For ten years before the creation of Mickey Mouse, Walt Disney struggled with, failed at, and eventually mastered the art and business of animation. Most biographies of his career begin in 1928, when "Steamboat Willie" was released. That first Disney Studio cartoon with synchronized sound made its main character--Mickey Mouse--an icon for generations.

But "Steamboat Willie" was neither Disney's first cartoon nor Mickey Mouse's first appearance. Prior to this groundbreaking achievement, Walt Disney worked in a variety of venues and studios, refining what would become known as the Disney style. In "Walt Before Mickey, 1919-1928," Timothy Susanin creates a portrait of the artist from age seventeen to the cusp of his international renown.

After serving in the Red Cross in France after World War I, Walt Disney worked for advertising and commercial art in Kansas City. Walt used these experiences to create four studios--Kaycee Studios, Laugh-O-gram Films, Disney Brothers Studio, and Walt Disney Studio. Using company documents, private correspondence between Walt and his brother Roy, contemporary newspaper accounts, and new interviews with Disney's associates, Susanin traces Disney's path. The author shows Disney to be a complicated, resourceful man, especially during his early career. "Walt Before Mickey," a critical biography of a man at a crucial juncture, provides the "missing decade" that started Walt Disney's career and gave him the skills to become a name known worldwide.

Animating Film Theory provides an enriched understanding of the relationship between two of the most unwieldy and unstable organizing concepts in cinema and media studies: animation and film theory. For the most part, animation has been excluded from the purview of film theory. The contributors to this collection consider the reasons for this marginalization while also bringing attention to key historical contributions across a wide range of animation practices, geographic and linguistic terrains, and historical periods. They delve deep into questions of how animation might best be understood, as well as how it relates to concepts such as the still, the moving image, the frame, animism, and utopia. The contributors take on the kinds of theoretical questions that have remained underexplored because, as Karen Beckman argues, scholars of cinema and media studies have allowed themselves to be constrained by too narrow a sense of what cinema is. This collection reanimates and expands film studies by taking the concept of animation seriously. Contributors. Karen Beckman, Suzanne Buchan, Scott Bukatman, Alan Cholodenko, Yuriko Furuhata, Alexander R. Galloway, Oliver Gaycken, Bishnupriya Ghosh, Tom Gunning, Andrew R. Johnston, Herve Joubert-Laurencin, Gertrud Koch, Thomas LaMarre, Christopher P. Lehman, Esther Leslie, John MacKay, Mihaela Mihailova, Marc Steinberg, Tess Takahashi

Martha Sigall worked with all the classic cartoon characters-Bugs Bunny, Daffy Duck, Tom & Jerry, Droopy Dawg, Beany & Cecil, Tweety, and Porky Pig-and the madcap artists who created them-Chuck Jones, Tex Avery, Bob Clampett, Frank Tashlin, Friz Freleng, William Hanna and Joseph Barbera, Bill Melendez, and Ben (Bugs) Hardaway. As a teenager Sigall became an apprentice painter working in the Golden Age of Hollywood at the Leon Schlesinger studio, making $12.75 per week coloring animation cels that would introduce Bugs Bunny and Elmer Fudd to the world. She recounts her wild and wonderful experiences with the Warner Bros. cartoon crew, working and laughing all day with the animators, partying all night with the Looney Tunes gang on the bowling and baseball teams, and participating in weekend scavenger hunts. She was president of the in-house "Looney Tunes Club," co-wrote the company gossip column, and performed in the company's theatrical troupe. After World War II, Martha joined MGM Animation (Tom & Jerry, Tex Avery) in Culver City as an assistant in the camera room and later freelanced her ink and paint services, creating art for many classic features, shorts, commercials, and TV series-including Garfield, Peanuts, and The Pink Panther. Written with warmth, humor, and a touch of nostalgia, this is a rarely told story of what it was like to be a part of a team of artists who were creating masterpieces of animation. Martha recalls her lifelong friendships with writer Michael Maltese, animators Ben Washam, Ken Harris, Herman Cohen, Paul Smith, Bob Matz, and many others. She writes of her experiences of being a woman in a male-dominated industry, particularly during the war years when she was one of the first women camera operators in the industry. Recipient of numerous awards for her artistry, Martha Sigall, Culver City, California, worked in animation production from 1936 to 1989.

