A Peek Inside the Toy Box!
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A COMMON CORE CURRICULUM GUIDE to the Marvelous Thing That Came from a Spring: the Accidental Invention of the Toy That Swept the Nation
A COMMON CORE CURRICULUM GUIDE TO The Marvelous Thing That Came from a Spring: The Accidental Invention of the Toy That Swept the Nation By Gilbert Ford Hardcover: 9781481450652 Enhanced Ebook: 9781481450669 BACKGROUND AND SUMMARY When a spring fell from a shelf on engineer Richard James’s desk and took a walk around all by itself, it sparked the creation of a marvelous thing—the toy we now know as the Slinky®. This picture book follows the growing popularity of the Slinky® from James’s original idea that he shared with his wife and son, to the toy’s first introduction to Christmas shoppers at Gimbels department store, and finally, to its factory production—where enough were made that every boy and girl in America could have one. This remarkable success was due to the teamwork of “dreamer” Richard James and “planner” Betty James, his wife. Together they turned a metal spring into an absolutely marvelous thing. Detailed, colorful illustrations created from cutouts, painted backgrounds, and vintage toys such as plastic sedans, dollhouse sofas, and games create a sense of the 1940s Philadelphia setting. But they do more—they show the sense of excitement that resulted from seeing an ordinary object presented in a fresh, new way. DISCUSSION QUESTIONS/ACTIVITIES Key Ideas and Details The discussion questions and activities below draw on Common Core State Standards (CCSS) for reading informational text (RI) that ask children to ask and answer questions about key details in a text (RI.K–3.1), identify the main topic and key details that support it (RI.K–3.2), and describe the relationship between a series of events, concepts, or ideas (RI.K–3.3). -
Toy Story: How Pixar Reinvented the Animated Feature
Summers, Sam. " From Shelf to Screen: Toys as a Site of Intertextuality." Toy Story: How Pixar Reinvented the Animated Feature. By Susan Smith, Noel Brown and Sam Summers. London: Bloomsbury Academic, 2017. 127–140. Bloomsbury Collections. Web. 1 Oct. 2021. <http:// dx.doi.org/10.5040/9781501324949.ch-008>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 01:34 UTC. Copyright © Susan Smith, Sam Summers and Noel Brown 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 1 27 Chapter 8 F ROM SHELF TO SCREEN: TOYS AS A SITE OF INTERTEXTUALITY Sam Summers Intertextuality, as defi ned by Julia Kristeva, is ‘the passage from one sign sys- tem to another’,1 or rather, the inherent interconnectedness of all signs and, by extension, all texts. ‘Any text’, she claims, ‘is constructed as a mosaic of quota- tions; any text is the absorption and transformation of another’. 2 It is true that no text is created or received in a vacuum, and all authors and readers bring with them their past experiences, whether textual or otherwise. A text such as Toy Story (John Lasseter, 1995), though, explicitly activates and draws upon these links more than most. Noel Brown’s chapter in this book highlights some of the cultural references found in the fi lm’s script, and the ways in which these intertextual gags contribute towards its dual address by reaching out to mul- tiple demographics. Here, though, I focus on the connections established by the toys themselves, and in particular the meanings they can create for a child audience. -
Light Pruning on Toy Story 4
Light Pruning on Toy Story 4 Vaibhav Vavilala [email protected] Pixar Animation Studios Culling lights in this shot dropped the light count from 8400 to 260, and render time from 98 hours to 48. ©Disney/Pixar. ABSTRACT constructed an object-to-light linking table in a prepass render, and Pixar films have recently seen drastically rising light counts via then used this table in-render to exclude certain lights from being procedural generation, resulting in longer render times and slower considered for a given piece of geometry. However, no automated interactive workflows. Here we present a fully automated, scalable, light culling system has existed in the RIS-era until now. and error-free light pruning pipeline deployed on Toy Story 4 that With regards to geometry culling, Pixar employs metrics pruning, reduces final render times by 15-50% in challenging cases, acceler- that removes out-of-frustum, occluded, or tiny objects in a scene ates interactive lighting, and automates a previously manual and to reduce memory usage and speed up renders. However, lights error-prone task. that meet the criteria for metrics pruning can easily contribute meaningful illumination, so such geometry-based techniques do CCS CONCEPTS not directly transfer to light culling. The Disney Hyperion renderer executes a pre-process before • Computing methodologies → Rendering. each render called Cache Points that locally computes important KEYWORDS lights for thousands of regions in a scene, reducing light selection cost and wasted light samples [Burley et al. 2018]. Our approach Rendering optimization, RenderMan, Universal Scene Description, instead caches lighting data in a cheap, low-resolution probe render, Katana, Light Path Expressions such that subsequent renders do not pay the cost of a pre-process. -
