The Compleat of Tex Avery
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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 -
Fraternite! Eqalite!
VOL. 119 - NO. 3 BOSTON, MASSACHUSETTS, JANUARY 16, 2015 $.35 A COPY Liberte! Fraternite! Eqalite! by Sal Giarratani This past Saturday, a large How can we defeat an en- crowd gathered on the emy if we won’t even prop- Boston Common standing in erly identify who that enemy solidarity with millions of is? Even the new Presi- people in Paris’ Place de la dent of Egypt Abdel-Fattah Republique against Radical el-Sissi has courageously Islamic acts of terror that spoken for the need for a killed 17 people last week. Revolution in Islam and for Some 40 world leaders countering those who mis- joined arms together in sup- use the religion of Muslims. port of France and against On second thought, per- those seeking civilization haps Obama didn’t belong jihad. in that recent gathering in Many marched together in Paris since the world needed support of those values of to see leaders linking arms modern civilization under with one another. attack today. It was a march We insulted not only for liberty. It was a march for the French of 2015, we in- all of us. It was also a march sulted the bond between against those using reli- our nations built up since gious fanaticism and killing the days of the American innocents in the name of White House, it was a dumb send Vice President Joe was a deliberate move not to Revolution. their God. mistake that America went Biden or Secretary of State link the United States of We must not be afraid to Why wasn’t President AWOL at this world-wide John F. -
American WWII Propaganda Cartoons
Name _____________________________________ Date ________________________ Period ______ American WWII Propaganda Cartoons “Blitz Wolf” – A cartoon produced in 1942 by Metro-Goldwyn-Mayer (MGM). It was nominated for the Academy Award for Best Short Subject Cartoon. The plot is a parody of the Three Little Pigs, told from a WWII anti-German propaganda perspective. As you watch the cartoon, answer the following questions: Who do the Three Little Pigs represent? Who does the Wolf represent? What does this cartoon say about America’s view of Germany and Hitler? “You’re a Sap, Mr. Jap” - A 1942 one-reel animated cartoon short subject released by Paramount Pictures. It is one of the best-known World War II propaganda cartoons. The cartoon gets its title from a novelty song written by James Cavanaugh, John Redmond and Nat Simon. As you watch the cartoon, answer the following questions: Who does Popeye represent? How are the Japanese portrayed? What does this cartoon say about America’s view of Japan and its people? Using complete sentences, answer the following questions about the use of animated cartoons for anti- war propaganda. 1. Is the use of animation and humor appropriate for depicting the serious nature of war? Use at least 2 specific examples to explain your opinion. 2. The U.S. has been fighting the War on Terror for over a decade. If such propaganda cartoons were made today featuring Iraqis, Afghans, or others targeted in the War on Terror, would they be accepted? Would they be considered offensive? Use at least 2 specific examples to explain your opinion. -
Carnet Pédagogique
