in love with her eyes. I don’t mean this in a sexual way. The difference between our ages, and certainly our backgrounds, would have made that grotesque. But her eyes were rich and deep, and filled with an understanding of life’s greatest mysteries, that made them a perfect place to lose yourself when she was pointing out how silly you are. I haven’t seen her or her husband Earl in decades, but I can picture those eyes like it was yesterday. When I told her I wasn’t a poet, she said, “How dare you. It’s okay to operate under a poetry deficit, but to imply that deficit for an entire profession is dishonest. I’ve known more than my share of engineers, and any number of poets among them. Great engineering is poetry.” I suppose she was right. She was, in most things. Regardless, I can speak for myself. I’m not a poet, not even in the sense that sweet lady meant. -
The University of Chicago Looking at Cartoons
THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174 -
The Formation of Temporary Communities in Anime Fandom: a Story of Bottom-Up Globalization ______
THE FORMATION OF TEMPORARY COMMUNITIES IN ANIME FANDOM: A STORY OF BOTTOM-UP GLOBALIZATION ____________________________________ A Thesis Presented to the Faculty of California State University, Fullerton ____________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Geography ____________________________________ By Cynthia R. Davis Thesis Committee Approval: Mark Drayse, Department of Geography & the Environment, Chair Jonathan Taylor, Department of Geography & the Environment Zia Salim, Department of Geography & the Environment Summer, 2017 ABSTRACT Japanese animation, commonly referred to as anime, has earned a strong foothold in the American entertainment industry over the last few decades. Anime is known by many to be a more mature option for animation fans since Western animation has typically been sanitized to be “kid-friendly.” This thesis explores how this came to be, by exploring the following questions: (1) What were the differences in the development and perception of the animation industries in Japan and the United States? (2) Why/how did people in the United States take such interest in anime? (3) What is the role of anime conventions within the anime fandom community, both historically and in the present? These questions were answered with a mix of historical research, mapping, and interviews that were conducted in 2015 at Anime Expo, North America’s largest anime convention. This thesis concludes that anime would not have succeeded as it has in the United States without the heavy involvement of domestic animation fans. Fans created networks, clubs, and conventions that allowed for the exchange of information on anime, before Japanese companies started to officially release anime titles for distribution in the United States. -
Boston Post Gazette
PAGE 8 POST-GAZETTE, JULY 3, 2020 The time has come, the walrus said, TO TALK OF MANY THINGS of shoes and ships and sealing wax of cabbages and kings by Sal Giarratani WE ARE NOW NUMBER 4 I kid you not. He actually sent BRAVEHEART (Blu-ray) has found Christ, and aspires to IN UNEMPLOYMENT out a letter to the entire col- Paramount Home Ent. join the clergy — but his crimi- We’re Number 4! We’re lege Community that allowing The exhilarating, triumphant, nal record means no seminary Number 4. Shout it from the cops in its bathrooms perpetu- and award-winning master- will aCCept him. When Daniel rafters at the Garden, right? ates “feelings of oppression, piece Braveheart has arrived arrives in town, one quick lie Only three states now have a silenCing, and marginalization.” in Limited Edition 4K Blu-ray allows him to be mistaken for higher unemployment rate than Making war with police over toi- Steelbook from Paramount the town’s new priest, and he the good old Commonwealth lets is completely irrational and Home Entertainment. Cele- sets about leading his newfound of MassaChusetts. Thank Parade float with Great this college president is appar- brating its 25th anniversary fl ock. Though he has no train- you, Governor Charlie Baker. message ently so afraid of some folks in 2020, Braveheart won fi ve ing, his passion and charisma The other three states have (Photo by Sal Giarratani) in Black Lives Matter that he Academy Awards®, includ- inspire the community. At the Democrats as governors, mak- decided to lock toilet doors on ing Best PiCture. -
Teachers Guide