A pictorial journey through which "The Story of Night & Day" travelled on its way to a successful theatrical debut and a series of congratulatory awards from the motion picture industry.

Despite the growing popularity and influence of Japanese animation in America and other parts of the world, the importance of anime studies as audio-visual translation has not been well-recognized academically. In order to throw new light on this problem, the author attempts to clarify distinctive characteristics of English dubs of Japanese animated films between the 1980s and the 2000s, including Hayao Miyazaki's, in descriptive ways: through a corpus-based statistical analysis of vocabulary and a qualitative case study approach to the multimodal text from a synchronic and diachronic point of view. Discussing how translation norms have changed on the spectrum from target-oriented to source-oriented, the author carefully examines what kind of shift occurred to translations of Japanese animation around the turn of the 21st century. Whereas the pre-2000 translations tend to give preference to linguistic persuasion (i.e., a preference for expository dialogue that sounds natural to the American audiences), the post-2000 translations attach higher priority to achieving dynamic equivalence of the multimodal situations as a whole. The translation of anime has been rapidly increasing its rich diversity these few decades, opening up new possibilities and directions for translating its unique visual and iconic language.

THE CINEMA OF HAYAO MIYAZAKI

Born on January 5, 1941 in Tokyo, Hayao Miyazaki is known as the 'Japanese Disney', a filmmaker as revered - and as popular - as Walt Disney or Steven Spielberg. Miyazaki, in short, is a true phenomenon in contemporary animation and in world cinema. Miyazaki's movies include Princess Mononoke, Spirited Away, Howl's Moving Castle, Laputa: Castle In the Sky and My Neighbor Totoro.

Hayao Miyazaki may be the most talented fantasy filmmaker of his generation: not even the finest filmmakers of Hollywood can rival his films when it comes to creating fantasy worlds, and fantastical characters and events. Miyazaki has millions of fans around the world, not least among fellow animators and filmmakers, for whom he is a genius.

What Hayao Miyazaki's films do is to bring you completely into a fantasy world that is instantly recognizable and familiar. It's as if these fantasy realms have always existed - very much like J.R.R. Tolkien's Middle-earth or Ursula Le Guin's Earthsea (both influences on Miyazaki). The visionary and magical elements are fused with the domestic and familial and social elements, so that it seems completely ordinary and believable that, say, flying machines soar overhead which have flapping wings like an insect, or that little white creatures pop up out of trees and make strange clicking noises.

To write one hit animation movie is amazing, to write eleven is remarkable. To write and direct one spectacular animated picture is very impressive, to write and direct eleven features is unheard-of in the world of contemporary commercial animation.

This new study considers all of his films and TV shows (and his manga work). It also includes chapters on Studio Ghibli on fellow director Isao Takahata Miyazaki's influences his contemporaries and colleagues his characters his movies' relation to Western animation (including the Walt Disney Company) his unmade films and his themes and motifs. Japanese animation, its production and style, some classics of anime, and digital animation are also explored.

Includes quotes by Miyazaki; fans on Miyazaki; and resources. The second edition has been completely updated and revised.

Fully illustrated. With filmography, bibliography and notes. 520 pages. ISBN 9781861713902. www.crmoon.com AUTHOR'S NOTE: I hope this book offers readers some new insights into the films of the incredible filmmaker Hayao Miyazaki, so they can go back and enjoy them all over again. I have looked at all of the key research for this book, which was begun years ago. I have focussed mainly on the movies themselves, exploring each one in detail. The book also includes technical info on animation, a chapter on the animation industry in Japan, and comparisons between Miyazaki's films and those in the West, including Walt Disney's work. There are chapters on the output of Studio Ghibli, and also Isao Takahata, Miyazaki's colleague.

PRINCESS MONONOKE: HAYAO MIYAZAKI: POCKET MOVIE GUIDE

This book focusses on Hayao Miyazaki's 1997 masterpiece Princess Mononoke.

Princess Mononoke is a work of genius. It is a masterpiece. It is one of the most staggeringly incredible films you will ever see. By any standards you want to apply, the level of imagination and artistry and detail and insight and energy in this movie is simply astounding. As well as being a visionary piece, with the highest quality animation achievable, with fascinating characters, stupendous action, brilliant set-pieces, and with some deeply poetic episodes, Princess Mononoke is also a thematically rich movie. There are many levels to this wonderful picture.

