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Cartoon Animals Vs. Actual Russians: Russian Television and the Dynamics of Global Cultural Exchange 2021
Repositorium für die Medienwissenschaft Jeffrey Brassard Cartoon Animals vs. Actual Russians: Russian Television and the Dynamics of Global Cultural Exchange 2021 https://doi.org/10.25969/mediarep/16243 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Brassard, Jeffrey: Cartoon Animals vs. Actual Russians: Russian Television and the Dynamics of Global Cultural Exchange. In: VIEW. Journal of European Television History and Culture, Jg. 10 (2021), Nr. 19, S. 4– 15. DOI: https://doi.org/10.25969/mediarep/16243. Erstmalig hier erschienen / Initial publication here: https://doi.org/http://doi.org/10.18146/view.252 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Weitergabe unter gleichen Bedingungen 4.0/ Attribution - Share Alike 4.0/ License. For more information see: Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz https://creativecommons.org/licenses/by-sa/4.0/ finden Sie hier: https://creativecommons.org/licenses/by-sa/4.0/ volume 10 issue 19/2021 CARTOON ANIMALS VS. ACTUAL RUSSIANS RUSSIAN TELEVISION AND THE DYNAMICS OF GLOBAL CULTURAL EXCHANGE Jeffrey Brassard University of Alberta [email protected] Abstract: Despite continual improvements in production and writing quality, live-action Russian series have fared poorly in the global market. While many deals have been struck, Western remakes of Russian series have failed to appear, and live-action programs have failed to find mainstream audiences outside of Russia. Russian animated series, on the other hand, have enjoyed global success. The success and failure of different types of Russian series in the global media market suggests that many of the central problems of cultural exchange remain. -
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. -
A Hybrid Documentary Genre: Animated Documentary and the Analysis of Waltz with Bashir (2008) Movie Barış Tolga Ekinci, [email protected]
A hybrid documentary genre: Animated documentary and the analysis of Waltz with Bashir (2008) movie Barış Tolga Ekinci, [email protected] Volume 6.1 (2017) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2017.144 | http://cinej.pitt.edu Abstract The word documentary has been described as an advice in “Oxford English Dictionary” in the late 1800s. Document is a main source of information for lawyers. And in cinema, basic film forms are defined with their own properties. The common sense is to seperate documentary from fiction, experimental from main current and animation from the live action films. While these definitions were being made, it has been considered that which expression methods were used. The film genre which is called documentary has been defined in many different ways. In this study, animated documentary genre which is a form of hybrid documentary has been concerned with Baudrillard’s theory. In this context, Ari Folman’s animated documentary Waltz with Bassir (2008) has been analyzed with genre criticism method. Keywords: Documentary, animated documentary, Waltz with Bassir, reality, hybrid genres. New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press. A Hybrid documentary genre: Animated documentary and the analysis of Waltz with Bashir (2008) movie Barış Tolga Ekinci Introduction History of animated documentary1 is old as much as history of traditional documentary. However, in any period, animated documentaries have not been reached the popularity of traditional documentaries. -
National Conference
NATIONAL CONFERENCE OF THE POPULAR CULTURE ASSOCIATION AMERICAN CULTURE ASSOCIATION In Memoriam We honor those members who passed away this last year: Mortimer W. Gamble V Mary Elizabeth “Mery-et” Lescher Martin J. Manning Douglas A. Noverr NATIONAL CONFERENCE OF THE POPULAR CULTURE ASSOCIATION AMERICAN CULTURE ASSOCIATION APRIL 15–18, 2020 Philadelphia Marriott Downtown Philadelphia, PA Lynn Bartholome Executive Director Gloria Pizaña Executive Assistant Robin Hershkowitz Graduate Assistant Bowling Green State University Sandhiya John Editor, Wiley © 2020 Popular Culture Association Additional information about the PCA available at pcaaca.org. Table of Contents President’s Welcome ........................................................................................ 8 Registration and Check-In ............................................................................11 Exhibitors ..........................................................................................................12 Special Meetings and Events .........................................................................13 Area Chairs ......................................................................................................23 Leadership.........................................................................................................36 PCA Endowment ............................................................................................39 Bartholome Award Honoree: Gary Hoppenstand...................................42 Ray and Pat Browne Award -