Teachers Guide Exhibit partially funded by: and 2006 Cartoon Network. All rights reserved. TEACHERS GUIDE TABLE OF CONTENTS PAGE HOW TO USE THIS GUIDE 3 EXHIBIT OVERVIEW 4 CORRELATION TO EDUCATIONAL STANDARDS 9 EDUCATIONAL STANDARDS CHARTS 11 EXHIBIT EDUCATIONAL OBJECTIVES 13 BACKGROUND INFORMATION FOR TEACHERS 15 FREQUENTLY ASKED QUESTIONS 23 CLASSROOM ACTIVITIES • BUILD YOUR OWN ZOETROPE 26 • PLAN OF ACTION 33 • SEEING SPOTS 36 • FOOLING THE BRAIN 43 ACTIVE LEARNING LOG • WITH ANSWERS 51 • WITHOUT ANSWERS 55 GLOSSARY 58 BIBLIOGRAPHY 59 This guide was developed at OMSI in conjunction with Animation, an OMSI exhibit. 2006 Oregon Museum of Science and Industry Animation was developed by the Oregon Museum of Science and Industry in collaboration with Cartoon Network and partially funded by The Paul G. Allen Family Foundation. and 2006 Cartoon Network. All rights reserved. Animation Teachers Guide 2 © OMSI 2006 HOW TO USE THIS TEACHER’S GUIDE The Teacher’s Guide to Animation has been written for teachers bringing students to see the Animation exhibit. These materials have been developed as a resource for the educator to use in the classroom before and after the museum visit, and to enhance the visit itself. There is background information, several classroom activities, and the Active Learning Log – an open-ended worksheet students can fill out while exploring the exhibit. Animation web site: The exhibit website, www.omsi.edu/visit/featured/animationsite/index.cfm, features the Animation Teacher’s Guide, online activities, and additional resources. Animation Teachers Guide 3 © OMSI 2006 EXHIBIT OVERVIEW Animation is a 6,000 square-foot, highly interactive traveling exhibition that brings together art, math, science and technology by exploring the exciting world of animation. -
Charlie Chaplin's
Goodwins, F and James, D and Kamin, D (2017) Charlie Chaplin’s Red Letter Days: At Work with the Comic Genius. Rowman & Littlefield. ISBN 1442278099 Downloaded from: https://e-space.mmu.ac.uk/618556/ Version: Submitted Version Publisher: Rowman & Littlefield Please cite the published version https://e-space.mmu.ac.uk Charlie Chaplin’s Red Letter Days At Work with the Comic Genius By Fred Goodwins Edited by Dr. David James Annotated by Dan Kamin Table of Contents Introduction: Red Letter Days 1. Charlie’s “Last” Film 2. Charlie has to “Flit” from his Studio 3. Charlie Chaplin Sends His Famous Moustache to the Red Letter 4. Charlie Chaplin’s ‘Lost Sheep’ 5. How Charlie Chaplin Got His £300 a Week Salary 6. A Straw Hat and a Puff of Wind 7. A bombshell that put Charlie Chaplin ‘on his back’ 8. When Charlie Chaplin Cried Like a Kid 9. Excitement Runs High When Charlie Chaplin “Comes Home.” 10. Charlie “On the Job” Again 11. Rehearsing for “The Floor-Walker” 12. Charlie Chaplin Talks of Other Days 13. Celebrating Charlie Chaplin’s Birthday 14. Charlie’s Wireless Message to Edna 15. Charlie Poses for “The Fireman.” 16. Charlie Chaplin’s Love for His Mother 17. Chaplin’s Success in “The Floorwalker” 18. A Chaplin Rehearsal Isn’t All Fun 19. Billy Helps to Entertain the Ladies 20. “Do I Look Worried?” 21. Playing the Part of Half a Cow! 22. “Twelve O’clock”—Charlie’s One-Man Show 23. “Speak Out Your Parts,” Says Charlie 24. Charlie’s Doings Up to Date 25. -
January 18, 1892: Oliver Hardy Born Learn More
January 18, 1892: Oliver Hardy Born Learn More Suggested Readings Walter Kerr, The Silent Clowns (New York: Knopf, 1975). Simon Louvish, Stan and Ollie, The Roots of Comedy: The Double Life of Laurel and Hardy (New York: St. Martin's, 2002). John McCabe, Babe: The Life of Oliver Hardy (New York: Carol, 1989). Glenn Mitchell, The Laurel and Hardy Encyclopedia (London: Batsford, 1995). “Oliver Hardy (1892-1957).” New Georgia Encyclopedia. http://www.georgiaencyclopedia.org/nge/Article.jsp?id=h-1512&hl=y Oliver Hardy, Genius of Comedy Marker, Erected by Georgia Historical Society http://georgiahistory.com/markers/64 The Milledgeville Hotel and Oliver Hardy Marker, Erected by Georgia Historical Society http://georgiahistory.com/markers/100 Official Laurel and Hardy Webpage: http://www.laurel-and-hardy.com/ The Laurel and Hardy Museum, Harlem, Georgia: http://webpages.charter.net/thebrain/ The Laurel and Hardy Magazine: http://www.laurelandhardy.org/ The International Laurel and Hardy Appreciation Society: http://www.sotd.org/ Oliver Hardy Festival: http://www.harlemga.org/ohfest.htm www.todayingeorgiahistory.org January 18, 1892: Oliver Hardy Learn More Image Credits Young Oliver Hardy Courtesy of the Laurel and Hardy Museum, Harlem, Georgia Oliver Hardy as a baby Courtesy of the Laurel and Hardy Museum, Harlem, Georgia Oliver Hardy group photo Courtesy of the Laurel and Hardy Museum, Harlem, Georgia Festival crowd Courtesy of the Oliver Hardy Festival, Harlem, GA Hal Roach with Laurel and Hardy Getty Images www.todayingeorgiahistory.org -
Download File