A partir de 5 ans 50 minutes CARNET PÉDAGOGIQUE 1 Avant-propos L’Agence du court métrage, association régie par la loi de 1901 et fondée en 1983, est née de la volonté de nombreux professionnels - réalisateurs, producteurs, distributeurs, exploitants - de promouvoir et développer la diffusion des films courts. L’Agence du court métrage est un lieu de réflexion, d’échanges et de ressources dans les domaines de la pédagogie du cinéma, ayant pour objectifs de sensibiliser l’ensemble des publics et de favoriser l’accès aux œuvres. Depuis 1971, l’AFCA œuvre à la promotion du cinéma d’animation sous tous ses formats. Soutenue par le CNC et aux côtés de ses partenaires, elle agit au niveau national auprès des professionnels et des structures qui interviennent à toutes les étapes d’écriture, de production et de diffusion des œuvres. Ses actions s’articulent chaque année autour de deux événements majeurs : la Fête du cinéma d’animation organisée partout en France durant le mois d’octobre, et le Festival national du film d’animation qui se tient en avril à Rennes Métropoles. La Fête du cinéma d’animation a pour objectif de valoriser le cinéma « image par image » et de contribuer ainsi à la promotion des films et de leurs auteurs. Sa genèse et sa mise en place sont articulées avec la Journée mondiale du film d’animation, célébrée le 28 octobre en hommage à Émile Reynaud, pionnier du « film » image par image et en commémoration de sa première projection publique de bandes animées, à Paris, au Musée Grévin, précisément le 28 octobre 1892. -
Cartoons— Not Just for Kids
Cartoons— Not just for kids. Part I 1. Chuck Jones later named this previously unnamed frog what? 2. In the 1990s the frog became the mascot for which television network? 3. What was Elmer Fudd’s original name? 4. What is the name of the opera that “Kill the Wabbit” came from? 5. Name a Looney Tunes animal cartoon character that wears pants: 6. What is the name of Pepe le Pew’s Girlfriend? 7. Name 3 Looney Tune Characters with speech impediments 8. Name the influential animator who had a hand in creating all of these characters: Bugs Bunny, Daffy Duck, Screwy Squirrel, and Droopy 9. Name the Tiny Tunes character based on the Tazmanian Devil 10. In what century does Duck Dodgers take place? 11. What is Dot’s full first name? 12. What kind of contracts do the animaniacs have? 13. What company do all of the above characters come from? Requiem for the Blue Civic – Jan. 2014 Cartoons 1 Part II 14. Name one of Darkwing Duck’s Catch phrases: 15. Name the three characters in “Tailspin” that also appear in “the Jungle book” (though the universes are apparently separate and unrelated) 16. Who is this? 17. Fill in these blanks: “ Life is like a ____________here in _____________ Race cars, lasers, aeroplanes ‐ it's a _______blur You might ______ a _____ or rewrite______ ________! __‐__!” 18. What was the name of Doug Funnie’s dog? 19. Whose catchphrase is: “So what’s the sitch”? 20. What kind of an animal is Ron Stoppable’s pet, Rufus? 21. -
1 Iconology in Animation: Figurative Icons in Tex Avery's Symphony In
Iconology in Animation: Figurative Icons in Tex Avery’s Symphony in Slang Nikos Kontos The current fascination with popular culture has generated numerous investigations focusing on a wide variety of subject matter deriving primarily from the mass media. In most cases they venture upon capturing its particular effects on the social practices of various target-audiences in our present era: effects that namely induce enjoyment and amusement within a life-world of frenetic consumerism verging upon the ‘hyper-real’. Popular culture has become a shibboleth, especially for those who are absorbed in demarcating post-modernity: its ubiquity hailed as a socially desirable manifestation of the mass-circulated ‘taste cultures’ and ‘taste publics’ – along with their ‘colonizing’ representations and stylizations – found in our post-industrial society. Hence, the large quantity of studies available tends to amplify on the pervasive theme of the postmodern condition