MUSICA MUNDI WORLD RANKING LIST - TOP 1000 Choirs 1 / 38
MUSICA MUNDI WORLD RANKING LIST - TOP 1000 Choirs 1 / 38 Position Choir Conductor Country Points 1 Jauniešu Koris KAMER.. Maris Sirmais Latvia 1221 2 University of Louisville Cardinal Singers Kent Hatteberg USA 1173 3 Guangdong Experimental Middle School Choir Ming Jing Xie China 1131 4 Stellenbosch University Choir André van der Merwe South Africa 1118 4 Elfa's Singers Elfa Secioria Indonesia 1118 6 Stellenberg Girls Choir André van der Merwe South Africa 1113 7 Victoria Junior College Choir Nelson Kwei Singapore 1104 8 Hwa Chong Choir Ai Hooi Lim Singapore 1102 9 Mansfield University Choir Peggy Dettwiler USA 1095 10 Magnificat Gyermekkar Budapest Valéria Szebellédi Hungary 1093 11 Coro Polifonico di Ruda Fabiana Noro Italy 1081 12 Ars Nova Vocal Ensemble Katalin Kiss Hungary 1078 13 Shtshedrik Marianna Sablina Ukraine 1071 14 Coral San Justo Silvia Francese Argentina 1065 Swingly Sondak & Stevine 15 Manado State University Choir (MSUC) Indonesia 1064 Tamahiwu 16 VICTORIA CHORALE Singapore Nelson Kwei Singapore 1060 17 Kearsney College Choir Angela Stevens South Africa 1051 18 Damenes Aften Erland Dalen Norway 1049 19 CÄCILIA Lindenholzhausen Matthias Schmidt Germany 1043 20 Kamerny Khor Lipetsk Igor Tsilin Russia 1042 20 Korallerna Eva Svanholm Bohlin Sweden 1042 22 Pilgrim Mission Choir Jae-Joon Lee Republic of Korea 1037 23 Gyeong Ju YWCA Children's Choir In Ju Kim Republic of Korea 1035 24 Kammerkoret Hymnia Flemming Windekilde Denmark 1034 Elfa Secioria & Paulus Henky 25 Elfa's Singers Indonesia 1033 Yoedianto 26 Music Project Altmark West Sebastian Klopp Germany 1032 27 Cantamus Girls' Choir Pamela Cook Great Britain 1028 28 AUP Ambassadors Chorale Arts Society Ramon Molina Lijauco Jr. -
October 2011
OctOber 2011 7:00 PM ET/4:00 PM PT 3:15 PM ET/12:15 PM PT 1:00 PM ET/10:00 AM PT 6:00 PM CT/5:00 PM MT 2:15 PM CT/1:15 PM MT 12:00 PM CT/11:00 AM MT The Wild Bunch - In Retro/Na- Robin Hood: Prince of Thieves Spaceballs tional Film Registry 5:45 PM ET/2:45 PM PT 2:45 PM ET/11:45 AM PT SATURDAY, OCTOBER 1 9:30 PM ET/6:30 PM PT 4:45 PM CT/3:45 PM MT 1:45 PM CT/12:45 PM MT 12:00 AM ET/9:00 PM PT 8:30 PM CT/7:30 PM MT Unforgiven - National Film Regis- Gremlins - Spotlight Feature 11:00 PM CT/10:00 PM MT Unforgiven - National Film Regis- try/Spotlight Feature 4:35 PM ET/1:35 PM PT The Country Bears - KIDS try/Spotlight Feature 8:00 PM ET/5:00 PM PT 3:35 PM CT/2:35 PM MT FIRST!/kidScene “Friday Nights” 11:45 PM ET/8:45 PM PT 7:00 PM CT/6:00 PM MT Gremlins 2: The New Batch 1:30 AM ET/10:30 PM PT 10:45 PM CT/9:45 PM MT A Face in the Crowd - In Retro/Na- 6:30 PM ET/3:30 PM PT 12:30 AM CT/11:30 PM MT The Wild Bunch - In Retro/Na- tional Film Registry 5:30 PM CT/4:30 PM MT White Squall tional Film Registry 10:15 PM ET/7:15 PM PT The Lost Boys 3:45 AM ET/12:45 AM PT 9:15 PM CT/8:15 PM MT 8:15 PM ET/5:15 PM PT 2:45 AM CT/1:45 AM MT SUNDAY, OCTOBER 2 Papillon - In Retro 7:15 PM CT/6:15 PM MT Everybody’s All American 2:15 AM ET/11:15 PM PT Beetlejuice 6:00 AM ET/3:00 AM PT 1:15 AM CT/12:15 AM MT MONDAY, OCTOBER 3 10:00 PM ET/7:00 PM PT 5:00 AM CT/4:00 AM MT Unforgiven - National Film Regis- 1:00 AM ET/10:00 PM PT 9:00 PM CT/8:00 PM MT Zula Patrol: Animal Adventures in try/Spotlight Feature 12:00 AM CT/11:00 PM MT Big Fish Space 4:30 AM ET/1:30 AM PT -
Free-Digital-Preview.Pdf
THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ $7.95 U.S. 01> 0 74470 82258 5 www.animationmagazine.net THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ The Return of The Snowman and The Littlest Pet Shop + From Up on The Visual Wonders Poppy Hill: of Life of Pi Goro Miyazaki’s $7.95 U.S. 01> Valentine to a Gone-by Era 0 74470 82258 5 www.animationmagazine.net 4 www.animationmagazine.net january 13 Volume 27, Issue 1, Number 226, January 2013 Content 12 22 44 Frame-by-Frame Oscars ‘13 Games 8 January Planner...Books We Love 26 10 Things We Loved About 2012! 46 Oswald and Mickey Together Again! 