This new study of Hayao Miyazaki's Princess Monoke includes sections on Miyazaki's influences his contemporaries and colleagues (including Akira Kurosawa) his characters his movies' relation to Western animation (including the Walt Disney Company) and his themes and motifs. The book also explores Japanese animation, its production and style, some classics of anime, and digital animation.

Born on January 5, 1941 in Tokyo, Hayao Miyazaki is known as the 'Japanese Disney', a filmmaker as revered - and as popular - as Walt Disney or Steven Spielberg. Miyazaki, in short, is a true phenomenon in contemporary animation and in world cinema. Miyazaki's movies include Princess Mononoke, Spirited Away, Howl's Moving Castle, Laputa: Castle In the Sky and My Neighbor Totoro.

Hayao Miyazaki may be the most talented fantasy filmmaker of his generation: not even the finest filmmakers of Hollywood can rival his films when it comes to creating fantasy worlds, and fantastical characters and events. Miyazaki has millions of fans around the world, not least among fellow animators and filmmakers, for whom he is a genius.

What Hayao Miyazaki's films do is to bring you completely into a fantasy world that is instantly recognizable and familiar. It's as if these fantasy realms have always existed - very much like J.R.R. Tolkien's Middle-earth or Ursula Le Guin's Earthsea (both influences on Miyazaki).

Includes quotes by Miyazaki; reviews by fans; and resources. Fully illustrated. With filmography, bibliography and notes.208 pages. ISBN 9781861713711. www.crmoon.com AUTHOR'S NOTE: I hope this book offers readers some new insights into Princess Monoke and the movies of the incredible filmmaker Hayao Miyazaki, so they can go back and enjoy the movie all over again. The book also includes technical info on animation, a chapter on the animation industry in Japan, and comparisons between Miyazaki's films and those in the West, including Walt Disney's work.

SPIRITED AWAY: HAYAO MIYAZAKI: POCKET MOVIE GUIDE

This book focusses on Hayao Miyazaki's 2001 masterpiece Spirited Away, winner of the Best Animated Movie Oscar. Spirited Away (Sen to Chihiro no Kamikakushi) is without a doubt a masterpiece of cinema, and one of Hayao Miyazaki's great works. It is one of the most spectacular films of colour you will ever see. It's the movie that brought Miyazaki to a global audience, even more perhaps than Princess Mononoke (though by the time of Spirited Away, Miyazaki was a household name in Japan).

Born on January 5, 1941 in Tokyo, Hayao Miyazaki is known as the 'Japanese Disney', a filmmaker as revered - and as popular - as Walt Disney or Steven Spielberg. Miyazaki, in short, is a true phenomenon in contemporary animation and in world cinema.

Hayao Miyazaki's movies include Princess Mononoke, Spirited Away, Howl's Moving Castle, Laputa: Castle In the Sky and My Neighbor Totoro.

Hayao Miyazaki may be the most talented fantasy filmmaker of his generation: not even the finest filmmakers of Hollywood can rival his films when it comes to creating fantasy worlds, and fantastical characters and events. Miyazaki has millions of fans around the world, not least among fellow animators and filmmakers, for whom he is a genius.

What Hayao Miyazaki's films do is to bring you completely into a fantasy world that is instantly recognizable and familiar. It's as if these fantasy realms have always existed - very much like J.R.R. Tolkien's Middle-earth or Ursula Le Guin's Earthsea (both influences on Miyazaki). The visionary and magical elements are fused with the domestic and familial and social elements, so that it seems completely ordinary and believable that, say, flying machines soar overhead which have flapping wings like an insect, or that little white creatures pop up out of trees and make strange clicking noises.

This new study of Hayao Miyazaki's Spirited Away includes chapters on Miyazaki's influences his contemporaries and colleagues his characters his movies' relation to Western animation (including the Walt Disney Company) and his themes and motifs. The book also explores Japanese animation, its production and style, some classics of anime, and digital animation.

Includes quotes by Miyazaki; and resources. Fully illustrated. With filmography, bibliography and notes. ISBN 9781861713476. www.crmoon.com AUTHOR'S NOTE: I hope this book offers readers some new insights into Spirited Away and the movies of the incredible filmmaker Hayao Miyazaki, so they can go back and enjoy the movie all over again. The book also includes technical info on animation, a chapter on the animation industry in Japan, and comparisons between Miyazaki's films and those in the West, including Walt Disney's work.

