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Books > Arts & Architecture > Performing arts > Films, cinema > Animation
One of the most beloved stories of all time--"The Hockey
Sweater"--is celebrated in this heartfelt recollection. Reflecting
on the original short story and mortifying real-life moment that
started it all, the account relates how the resulting film is as
much about childhood emotions and the desire to fit in as it is
about hockey, the clash of cultures, and a harkening to bygone
times. Canada's tireless devotion to the film is illustrated,
emphasizing how it is also loved by many more around the world.
Delving into the artist's notebooks, photographs, and memories,
this record recreates the movie's entire development, journeying
back to the people and places that inspired its original imagery.
The director's additional films and illustrations are also
explored, chronicling a 40-year career and providing rich insights
into the creative process.
Race does not exist in animation-it must instead be constructed and
ascribed. Yet, over the past few years, there has been growing
discourse on the intersection of these two subjects within both
academic and popular circles. In Race and the Animated Bodyscape:
Constructing and Ascribing a Racialized Asian Identity in "Avatar"
and "Korra," author Francis M. Agnoli introduces and illustrates
the concept of the animated bodyscape, looking specifically at the
US television series Avatar: The Last Airbender and its sequel, The
Legend of Korra. Rather than consider animated figures as unified
wholes, Agnoli views them as complexes of signs, made up of visual,
aural, and narrative components that complement, contradict, and
otherwise interact with each other in the creation of meaning.
Every one of these components matters, as they are each the result
of a series of creative decisions made by various personnel across
different production processes. This volume (re)constructs
production narratives for Avatar and Korra using original and
preexisting interviews with cast and crew members as well as
behind-the-scenes material. Each chapter addresses how different
types of components were generated, tracing their development from
preliminary research to final animation. In doing so, this project
identifies the interlocking sets of production communities behind
the making of animation and thus behind the making of racialized
identities. Due to its illusory and constructed nature, animation
affords untapped opportunities to approach the topic of race in
media, looking beyond the role of the actor and taking into account
the various factors and processes behind the production of
racialized performances. The analysis of race and animation calls
for a holistic approach, one that treats both the visual and the
aural as intimately connected. This volume offers a blueprint for
how to approach the analysis of race and animation.
Race does not exist in animation-it must instead be constructed and
ascribed. Yet, over the past few years, there has been growing
discourse on the intersection of these two subjects within both
academic and popular circles. In Race and the Animated Bodyscape:
Constructing and Ascribing a Racialized Asian Identity in "Avatar"
and "Korra," author Francis M. Agnoli introduces and illustrates
the concept of the animated bodyscape, looking specifically at the
US television series Avatar: The Last Airbender and its sequel, The
Legend of Korra. Rather than consider animated figures as unified
wholes, Agnoli views them as complexes of signs, made up of visual,
aural, and narrative components that complement, contradict, and
otherwise interact with each other in the creation of meaning.
Every one of these components matters, as they are each the result
of a series of creative decisions made by various personnel across
different production processes. This volume (re)constructs
production narratives for Avatar and Korra using original and
preexisting interviews with cast and crew members as well as
behind-the-scenes material. Each chapter addresses how different
types of components were generated, tracing their development from
preliminary research to final animation. In doing so, this project
identifies the interlocking sets of production communities behind
the making of animation and thus behind the making of racialized
identities. Due to its illusory and constructed nature, animation
affords untapped opportunities to approach the topic of race in
media, looking beyond the role of the actor and taking into account
the various factors and processes behind the production of
racialized performances. The analysis of race and animation calls
for a holistic approach, one that treats both the visual and the
aural as intimately connected. This volume offers a blueprint for
how to approach the analysis of race and animation.
A formal approach to anime rethinks globalization and
transnationality under neoliberalism Anime has become synonymous
with Japanese culture, but its global reach raises a perplexing
question-what happens when anime is produced outside of Japan? Who
actually makes anime, and how can this help us rethink notions of
cultural production? In Anime's Identity, Stevie Suan examines how
anime's recognizable media-form-no matter where it is
produced-reflects the problematics of globalization. The result is
an incisive look at not only anime but also the tensions of
transnationality. Far from valorizing the individualistic
"originality" so often touted in national creative industries,
anime reveals an alternate type of creativity based in repetition
and variation. In exploring this alternative creativity and its
accompanying aesthetics, Suan examines anime from fresh angles,
including considerations of how anime operates like a brand of
media, the intricacies of anime production occurring across
national borders, inquiries into the selfhood involved in anime's
character acting, and analyses of various anime works that present
differing modes of transnationality. Anime's Identity deftly merges
theories from media studies and performance studies, introducing
innovative formal concepts that connect anime to questions of
dislocation on a global scale, creating a transformative new lens
for analyzing popular media.