with an emphasis on pastiche and/or parody. However, before the issue of post-modernity became an agenda-setting trend, semioticians had been in the forefront in joining the ranks of scholars who began to take seriously the mass-produced artifacts of popular culture and to offer their expertise in unraveling the immanent meanings of the sign systems ensconced within those productions. Since Roland Barthes’ and Umberto Eco’s critically acclaimed forays into the various genres of popular culture during the late 50’s and early 60’s, many semiotic scholars - following their lead - have attempted to extract from these mass art-forms meaningful insights concerning the semiotic significance portrayed in them. Many of these genres such as comics, detective/spy novels, science fiction, blockbuster films, etc., have been closely scrutinized and analyzed from an array of critical vantage points covering aspects that range, for example, from formal text-elements of the particular genre to its ideological ramifications in a socio-historical context. -
COMD 3642 – Topics in Animation & Motion Graphics
COMD COMD Topics in Animation & Motion Graphics New York City College of Technology The City University of New York Department of Communication Design COMD 3642 – Topics in Animation & Motion Graphics Course Description This course will provide an overview and study of the history of animation and motion graphics. Each class will focus on the work of various animators within a specific time period or genre, from the early magic lantern shows of the late nineteenth century to current and emerging digital animation technologies. The course objective is to explore the lives and environments, artistic and narrative influences of these animators. This will be accomplished through a series of discussions, lectures, assignments, and viewing DVDs and videos. 3 cl hrs, 3 cr Prerequisites 3500 level courses Course Objectives INSTRUCTIONAL OBJECTIVES ASSESSMENT For the successful completion of this Evaluation methods and criteria course, students should be able to: Understand a fundamental principle of the Students will demonstrate knowledge by human eye: the persistence of vision. creating a simple flip-book. Demonstrate knowledge of the evolution Students will demonstrate knowledge by and development of early forms of re-creating Optical Toys in a series of animation and motion graphics. assignments. Understand animation's influence on Students will demonstrate knowledge of popular culture and identify the important this by researching and writing a critical animators in history. paper exploring these societal influences. 10.25.14_LC 1 COMD COMD Topics in Animation & Motion Graphics INSTRUCTIONAL OBJECTIVES ASSESSMENT Define the major innovations developed by Students will demonstrate knowledge of Disney Studios. these innovations through discussion and research. -
Blitz Wolf (Der Gross Méchant Loup), De Tex Avery
Blitz Wolf (Der gross HIDA méchant loup), de Tex Avery Présentation de l’oeuvre Fiche technique Réalisateur : Tex Avery Producteur : MGM (Metro-Goldwyn-Mayer) Genre: Film d’animation Pays: Etats-Unis Date de sortie : 22 août 1942 Durée: 10 minutes Synopsis Une variante sur l'histoire bien connue des trois petits cochons, avec un loup qui a bien des points communs avec Adolf Hitler. 1ère approche de l’œuvre 1) Quelle impression cette œuvre vous fait-elle? Quels sentiments avez-vous en la visionnant ? 