Soviet Animation and the Thaw of the 1960s examines the remarkable animation that emerged during the post-Stalin period of liberalization in the Soviet Union as an avenue of expression for a new spirit of aesthetic freedom. Drawing on extensive archival research, Laura Pontieri reconstructs the dynamics inside Soviet animation studios and the relationships between the animators and the political establishment. Pontieri offers a meticulous study of Soviet animated films of the period, using the world of Soviet animation as a lens for viewing the historical moment of the thaw from a fresh and less conventional point of view.

From the uniquely twisted mind of John D. Kenworthy comes "Animated Lives " a bizarre and compelling blend of genres/styles wherein fictional animation historian, Alwyn Ross, interviews real-life animators working in short film.

New Revised 2013 Edition published by Lexington Avenue Press Great behind the scenes look at how the groundbreaking animated series ROBOTECH and the voice for Rand (The New Generation) were created. Also, lots of information about getting into and working in voice over and animation.

Although some credit the environmental movement of the 1970s, with its profound impact on children's television programs and movies, for paving the way for later eco-films, the history of environmental expression in animated film reaches much further back in American history, as "That's All Folks?" makes clear.
Countering the view that the contemporary environmental movement--and the cartoons it influenced--came to life in the 1960s, Robin L. Murray and Joseph K. Heumann reveal how environmentalism was already a growing concern in animated films of the 1930s, 1940s, and 1950s. From Felix the Cat cartoons to Disney's beloved "Bambi" to Pixar's "Wall-E" and James Cameron's "Avatar," this volume shows how animated features with environmental themes are moneymakers on multiple levels--particularly as broad-based family entertainment and conveyors of consumer products. Only Ralph Bakshi's X-rated "Fritz the Cat" and R-rated "Heavy Traffic" and "Coonskin," with their violent, dystopic representation of urban environments, avoid this total immersion in an anti-environmental consumer market.
Showing us enviro-toons in their cultural and historical contexts, this book offers fresh insights into the changing perceptions of the relationship between humans and the environment and a new understanding of environmental and animated cinema.

Stopmotion is an incredibly fun, hands-on way to make amazing films, using simple software, inexpensive equipment, and stuff that's already lying around your house. Stopmotion Explosion will have you making your first stopmotion film within minutes of picking up the book. It's that easy

Stopmotion has enjoyed a renaissance in recent years, as the tools required are now widely available to anyone with a story to tell. Filmmakers, animators, and artists have reached new levels of visual creativity using Stopmotion Explosion's techniques. Now you too can join the revolution

Unlike traditional cel and 3D animation, which both require a high level of artistry and technical skill, stopmotion films can be made by nearly anyone. Using Stopmotion Explosion's techniques, stopmotion films have been made by animators as young as 8 (with adult supervision).

Stopmotion Explosion contains 292 pages of example projects, hundreds of illustrations, and detailed step-by-step instructions for screenwriting, video editing, animating, audio recording and video processing software, no prior expertise required.

HISTORY
Learn stopmotion science through an illustrated history of film and animation. See how stopmotion was first used in the special effects industry. Learn how "stopmotion" solved a heated debate among artists, and changed the way paintings were created forever.

ANIMATION
Make animations with inexpensive webcams, digital point-and-shoot cameras, and digital camcorders. Learn how to adjust camera settings to achieve the best image, and what features to look for in a stopmotion camera. See breakdowns of walk, run, and speech animations. Build your own wire stopmotion armature, and learn about some of the best toys to animate.

Animate intense battle sequences with frame-by-frame breakdowns of roundhouse kicks, uppercuts, and punches. Add gigantic explosions, gunfire, laser blasters, lightsabers and rocket-launch effects. Make your characters fly like Superman with special flying rigs and photo-editing magic.

Complete instructions for two stopmotion programs. Grab frames from your camera, preview your animations and make detailed tweaks using onion skinning. Export movie files that can be edited and uploaded to YouTube.

STORYTELLING
Ready-to-go movie ideas, story mashups, and proven techniques for creating memorable characters. Learn how to write for film and draw storyboards. Adapt scenes from your favorite films and video games. Use your screenplays and storyboards to plan camera angles, design sets, build characters, even organize your files while animating.