Comic Books Incorporated tells the story of the US comic book
business, reframing the history of the medium through an industrial
and transmedial lens. Comic books wielded their influence from the
margins and in-between spaces of the entertainment business for
half a century before moving to the center of mainstream film and
television production. This extraordinary history begins at the
medium's origin in the 1930s, when comics were a reviled,
disorganized, and lowbrow mass medium, and surveys critical moments
along the way-market crashes, corporate takeovers, upheavals in
distribution, and financial transformations. Shawna Kidman
concludes this revisionist history in the early 2000s, when
Hollywood had fully incorporated comic book properties and
strategies into its business models and transformed the medium into
the heavily exploited, exceedingly corporate, and yet highly
esteemed niche art form we know so well today.
For students, fans, and scholars alike, this wide-ranging primer on
anime employs a panoply of critical approaches Well-known through
hit movies like Spirited Away, Akira, and Ghost in the Shell, anime
has a long history spanning a wide range of directors, genres, and
styles. Christopher Bolton's Interpreting Anime is a thoughtful,
carefully organized introduction to Japanese animation for anyone
eager to see why this genre has remained a vital, adaptable art
form for decades. Interpreting Anime is easily accessible and
structured around individual films and a broad array of critical
approaches. Each chapter centers on a different feature-length
anime film, juxtaposing it with a particular medium-like literary
fiction, classical Japanese theater, and contemporary stage
drama-to reveal what is unique about anime's way of representing
the world. This analysis is abetted by a suite of questions
provoked by each film, along with Bolton's incisive responses.
Throughout, Interpreting Anime applies multiple frames, such as
queer theory, psychoanalysis, and theories of postmodernism, giving
readers a thorough understanding of both the cultural underpinnings
and critical significance of each film. What emerges from the sweep
of Interpreting Anime is Bolton's original, articulate case for
what makes anime unique as a medium: how it at once engages
profound social and political realities while also drawing
attention to the very challenges of representing reality in
animation's imaginative and compelling visual forms.
This kit includes: Die-cut illustrated magnets featuring Jack
Skellington, Sally, Oogie Boogie, Zero, Doctor Finklestein, Lock,
Shock, and Barrel, the Mayor of Halloween Town, and Santa Claus
along with other items and accessories from the beloved film A
two-sided illustrated backdrop to build your favorite scenes:
Halloween Town on one side and Christmas Town on the other 16-page
illustrated sticker book
Watership Down (Martin Rosen, 1978) is as controversial as it is
beloved. Whether due to the tear-jerking hit song 'Bright Eyes' or
its notorious representation of violence inflicted by and upon
animated rabbits, the film retains the ability to move and shock
audiences of all ages, remaining an important cultural touchstone
decades after its original release. This open access collection
unites scholars and practitioners from a diversity of perspectives
to consider the ongoing legacy of this landmark of British cinema
and animation history. The authors provide nuanced discussions of
Watership Down's infamous animated depictions of violence, death
and its contentious relationship with child audiences, as well as
examinations of understudied aspects of the film including its
musical score, use of language, its increasingly relevant political
and environmental themes and its difficult journey to the screen,
complete with behind-the-scenes photographs, documents and
production artwork. As the first substantial work on Watership
Down, this book is a valuable companion on the film for scholars,
students and fans alike. The eBook editions of this book are
available open access under a CC BY-NC-ND 4.0 licence on
bloomsburycollections.com.
Ivor the Engine, Noggin the Nog, Pingwings, Pogles Wood, Clangers,
and Bagpuss - the iconic animations produced by the
Canterbury-based Smallfilms studio between 1958 and 1984 -
constitute a significant thread of British cultural history. The
lasting appeal of the imagined worlds created by Smallfilms is
evident in the highly-successful BBC reboot of Clangers
(2015-present), which has introduced a whole new audience to the
pink moon mice. As well as the shows likely to be famiilar to
readers, this history expands the Smallfilms story to include those
less well-known animated shows that nonetheless played an important
part in the studio's history. Through extensive studio access,
interviews with many key Smallfilms collaborators, press and
audience analysis, Chris Pallant provides a comprehensive and
definitive historical record of the studio's work. Beyond Bagpuss
is illustrated with 100 images from the Smallfilms archive,
including those that have not previously been published.
This is the first book to offer a comprehensive overview for anyone
wanting to understand the benefits and opportunities of ray
tracing, as well as some of the challenges, without having to learn
how to program or be an optics scientist. It demystifies ray
tracing and brings forward the need and benefit of using ray
tracing throughout the development of a film, product, or building
- from pitch to prototype to marketing. Ray Tracing and Rendering
clarifies the difference between conventional faked rendering and
physically correct, photo-realistic ray traced rendering, and
explains how programmer's time, and backend compositing time are
saved while producing more accurate representations with 3D models
that move. Often considered an esoteric subject the author takes
ray tracing out of the confines of the programmer's lair and shows
how all levels of users from concept to construction and sales can
benefit without being forced to be a practitioner. It treats both
theoretical and practical aspects of the subject as well as giving
insights into all the major ray tracing programs and how many of
them came about. It will enrich the readers' understanding of what
a difference an accurate high-fidelity image can make to the viewer
- our eyes are incredibly sensitive to flaws and distortions and we
quickly disregard things that look phony or unreal. Such dismissal
by a potential user or customer can spell disaster for a supplier,
producer, or developer. If it looks real it will sell, even if it
is a fantasy animation. Ray tracing is now within reach of every
producer and marketeer, and at prices one can afford, and with
production times that meet the demands of today's fast world.