2) Quelles questions vous posez-vous en regardant ce dessin animé? Contexte historique 3) D’après la date de ce dessin animée, quel est le contexte historique aux Etats-Unis ? (aidez- vous de la chronologie vue en cours) Décembre 1941 : entrée en guerre des USA après l’attaque japonaise sur Pearl Harbor Août 1942 : les Américains sont en pleine guerre dans le Pacifique Contexte artistique Le premier dessin animé de l’histoire du cinéma est présenté en 1906. Il s’intitule « Humorous Phases of Funny Faces » (Phases amusantes de figures rigolotes). Il a été réalisé à partir de dessins à la craie sur un tableau noir. Les Américains vont très vite s’emparer de cette nouvelle technique d’animation et créer une véritable industrie du cinéma d’animation. Trois studios émergent dans l’entre-deux guerres: les studios Fleischer (qui ont crée les personnages de Popeye ou Betty Boop), la Walt Disney Company (et son célèbre Mickey Mouse) et les studios de Tex Avery (à qui l’on doit les personnages de Bugs Bunny ou Droopy). -
Tex Avery Follies
Tex Avery DOSSIER 170 Tex Avery Follies COLLÈGE AU CINÉMA Avec la participation de votre Conseil général SYNOPSIS One Cab’s Family (Bébé Taxi ou Tu seras un taxi, mon fils) : La naissance de Bébé Taxi rend fous de bonheur maman et papa Taxi qui assistent avec ravissement à la poussée de sa première dent, à son premier mot. Puis bébé taxi grandit et il affirme sa volonté d’être voiture de course et non taxi comme son père, causant une horrible désillusion à ses parents. Il part à l’aventure, provoque quelques incidents avant de faire la course avec un rapide. Son père tente de le rattraper et tombe en panne sur la voie ferrée. Son fils le sauve et est renversé par le rapide. Une fois rétabli, il choisit d’être taxi mais avec un moteur de bolide. The Hick Chick (Coqs de village ou Plouc à bec) : Lem, un coq de campagne stupide, demande Daisy en mariage. Mais Charles, un coq noir et distingué, survient, la séduit et se débarrasse de Lem. Charles l’amène à la ville où il la condamne à travailler dans une blanchisserie. Lem vient la sauver et, un an plus tard, à la naissance de leurs enfants, l’histoire recommence… Hound Hunters (George et Junior vagabonds ou Chasseurs de chiens) : George et junior ne veulent plus être vagabonds et les voilà agents de fourrière. Ils traquent en vain un minuscule chiot, mais toutes leurs ruses échouent minablement. Ils redeviennent vagabonds en compagnie du chiot qui les rejoint. Slap Happy Lion (Le Lion flagada ou Le Lion frapadingue) : Le lion du Jingling Bros Circus est tout à fait gaga et doit être poussé en fauteuil roulant par un infirmier. -
Read Ebook {PDF EPUB} Tex Avery Hollywood's Master of Screwball Cartoons by Jeff Lenburg Tex Avery: Hollywood's Master of Screwball Cartoons by Jeff Lenburg
Read Ebook {PDF EPUB} Tex Avery Hollywood's Master of Screwball Cartoons by Jeff Lenburg Tex Avery: Hollywood's Master of Screwball Cartoons by Jeff Lenburg. D0WNL0AD PDF Ebook Textbook Tex Avery: Hollywood's Master of Screwball Cartoons (Legends of Animation) by Jeff Lenburg, Scott O'Neill, Jeff Lenburg D0wnl0ad URL » https://mediagetone.blogspot.com/away25.php?asin=B00E.. Last access: 52153 user Last server checked: 18 Minutes ago! Tex Avery: Hollywood's Master of Screwball Cartoons (Legends of Animation) by Jeff Lenburg, Scott O'Neill, Jeff Lenburg [PDF EBOOK EPUB MOBI Kindle] Tex Avery: Hollywood's Master of Screwball Cartoons (Legends of Animation) by Jeff Lenburg, Scott O'Neill, Jeff Lenburg pdf d0wnl0ad Tex Avery: Hollywood's Master of Screwball Cartoons (Legends of Animation) by Jeff Lenburg, Scott O'Neill, Jeff Lenburg read online Jeff Lenburg, Scott O'Neill, Jeff Lenburg by Tex Avery: Hollywood's Master of Screwball Cartoons (Legends of Animation) epub Tex Avery: Hollywood's Master of Screwball Cartoons (Legends of Animation) by Jeff Lenburg, Scott O'Neill, Jeff Lenburg vk Tex Avery: Hollywood's Master of Screwball Cartoons (Legends of Animation) by Jeff Lenburg, Scott O'Neill, Jeff Lenburg pdf d0wnl0ad free Tex Avery: Hollywood's Master of Screwball Cartoons (Legends of Animation) by Jeff Lenburg, Scott O'Neill, Jeff Lenburg d0wnl0ad ebook Tex Avery: Hollywood's Master of Screwball Cartoons (Legends of Animation) pdf Tex Avery: Hollywood's Master of Screwball Cartoons (Legends of Animation) by Jeff Lenburg, Scott O'Neill, Jeff -