AUDIO
Record great-sounding audio and character voices, then enhance and morph your sounds using hundreds of audio effects and free recording software.

SETS & LIGHTING
Build stopmotion movie sets using household items and construction toys. Light your sets Hollywood-style with three-point lighting techniques, desk lamps, clip lights, flashlights, lasers, and colored cellophane.

CINEMATOGRAPHY
Add punch to your animations with our illustrated guide to image composition, Learn about the rule of thirds, the rule of triangles, depth of field, and the differences between standard and widescreen video frames.

VIDEO EDITING
Edit your animation, combine multiple video files, and add video effects, transitions, sounds, titles, and rolling credits using free video editing software.

Quickly perform common stopmotion tasks, such as transforming a series of still images into a video file, learn the best settings for encoding online video, and definitions of common digital video terms and technology.

Start your own movie studio with Stopmotion Explosion today

THE CINEMA OF HAYAO MIYAZAKI

Born on January 5, 1941 in Tokyo, Hayao Miyazaki is known as the 'Japanese Disney', a filmmaker as revered - and as popular - as Walt Disney or Steven Spielberg. Miyazaki, in short, is a true phenomenon in contemporary animation and in world cinema.

Hayao Miyazaki's movies include Princess Mononoke, Spirited Away, Howl's Moving Castle, Laputa: Castle In the Sky and My Neighbor Totoro.

Hayao Miyazaki may be the most talented fantasy filmmaker of his generation: not even the finest filmmakers of Hollywood can rival his films when it comes to creating fantasy worlds, and fantastical characters and events. Miyazaki has millions of fans around the world, not least among fellow animators and filmmakers, for whom he is a genius.

What Hayao Miyazaki's films do is to bring you completely into a fantasy world that is actually instantly recognizable and familiar. It's as if these fantasy realms have always existed - very much like J.R.R. Tolkien's Middle-earth or Ursula Le Guin's Earthsea (both influences on Miyazaki). The visionary and magical elements are fused with the domestic and familial and social elements, so that it seems completely ordinary and believable that, say, flying machines soar overhead which have flapping wings like an insect, or that little white creatures pop up out of trees.

To write one hit animation movie is amazing, to write seven is remarkable. To write and direct one spectacular animated picture is very impressive, to write and direct seven features is almost unheard-of in the world of contemporary commercial animation.

This new study of Hayao Miyazaki considers all of his films and TV shows (and his manga work). It also includes chapters on Studio Ghibli on fellow director Isao Takahata Miyazaki's influences his contemporaries and colleagues his characters his movies' relation to Western animation (including Disney) his unmade films and his themes and motifs.

The Cinema of Hayao Miyazaki also explores Japanese animation, its production and style, some classics of anime, and digital animation.

Includes quotes by Miyazaki; fans on Miyazaki; and resources. Fully illustrated. With filmography, bibliography and notes.

Twenty years ago, animated features were widely perceived as cartoons for children. Today, though, they encompass an astonishing range of films, styles and techniques. There is the powerful adult drama of Waltz with Bashir; the Gallic sophistication of Belleville Rendez-Vous; the eye-popping violence of Japan's Akira; and the stop-motion whimsy of Wallace & Gromit in The Curse of the Were-Rabbit. Andrew Osmond provides an entertaining and illuminating guide to the endlessly diverse world of animated features, with entries on 100 of the most interesting and important animated films from around the world, from the 1920s to the present day. There are key studio brands such as Disney, Pixar and Dreamworks, but there are also recognised auteur directors such as America's Brad Bird (The Incredibles) and Japan's Hayao Miyazaki (Spirited Away). Technologies such as motion-capture, used in films such as Avatar, blur the distinctions between live-action and animation. Meanwhile, lone artists such as Nina Paley (Sita Sings the Blues) and Bill Plympton (Idiots and Angels) make entire films by themselves. Blending in-depth history and criticism, 100 Animated Feature Films balances the blockbusters with local success stories from Eastern Europe to Hong Kong. There are entries on Dreamworks' Shrek, Pixar's Toy Story, and Disney's The Jungle Book, but you will also find pieces on Germany's silhouette-based The Adventures of Prince Achmed, the oldest surviving animated feature; on the thirty year production of Richard Williams' legendary opus, The Thief and the Cobbler; and on the lost work of Argentina's Quirino Cristiani, who reputedly made the first animated feature in 1917.