Gale Henry Also Known As: "The Elongated Comedienne" Lived: April 15, 1893 - June 6, 1972 Worked as: film actress, producer, scenario writer, theatre actress Worked In: United States by Steve Massa Thought to be the prototype for Popeye’s girlfriend Olive Oyl, Gale Henry was tall and extremely skinny, with large eyes and a sharp nose. Known as “The Elongated Comedienne,” from 1914 to 1933 she entertained audiences with eccentric physical comedy. Like her contemporaries Alice Howell, Mabel Normand, Marie Dressler, and Louise Fazenda, Gale took many bumps and bruises in the name of laughter alongside her male comedian counterparts in an estimated two hundred fifty-eight shorts and features, some of the craziest of which she wrote. Her active female characters bear comparison with Pearl White and Helen Holmes, the “serial queens” of the 1910s, and she often spoofed the cliff-hanger genre in which they appeared. Henry’s performing style could be very broad, but she also had a gift for small, insightful gestures that could bring a moment of pathos and feeling into the knockabout. She often played put-upon slavies, but her unconventional looks also made her perfect as a lovelorn spinster, an overbearing wife, or a burlesque country girl. She wore a wide-brimmed hat, a tight, old-fashioned button-up blouse, a long plaid or checkered skirt, and clunky high-top shoes. The overall look had a feel of L. Frank Baum’s Scarecrow of Oz—as if she were put together from odd, mismatching parts. After growing up on a ranch in Bear Valley, California, Gale Henry began her stage career with the Temple Opera Company. -
Cartooning America: the Fleischer Brothers Story
NEH Application Cover Sheet (TR-261087) Media Projects Production PROJECT DIRECTOR Ms. Kathryn Pierce Dietz E-mail: [email protected] Executive Producer and Project Director Phone: 781-956-2212 338 Rosemary Street Fax: Needham, MA 02494-3257 USA Field of expertise: Philosophy, General INSTITUTION Filmmakers Collaborative, Inc. Melrose, MA 02176-3933 APPLICATION INFORMATION Title: Cartooning America: The Fleischer Brothers Story Grant period: From 2018-09-03 to 2019-04-19 Project field(s): U.S. History; Film History and Criticism; Media Studies Description of project: Cartooning America: The Fleischer Brothers Story is a 60-minute film about a family of artists and inventors who revolutionized animation and created some of the funniest and most irreverent cartoon characters of all time. They began working in the early 1900s, at the same time as Walt Disney, but while Disney went on to become a household name, the Fleischers are barely remembered. Our film will change this, introducing a wide national audience to a family of brothers – Max, Dave, Lou, Joe, and Charlie – who created Fleischer Studios and a roster of animated characters who reflected the rough and tumble sensibilities of their own Jewish immigrant neighborhood in Brooklyn, New York. “The Fleischer story involves the glory of American Jazz culture, union brawls on Broadway, gangsters, sex, and southern segregation,” says advisor Tom Sito. Advisor Jerry Beck adds, “It is a story of rags to riches – and then back to rags – leaving a legacy of iconic cinema and evergreen entertainment.” BUDGET Outright Request 600,000.00 Cost Sharing 90,000.00 Matching Request 0.00 Total Budget 690,000.00 Total NEH 600,000.00 GRANT ADMINISTRATOR Ms. -
Ben Lee 110113 CHEVIOT
NO.8 November 2013 CheviotCheviot HillsHills TheThe greatestgreatest neighborhoodneighborhood inin thethe worldworld PRSRT STD ECRWSS U.S. POSTAGE PAID EDDM Retail Please call me if you would like any real estate help or information. *******************ECRWSS**** LOCAL Residential Postal Customer BEN LEE PROPERTIES – Real Estate Broker • Licensed Attorney – www.BenLeeProperties.com – (310) 858-5489 Thanksgiving hero By BEN LEE turkey bob and float with no indication of softening. Another hour ave you ever stood up for went by. We tried forcing it underwater Hinjustice? Tried to right a wrong? by trapping it with heavy pans but it I’m proud to say that one time I did didn’t work. Like an iceberg, it willfully just that. I was a hero in my wife’s eyes stayed afloat. in a time of dire need. It was the Friday It had been four tense hours and the after Thanksgiving, 2002. The extended turkey was just as solid as when she family was spread out on the actual lugged it home. Lilli, in tears and holiday so it was tradition that on feeling desperate, heaved that dripping, Friday, everyone would bring their frozen turkey from the bathtub and leftovers and eat at our house. wedged it into the microwave. Ten My wife decided that morning she minutes in the microwave and part of would attempt to make a turkey for the the skin looked like it was burning first time. At the market on the Friday while the rest of the thing was still very after Thanksgiving, the only turkeys much frozen. left were frozen.