27 The Winning Scores Game designer Warren Spector spills the beans on the new The composers of some of the best animated soundtracks Epic Mickey 2 release and tells us how much he loved Features of the year discuss their craft and inspirations. [by Ramin playing with older Disney characters and long-forgotten 12 A Valentine to a Vanished Era Zahed] park attractions. Goro Miyazaki’s delicate, coming-of-age movie From Up on Poppy Hill offers a welcome respite from the loud, CG world of most American movies. [by Charles Solomon] Television Visual FX 48 Building a Beguiling Bengal Tiger 30 The Next Little Big Thing? VFX supervisor Bill Westenhofer discusses some of the The Hub launches its latest franchise revamp with fashion- mind-blowing visual effects of Ang Lee’s Life of Pi. [by Events forward The Littlest Pet Shop. -
Anglia Ruskin University a Practice-Based Investigation Of
Anglia Ruskin University A Practice-based Investigation of Animal Character Development in Picturebook Illustration. (Written exegesis) Katherina Manolessou A Thesis in partial fulfilment of the requirements of Anglia Ruskin University for the degree of Doctor of Philosophy March 2012 Please note: This is a redacted version of the thesis. All images have been removed due to copyright considerations. You can find the full version of this thesis, including the visual record, dummy book and published picturebook, at the Anglia Ruskin University library. 3 Acknowledgements I would like to thank: My supervisors Martin Salisbury and Morag Styles for their invaluable advice and support throughout this project. More specifically I thank Martin for always believing that my illustration practice could generate a picturebook, and Morag for all her advice on my writing. Emily Ford, editor at Macmillan Children’s Books for her belief in Monkey and Bird. Together with Jo Spooner, designer, they have given me constructive feedback for the development of the picturebook. My friends Paola Parise, Joanna and Iain McGregor, Darren Raven, and Katerina Athanassopoulou for their advice. My family in Greece, and especially my sister Sofia, for the support they have offered me so that I could find the time and energy to work on this project. My children, Dimitri and Anna who are a constant source of inspiration. Dimitri has inspired the characters in this project and I am sure that Anna will inspire more. Above all I am grateful to my husband Andreas Tsanakas for his unlimited and unwavering patience, support, and encouragement. This project is dedicated to him. -
Canadian and Russian Animation on Northern Aboriginal Folklore
Canadian and Russian Animation on Northern Aboriginal Folklore Elena Korniakova A Thesis in The Individualized Program of The School of Graduate Studies Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Fine Arts) at Concordia University Montreal, Quebec, Canada September 2014 Elena Korniakova, 2014 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Elena Korniakova Entitled: Canadian and Russian Animation on Northern Aboriginal Folklore and submitted in partial fulfillment of the requirement for the degree of Master of Arts (Fine Arts) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: _________________________________Chair Chair's name _________________________________Examiner Examiner's name _________________________________Examiner Examiner's name _________________________________Supervisor Supervisor's name Approved by ______________________________________________________ Chair of Department or Graduate Program Director _____________2014 ____________________________________________________ Dean of Faculty -iii- ABSTRACT Canadian and Russian Animation on Northern Aboriginal Folklore Elena Korniakova Aboriginal legends depict the relationships between humans and nature as deeply symbolic and intertwined. When adapted to films by non-Aboriginal filmmakers, these legends are often interpreted in ways which modify human-nature relationships experienced by Aboriginal peoples. I explore such modifications by looking at Canadian and Russian ethnographic animation based on Northern Aboriginal folklore of the two countries. In my thesis, I concentrate on the analysis of ethno-historical and cinematic traditions of Canada and Russia. I also explore the Canadian and Russian conventions of animated folktales and compare ethnographic animation produced by the National Film Board of Canada and Russian animation studio Soyuzmultfilm. -
Master Class with Andrea Martin: Selected Filmography 1 the Higher