Video Game Design is a visual introduction to integrating core
design essentials, such as critical analysis, mechanics and
aesthetics, prototyping, level design, into game design. Using a
raft of examples from a diverse range of leading international
creatives and award-winning studios, this is a must-have guide for
budding game designers. Industry perspectives from game industry
professionals provide fascinating insights into this creative
field, and each chapter concludes with a workshop project to help
you put what you've learnt into practice to plan and develop your
own games. With over 200 images from some of the best-selling, most
creative games of the last 30 years, this is an essential
introduction to industry practice, helping readers develop
practical skills for video game creation. This book is for those
seeking a career making video games as part of a studio, small team
or as an independent creator. It will guide you from understanding
how games engage, entertain and communicate with their audience and
take you on a journey as a designer towards creating your own video
game experiences. Interviewees include: James Portnow, CEO at
Rainmaker Games Brandon Sheffield, Gamasutra.com/Game Developer
magazine Steve Gaynor, co-founder The Fullbright Company (Gone
Home) Kate Craig, Environment Artist. The Fullbright Company (Gone
Home) Adam Saltsman, creator of Canabalt & Gravity Hook Jake
Elliott & Tamas Kemenczy, Cardboard Computer (Kentucky Route
Zero) Tyson Steele, User Interface Designer, Epic Games Tom
Francis, Game Designer, Gunpoint & Floating Point Kareem
Ettouney, Art Director, Media Molecule. Little Big Planet 1 &
2, Tearaway. Kenneth Young, Head of Audio, Media Molecule Rex
Crowle, Creative Lead, Media Molecule
Whether you're a novice making your first film or a more advanced
animator looking to strengthen an existing concept, Animating Short
Stories provides practical techniques to bring your story to life.
Each technique is clearly and beautifully illustrated covering
different animation mediums; including 2D, 3D and stop-motion. It
takes readers step by step through: - how to develop story ideas -
to prepare for creative obstacles - scriptwriting and storyboarding
- each chapter provides clear examples and full colour images from
award-winning student films as well as commercial examples from big
studios In addition, a companion website includes a specially
created short film demonstrating key visual storytelling and
narrative techniques alongside the student movies featured
throughout. Also included are documents pertaining to sample
production schedule and shotlists, screenplay templates, style
guides and cheat sheets.
A phenomenological investigation into new media artwork and its
relationship to history What does it mean to live in an era of
emerging digital technologies? Are computers really as
antihistorical as they often seem? Drawing on phenomenology's
investigation of time and history, Sensations of History uses
encounters with new media art to inject more life into these
questions, making profound contributions to our understanding of
the digital age in the larger scope of history. Sensations of
History combines close textual analysis of experimental new media
artworks with in-depth discussions of key texts from the
philosophical tradition of phenomenology. Through this inquiry,
author James J. Hodge argues for the immense significance of new
media art in examining just what historical experience means in a
digital age. His beautiful, aphoristic style demystifies complex
theories and ideas, making perplexing issues feel both graspable
and intimate. Highlighting underappreciated, vibrant work in the
fields of digital art and video, Sensations of History explores
artists like Paul Chan, Phil Solomon, John F. Simon, and Barbara
Lattanzi. Hodge's provocative interpretations, which bring these
artists into dialogue with well-known works, are perfect for
scholars of cinema, media studies, art history, and literary
studies. Ultimately, Sensations of History presents the compelling
case that we are not witnessing the end of history-we are instead
seeing its rejuvenation in a surprising variety of new media art.
Stop-motion Animation explores how all the elements of film-making
- camera work, design, colour, lighting, editing, music and
storytelling - come together in this unique art form. With tips and
suggestions to help you get the most out of your films, and with
examples from some of the masters of the craft, Barry Purves shows
how to make the most of the movement, characters and stories that
typify stop-motion. With dozens of beautiful new examples from
around the world, this new edition includes a project in each
chapter, with pointers on finding a story and characters,
developing a script and storyboard, constructing puppets and
dealing with the practicalities of film-making. These projects
combine to lead you through the creation of your first one-minute
stop-motion animation.
Contemporary Disney Animation: Genre, Gender and Hollywood is the
first in-depth study of Disney's latest animated output from the
perspective of genre theory. Analysing a decade in Disney's history
(2008-2018), Benhamou examines the multifaceted interactions
between animated films, Disney properties such as Pixar and Marvel,
and popular genres including the romantic comedy, the superhero
film and the cop buddy film. Through this extensive critical lens,
combined with a focus on gender, she provides illuminating and
original insights on films such as Tangled, Frozen and Moana.
Informed by wider discourses on contemporary Hollywood and
post-feminism, this book challenges conventional approaches to
Disney, and foregrounds the importance of animation in
understandings of film genres.
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