To Infinity and Back Again: Hand-Drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation
To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation Haswell, H. (2015). To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation. Alphaville: Journal of Film and Screen Media, 8, [2]. http://www.alphavillejournal.com/Issue8/HTML/ArticleHaswell.html Published in: Alphaville: Journal of Film and Screen Media Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2015 The Authors. This is an open access article published under a Creative Commons Attribution-NonCommercial-NoDerivs License (https://creativecommons.org/licenses/by-nc-nd/4.0/), which permits distribution and reproduction for non-commercial purposes, provided the author and source are cited. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:28. Sep. 2021 1 To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar’s Pioneering Animation Helen Haswell, Queen’s University Belfast Abstract: In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation. -
An Analysis of Torture Scenes in Three Pixar Films Heidi Tilney Kramer University of South Florida, [email protected]
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School January 2013 Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films Heidi Tilney Kramer University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Feminist, Gender, and Sexuality Studies Commons Scholar Commons Citation Kramer, Heidi Tilney, "Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films" (2013). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/4525 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films by Heidi Tilney Kramer A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of Women’s and Gender Studies College of Arts and Sciences University of South Florida Major Professor: Elizabeth Bell, Ph.D. David Payne, Ph. D. Kim Golombisky, Ph.D. Date of Approval: March 26, 2013 Keywords: children, animation, violence, nationalism, militarism Copyright © 2013, Heidi Tilney Kramer TABLE OF CONTENTS Abstract ................................................................................................................................ii Chapter One: Monsters Under -
Frame by Frame
FRAME BY FRAME by Glen Ryan Tadych As we celebrate Thanksgiving and prepare Watching it as an adult though is a different experi- ences go, “What is this?!” And while this factor is for the holiday season, some of cinema’s most ence sure enough, as I’m able to understand how what made Toy Story memorable to most audiences Lasseter’s work on the short film and other TGG anticipated films prepare to hit theaters, most the adult themes are actually what make the film so upon leaving the theater, the heart of the film still projects landed him a full-time position as an notably Star Wars: The Force Awakens. This moving. lies beneath the animation, the impact of which is interface designer that year. However, everything past Wednesday, Disney and Pixar’s latest what makes Toy Story a classic. changed for TGG in 1986. computer-animated adventure, The Good Today, I see Toy Story as the Star Wars (1977) of Dinosaur, released nationwide to generally my generation, and not just because it was a “first” Toy Story’s legacy really begins with Pixar’s be- Despite TGG’s success in harnessing computer positive reception, but this week also marked for the film industry or a huge critical and commer- ginnings in the 1980s. Pixar’s story begins long be- graphics, and putting them to use in sequences another significant event in Pixar history: the cial success. Like Star Wars, audiences of all ages fore the days of Sheriff Woody and Buzz Lightyear, such as the stained-glass knight in Young Sherlock 20th anniversary of Toy Story’s original theatri- worldwide enjoyed and cherished Toy Story because and believe it or not, the individual truly responsible Holmes (1985), Lucasfilm was suffering financially. -
TOY STORY 4 from Cinema to Classroom Watching the Film
Name: Class: TOY STORY 4 From Cinema to Classroom Watching the film... Bo Peep changes a lot between the original Toy Story and Toy Story 4. Let's think about how she changes and why. How would you describe Bo Peep in Toy Story 1 (or during the flashback)? How would you describe Bo Peep in Toy Story 4? What do you think made her change? Which version did you prefer and why? Name: Class: TOY STORY 4 From Cinema to Classroom Inspired by the film... Bonnie is nervous on her first day of Kindergarten. As a result, she makes Forky and he becomes her new favourite toy Why was Bonnie nervous about her first day in Kindergarten? Think of an unusual favourite toy you had and why you liked them Forky is made out of re-purposed rubbish. Design your own simple toy using recyclables you find in class or at home. Name: Class: TOY STORY 4 From Cinema to Classroom Making the film... WATCH: Behind the Scenes of Toy Story 4 (5 mins) https://www.youtube.com/watch?v=qbzWRzmDnLE Pick out 3 different people from the video - state their job and summarise what they did on the film The film makers talked a lot about scale - making sure the characters and the sets were all the right size. They did research and created concept art to make sure things were a good fit. Now it's your turn to become a concept artist! Create concept art for what a Toy Story scene would look like in your classroom. -