Animation Art and Industry is an introductory reader covering a broad range of animation studies topics, focusing on both American and international contexts. It provides information about key individuals in the fields of both independent and experimental animation, and introduces a variety of topics relevant to the critical study of media censorship, representations of gender and race, and the relationship between popular culture and fine art. Essays span the silent era to the present, include new media such as web animation and gaming, and address animation made using a variety of techniques."

If you're not old enough to remember Falstaff on The Fred Allen Show, perhaps you recall Fred Flintstone from The Flintstones, that modern stoneage family. Both boisterous voices - and more - came from the talented mouth of Alan Reed, one of the greatest actors ever to light up radio, television and films. This is his story, published for the first time, complete with rare photos and credit list.

From Hollywood blockbuster to striving independent filmmaker, from mobile phone games to characters advertising products on television, from pseudo live action through to virtual environments, animation is able to transcend boundaries to new audiences.
This book shows how artists, designers, filmmakers, programmers, directors, writers, and producers have seized the chance to entertain using a versatile and compelling medium.
Animation in Process is not only a creative showcase exposing the best talent in the field today, but an in-depth exploration of working methods and processes behind the highly polished features they create, with previously unseen material such as sketches, working drawings, storyboards, and other work-in-progress that documents the animators' craft.

Celebrating the celluloid expression of the Beat spirit--arguably the most sustained legacy in U.S. counterculture--Naked Lens is a comprehensive study of the most significant interfaces between the Beat writers, Beat culture, and cinema. Naked Lens features key Beat players and their collaborators, including William Burroughs, Allen Ginsberg, Jack Kerouac, Charles Bukowski, Brion Gysin, Antony Balch, Ron Rice, John Cassavetes, Andy Warhol, Bob Dylan, Klaus Maeck, and Gus van Sant. As well as examining clearly Beat-inspired films such as Pull My Daisy, Chappaqua, and The Flower Thief, Jack Sargeant discusses cinema verite and performance films (Shadows and Wholly Communion), B-movies (The Subterraneans and Roger Corman's Bucket of Blood), and Hollywood adaptations (Heart Beat and Barfly). The second half of the book is devoted to an extensive analysis of the films relating to William Burroughs, from Antony Balch's Towers Open Fire to David Cronenberg's Naked Lunch. This book also contains the last ever interview with writer Allen Ginsberg, recorded three months before his death in April 1997.

Tells the incredible story of the way Japanese entertainment and popular art continue to grow and draw two very different worlds together.Anime and Manga are hot - the popularity of these media is only increasing. As both become more mainstream, the pool of those interested in learning more about them is going to get bigger.A contributor for publications like the Village Voice; Kelts is young, hip, and making waves.Opens the topic for those who are not anime fans - while hardcore anime fans remain the most important force behind the success of Susan Napier's book, more and more people are now learning about anime through friends and family. This book will open a window on anime that is accessible to all.Japanamerica is the first book that directly addresses the Western experience of the Japanese pop culture craze - looking at anime, Hayao Miyazaki's epics, the burgeoning world of hentai, Haruki Murakami's fiction, and including interviews with the inventor of Pac-man and executives from TokyoPop.

Ever wonder why Estonian animation features so many carrots or why cows often perform pyramids? Well, neither question is answered in Chris Robinson s new book, Estonian Animation. Robinson s frank, humorous, and thoroughly researched book traces the history of Estonia s acclaimed animation scene from early experiments in the 1930s to the creation of puppet (Nukufilm) and cel (Joonisfilm) animation studios during the Soviet era, as well as Estonia s surprising international success during the post-Soviet era. In addition, Robinson writes about the discovery of films by four 1960s animation pioneers who, until the release of this book, had been unknown to most Estonian and international animation historians."

What do we mean by the term "animation" when we are discussing film? Is it a technique? A style? A way of seeing or experiencing "a world" that has little relation to our own lived experience of "the world"? In Animated Worlds, contributors reveal the astonishing variety of "worlds" animation confronts us with. Essays range from close film analyses to phenomenological and cognitive approaches, spectatorship, performance, literary theory, and digital aesthetics. Authors include Vivian Sobchack, Richard Weihe, Thomas Lamarre, Paul Wells, and Karin Wehn.