Master Class with Andrea Martin: Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Films and Television Series mentioned or discussed during the Master Class 8½. Dir. Federico Fellini, 1963, Italy and France. 138 mins. Production Co.: Cineriz / Francinex. American Dad! (2005-2012). 7 seasons, 133 episodes. Creators: Seth MacFarlane, Mike Barker, and Matt Weitzman. U.S.A. Originally aired on Fox. 20th Century Fox Television / Atlantic Creative / Fuzzy Door Productions / Underdog Productions. Auntie Mame. Dir. Morton DaCosta, 1958, U.S.A. 143 mins. Production Co.: Warner Bros. Pictures. Breaking Upwards. Dir. Daryl Wein, 2009, U.S.A. 88mins. Production Co.: Daryl Wein Films. Bridesmaids. Dir. Paul Feig, 2011, U.S.A. 125 mins. Production Co.: Universal Pictures / Relativity Media / Apatow Productions. Cannibal Girls. Dir. Ivan Reitman, 1973, Canada. 84 mins. Production Co.: Scary Pictures Productions. The Cleveland Show (2009-2012). 3 seasons, 65 episodes. Creators: Richard Appel, Seth MacFarlane, and Mike Henry. U.S.A. Originally aired on Fox. Production Co.: Persons Unknown Productions / Happy Jack Productions / Fuzzy Door Productions / 20th Century Fox Television. Club Paradise. Dir. Harold Ramis, 1986, U.S.A. -
Beyond Self-Images: the Context and Development of Animated Documentaries, the Cornerstones of Mode
Ajanovi#-Ajan, Midhat. "Beyond Self-images: The Context and Development of Animated Documentaries, the Cornerstones of Modern Animation in Sweden." Global Animation Theory: International Perspectives at Animafest Zagreb. Ed. Franziska Bruckner, Nikica Gili#, Holger Lang, Daniel Šulji# and Hrvoje Turkovi#. New York: Bloomsbury Academic, 2019. 99–114. Bloomsbury Collections. Web. 25 Sep. 2021. <http://dx.doi.org/10.5040/9781501337161.ch-007>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 16:02 UTC. Copyright © Franziska Bruckner, Nikica Gili#, Holger Lang, Daniel Šulji#, Hrvoje Turkovi#, and Contributors and Cover image Zlatka Salopek 2019. 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. 7 Beyond Self- images The Context and Development of Animated Documentaries, the Cornerstones of Modern Animation in Sweden Midhat Ajanovi´ c -Ajan It seems that the fi rst decades of the new millennium have brought about a small renaissance of documentaries, especially those that combine live action and animated pictures and even those visualized totally by employment of various animation techniques. My concern in the following chapter is the conspicuous propensity in Swedish animation towards animated documentary. In my view Sweden is the country that, besides Canada and Great Britain, has developed the most prolifi c production of fi lms that merge documentary purposes and animated imagery. In this chapter I defi ne animated documentary, as I understand it. I will also take a look into the history of Swedish animation and documentary, with an emphasis on the features that might be the base for the development of the animated documentary. -
Kazakhstan — the Place to Be
KAZAKHSTAN — THE PLACE TO BE DEAR FRIENDS, GREETINGS FROM KAZAKHSTAN! We are happy to share with you great news about our country. In 2019, the New Film Law was adopted and the Kazakh National Cinema Center was established! The new law introduces a Cash Rebate of 30%, fosters international co-productions and opens up Kazakhstan to worldwide cooperation and partnerships. Kazakh Cinema Center is a single operator for all new cinema endeavors. Don’t miss the opportunity to discover Kazakhstan’s enormous potential! YOUR KAZAKH CINEMA TEAM CONTENT 1 2 K AZAKHSTAN: K AZAKHSTAN: GENERAL FILM INFORMATION INDUSTRY 7 14 3 4 5 KAZAKH CINEMA: FILM FESTIVALS K AZAKHSTAN’S STATE CENTER & FILM RECENT FILMS FOR SUPPORT OF ASSOCIATION / NATIONAL FILM ORGANIZATIONS 21 27 39 5 K AZAKHSTAN: GENERAL INFORMATION 1 IN 2019 MAJOR CHANGES REPUBLIC OF KAZAKHSTAN MARKED THE DEVELOPMENT GENERAL INFORMATION OF THE FILM INDUSTRY IN K AZAKHSTAN. Continent Eurasia Region Central Asia • THE LAW ON FILM WAS Country Kazakhstan ADOPTED Population 18,5 mln. / More than 130 nationalities Government Presidential Republic • THE KAZAKH NATIONAL FILM Capital Nur-Sultan / Population 1 078 362 STATE CENTER WAS LAUNCHED Other major City Almaty / Population 1 863 000 Territory 9th place in the world: 2 724 900 sq. km KAZAKHSTAN’S FILM BUSINESS Languages Kazakh & Russian HAS BECOME ONE OF THE MOST Religion Islam / 70,2% • Christianity / 26,3% PROMISING CLUSTERS OF THE KZT NATIONAL ECONOMY. Currency Kazakh tenge / KZT Exchange: $1 = 379.7 9 RUSSIAN FEDERATION Nur-Sultan Oskemen KAZAKHSTAN Almaty MONGOLIA Mangystau Taraz TURKEY CHINA INDIA GEOGRAPHY Kazakhstan is the ninth largest country in the world and it’s From canyons and deserts to largely located in Asia while the most western parts are in Eastern Europe.