The Walt Disney Company: a Corporate Strategy Analysis
The Walt Disney Company: A Corporate Strategy Analysis November 2012 Written by Carlos Carillo, Jeremy Crumley, Kendree Thieringer and Jeffrey S. Harrison at the Robins School of Business, University of Richmond. Copyright © Jeffrey S. Harrison. This case was written for the purpose of classroom discussion. It is not to be duplicated or cited in any form without the copyright holder’s express permission. For permission to reproduce or cite this case, contact Jeff Harrison at [email protected]. In your message, state your name, affiliation and the intended use of the case. Permission for classroom use will be granted free of charge. Other cases are available at: http://robins.richmond.edu/centers/case-network.html "Walt was never afraid to dream. That song from Pinocchio, 'When You Wish Upon a Star,' is the perfect summary of Walt's approach to life: dream big dreams, even hopelessly impossible dreams, because they really can come true. Sure, it takes work, focus and perseverance. But anything is possible. Walt proved it with the impossible things he accomplished."1 It is well documented that Walt Disney had big dreams and made several large gambles to propel his visions. From the creation of Steamboat Willie in 1928 to the first color feature film, “Snow White and the Seven Dwarves” in 1937, and the creation of Disneyland in Anaheim, CA during the 1950’s, Disney risked his personal assets as well as his studio to build a reality from his dreams. While Walt Disney passed away in the mid 1960’s, his quote, “If you can dream it, you can do it,”2 still resonates in the corporate world and operations of The Walt Disney Company. -
Pennsylvania Facts 2011
P o P u l a t i o n April 1, 2010 Census .............................. 12,702,379 P o l i t i c a l o f f i c e s (2011) April 1, 2000 Census .............................. 12,281,054 Governor ................................................... Tom Corbett Population Rank Among States (2010) ................... 6th Lieutenant Governor .............................James F. Cawley Estimated Persons per Square Mile (2010) ............. 284 U.S. Senators ....................Robert Casey Jr., Pat Toomey P e n n S t a t e H a r r i s b u r g U.S. Representatives (post-2010) ............................... 18 • July 1st, 2009 estimated population data from the PA General Assembly .... 50 Senators, 203 Representatives U.S. Census Bureau Population Estimate Division App. Persons Per State Representative (2010) ....... 62,537 Number Percent Persons Per State Senator (2010) ...................... 254,048 Males ........................................ 6,138,709 ..... 48.7 Electoral Votes (post-2010) ....................................... 20 Females ..................................... 6,466,058 ..... 51.3 White (alone) ............................ 10,741,619 ..... 85.2 B a s i c f a c t s Black or African American (alone) .. 1,370,987 ..... 10.9 Nickname .............................................Keystone State Motto ........................Virtue, Liberty, and Independence Pennsylvania Amer. Indian/Alaska Native (alone) ..... 28,593 ....... 0.2 Asian (alone) ................................. 317,580 ....... 2.5 Flag .......................A -
Enjoy the Magic of Walt Disney World All Year Long with Celebrations Magazine! Receive 6 Issues for $29.99* (Save More Than 15% Off the Cover Price!) *U.S
Enjoy the magic of Walt Disney World all year long with Celebrations magazine! Receive 6 issues for $29.99* (save more than 15% off the cover price!) *U.S. residents only. To order outside the United States, please visit www.celebrationspress.com. To subscribe to Celebrations magazine, clip or copy the coupon below. Send check or money order for $29.99 to: YES! Celebrations Press Please send me 6 issues of PO Box 584 Celebrations magazine Uwchland, PA 19480 Name Confirmation email address Address City State Zip You can also subscribe online at www.celebrationspress.com. On the Cover: “Splash!”, photo by Tim Devine Issue 24 Taking the Plunge on 42 Contents Splash Mountain Letters ..........................................................................................6 Calendar of Events ............................................................ 8 Disney News & Updates................................................10 MOUSE VIEWS ......................................................... 15 Guide to the Magic O Canada by Tim Foster............................................................................16 50 Explorer Emporium by Lou Mongello .....................................................................18 Hidden Mickeys by Steve Barrett .....................................................................20 Photography Tips & Tricks by Tim Devine .........................................................................22 Music in the Parks Pin Trading & Collecting by John Rick .............................................................................24 -
'Toy Story 4' Bring Animation Into the Legacy Sequel Fold?