A Műfajiság Kérdése Az Animációs Filmben
EÖTVÖS LORÁND TUDOMÁNYEGYETEM BÖLCSÉSZETTUDOMÁNYI KAR DOKTORI DISSZERTÁCIÓ VARGA ZOLTÁN A 0ĥ)A-ISÁG KÉRDÉSE AZ ANIMÁCIÓS FILMBEN FILOZÓFIATUDOMÁNYI DOKTORI ISKOLA, VEZETė:PROF.DR.KELEMEN JÁNOS CMHAS., EGYETEMI TANÁR FILM-, MÉDIA- ÉS KULTÚRAELMÉLETI DOKTORI PROGRAM, VEZETė:DR.GYÖRGY PÉTER DSC., EGYETEMI TANÁR A BIZOTTSÁG TAGJAI ÉS TUDOMÁNYOS FOKOZATUK: A BIZOTTSÁG ELNÖKE: DR.KOVÁCS ANDRÁS BÁLINT DSC., EGYETEMI TANÁR HIVATALOSAN FELKÉRT BÍRÁLÓK: DR.HIRSCH TIBOR PHD., EGYETEMI DOCENS DR.FÜZI IZABELLA PHD., EGYETEMI ADJUNKTUS A BIZOTTSÁG TITKÁRA: DR.PÁPAI ZSOLT PHD., EGYETEMI TANÁRSEGÉD A BIZOTTSÁG TOVÁBBI TAGJAI: DR.SÁGHY MIKLÓS PHD., EGYETEMI ADJUNKTUS DR.VINCZE TERÉZ PHD., EGYETEMI ADJUNKTUS TÉMAVEZETė ÉS TUDOMÁNYOS FOKOZATA: DR.VAJDOVICH GYÖRGYI PHD., EGYETEMI ADJUNKTUS BUDAPEST, 2011 2 TARTALOMJEGYZÉK I. A MĥFAJ ÉS AZ ANIMÁCIÓS FILM FOGALMA...........................................................5 1. A PĦIDMIRJDORP pUWHOPH]pVH pV DONDOPD]iVD D ILOPEHQ.......................................................5 1.1. A PĦIDM IRJDOPD V]HPDQWLNiMD pV SUDJPDWLNiMD iOWDOiEDQ ..............................................5 1.2. A PĦIDM IRJDOPD D PĦYpV]HWHNEHQ ..................................................................................7 1.. A ILOPPĦIDMMDO NDSFVRODWRV DODSSUREOpPiN ......................................................................9 1.. A ILOPPĦIDM PHJKDWiUR]iViQDN OHKHWĘVpJHL ...................................................................13 1.5. A PĦQHP NpUGpVHL D] LURGDORPEDQ pV D ILOPEHQ.............................................................16 -
Los 50 Mejores Cartoons. Primero, Aclaraciones. A) En 1994, Gracias Al Crítico Jerry Beck, 1000
09/08/2020 Thread by @despoleo: 0) Hilo larguísimo, ya aclaro: los 50 mejores cartoons. Primero, aclaraciones. a) En 1994, gracias al crítico … Leonardo D'Espósito 16 hours ago, 58 tweets, 19 min read Bookmark Save as PDF My Authors 0) Hilo larguísimo, ya aclaro: los 50 mejores cartoons. Primero, aclaraciones. a) En 1994, gracias al crítico Jerry Beck, 1000 profesionales de la animación eligieron los mejores 50 cortos animados hechos para cine. 0.1) El resultado muestra clara predominancia de Warner Bros. (17 cortos), seguido por Disney, MGM, los hermanos Fleischer y la UPA. Lo de Disney se explica: aunque los cortos son muy buenos, no se especializó en eso sino en largometrajes, y fue el único. 0.2) El director más presente es Chuck Jones. No solo son 9 cartoons en total, sino que tiene los números 1, 2, 4 y 5. Es el artista más representado en la lista. De paso, no falta nadie. https://threadreaderapp.com/thread/1292313413847339009.html 1/28 09/08/2020 Thread by @despoleo: 0) Hilo larguísimo, ya aclaro: los 50 mejores cartoons. Primero, aclaraciones. a) En 1994, gracias al crítico … https://threadreaderapp.com/thread/1292313413847339009.html 2/28 09/08/2020 Thread by @despoleo: 0) Hilo larguísimo, ya aclaro: los 50 mejores cartoons. Primero, aclaraciones. a) En 1994, gracias al crítico … 0.3) Voy a pegar la lista con mínimo comentario corto a corto, del último hasta el primero. En total, son cerca de 400 minutos de animación y van a ver que el hilo se corta porque va de a 24.