Could 'Toy Story 4' Bring Animation Into the Legacy Sequel Fold? Forky is the googly-eyed face of the future for the 'Toy Story' franchise, but what might that mean for Woody and Buzz? TweetSharePostBookmarkSubscribe If there’s one movie that could challenge Avengers: Endgame‘s dominance this summer (and 2019 as a whole), it’s Toy Story 4. Like Endgame, the Pixar animated feature is a Disney sequel, fourth in a series (but twenty-somethingth in a larger cinematic franchise). And like Endgame, Toy Story 4 appears to be passing the torch to a new generation of 1 characters. No, I don’t expect Buzz and Woody to die at the end of the movie so that Forky can take over as the star of a new phase of the franchise, but this could be the closest we come to an animated legacy sequel. Legacy sequels are primarily a live-action concept because they have to be. Returning to a franchise many years later means revisiting characters who are older and in need of being retired. We’ve seen this happen with Star Wars, Star Trek, Tron, Jurassic Park, Indiana Jones, Blade Runner, Rocky, Wall Street, and Halloween. And even many decades ago with The Color of Money passing the baton from The Hustler. But animated properties don’t ever need to be rebooted from within because their main characters never get old — or never need to, anyway. If The Incredibles had been a live-action superhero movie, perhaps the long- awaited Incredibles 2 would have required a bit more focus on the younger generation of the Parr family. -
Toy Story Crafts Website
CCRRAAFFTT CCOORRRRAALL:: TTOOYY SSTTOORRYY EEDDIITTIIOONN Yee haw! These three crafts are inspired by Toy Story, because Jessie the Cowgirl is a Patsy Montana Award Winner! The award is named after Cowgirl Honoree Patsy Montana, who was the first woman to sell a million records with her song, “I Want to Be a Cowboy’s Sweetheart.” Jessie the Cowgirl continues to entertain others through the tradition of the cowgirl. We will be making three crafts: a pipe cleaner snake based on Sheriff Woody’s signature line, “There’s a snake in my boot,” a slinky dog paper chain, and a Mr. and Mrs. Potato Head paper doll. MATERIALS: PIPE CLEANER SNAKE Pipe Cleaner Googly Eyes Beads Hot glue or glue MATERIALS: SLINKY DOG PAPER CHAIN White, brown, and Googly eyes black construction paper Stapler or glue Scissors M ATERIALS: MR. POTATO HEAD PAPER DOLL Construction paper Optional: Googly Scissors eyes, fabric, tissue Glue paper. PPIIPPEE CCLLEEAANNEERR SSNNAAKKEE 1. Take one pipe 2. Start to string cleaner and twist the beads on the pipe end so that beads cleaner. Make a cannot fall off the pattern or make it pipe cleaner. random! 3. After putting 4. Twist the pipe beads on the pipe cleaner back into cleaner, leave 3 the last bead on inches of pipe the pipe cleaner to cleaner free. create a loop. This is the face of the snake. 5. Put two beads of hot glue on either side of the face. Place the googly eyes down on the hot glue beads. Your snake is complete! SSLLIINNKKYY DDOOGG PPAAPPEERR CCHHAAIINN 1.Cut a dark brown strip 2.