Capital-C culture : the perfect American at the Brisbane Festival

A review of Philip Glass's opera The Perfect American. The Brisbane Festival’s production of Philip Glass’s opera The Perfect American is only the third production of the 2012 work ever to be staged. That’s quite a coup for the Brisbane Festival and Opera Queensland. The Perfect American was commissioned by Madrid’s Teatro Real and London’s English National Opera to mark the American composer’s 75th birthday. Glass’s telling of the Disney myth focuses on the final stages of Walt Disney’s life and career – a high art critique of a popular culture icon...

Adapting “8-bit” motion style to 3D computer animation for Wreck-it Ralph

Tangled (2011) demonstrated that Walt Disney Animation has successfully extended the traditional Disney animation aesthetic to the 3D medium. The very next film produced by the studio however, Wreck-it Ralph (2012), required the animators (trained in the traditional Disney style) to develop a limited style of animation inspired by the 8-bit motion of 1980s video games. This paper examines the 8-bit style motion in Wreck-it Ralph to understand if and how the principles of animation were adapted for the film.

Minnie’s Bow-Toons seasons 2 and 3

Minnie’s Bow-Toons follows the adventures of Minnie Mouse and her best friend Daisy Duck as they run Minnie's Bow-tique, a specialty shop stocked only with colorful bows and bowties. In the third season Minnie, Daisy and their assistant Cuckoo Loca opens a pet grooming salon adjacent to the Bow-tique. In the fourth season Minnie, Daisy and Cuckoo Loca travel around the world, visiting cities like London, Venice and Tokyo.

Distribution Revolution: Conversations about the Digital Future of Film and Television

Distribution Revolution is a collection of interviews with leading film and TV professionals concerning the many ways that digital delivery systems are transforming the entertainment business. These interviews provide lively insider accounts from studio executives, distribution professionals, and creative talent of the tumultuous transformation of film and TV in the digital era. The first section features interviews with top executives at major Hollywood studios, providing a window into the big-picture concerns of media conglomerates with respect to changing business models, revenue streams, and audience behaviors. The second focuses on innovative enterprises that are providing path-breaking models for new modes of content creation, curation, and distribution—creatively meshing the strategies and practices of Hollywood and Silicon Valley. And the final section offers insights from creative talent whose professional practices, compensation, and everyday working conditions have been transformed over the past ten years. Taken together, these interviews demonstrate that virtually every aspect of the film and television businesses is being affected by the digital distribution revolution, a revolution that has likely just begun. Interviewees include: • Gary Newman, Chairman, 20th Century Fox Television • Kelly Summers, Former Vice President, Global Business Development and New Media Strategy, Walt Disney Studios • Thomas Gewecke, Chief Digital Officer and Executive Vice President, Strategy and Business Development, Warner Bros. Entertainment • Ted Sarandos, Chief Content Officer, Netflix • Felicia D. Henderson, Writer-Producer, Soul Food, Gossip Girl • Dick Wolf, Executive Producer and Creator, Law & Order

Animated Mise-en-scene and aesthetic harmony: An expansion of the traditional principles of animation to 3D computer animation

3D Computer Graphics (CG) has become the dominant medium for modern animated feature films. It is widely understood that traditional principles of animation developed in the 1930s at the Walt Disney Studio remain applicable to this new medium and heavily influence the range of aesthetic motion styles in contemporary animation. Via a frame-by-frame textual analysis of four animated feature films, this thesis tests and confirms the validity of the principles of animation and expands upon them by reinterpreting the Disney principle of appeal as aesthetic harmony, which delineates the way in which character posing and transitions between poses contribute to the animated motion styles that animators work in today.

Studies on the preparation of fish silage. 4. Economics of production

Economic aspects of producing liquid and dried silage from silver belly (Leiognathus splendens) in Sri Lanka are considered. A discounted cash flow analysis for the production of a dried fish silage/rice bran product suitable for use in compounded poultry feeds shows that the internal rate of return for a 10-year project would be between 34-77% and for a 5-year project between 26-73%. Thus it is concluded that the project would be extremely profitable.

The preservation of some East African freshwater fish

Quality changes during storage were investigated for several commercially important East African freshwater fish. Lates, Bagrus, Protopterus, Tilapia esculenta and T. nilotica were examined during storage in ice and at ambient temperature (250•C). After 24 hours at ambient temperature Lates and Bagrus were completely spoilt but Protopterus was still edible. In iced storage most fish were acceptable for at least 20 days. Organoleptic examination showed that T. nilotica was acceptable after 22 days storage in ice and that gutting was only marginally beneficial. Changes in physical appearance, which could form the basis of a fish inspection system, were recorded during storage. Possible chemical quality control indices were also investigated. It was found that total volatile bases and hypoxanthine are unlikely to be useful quality indices for the species studied with the possible exception of Lates. The bacterial counts of the flesh and skin of T. esculenta and T. niloticus were found to be low (a maximum of 10 organisms per sq cm of skin or per g of flesh) after 22 days storage in ice.

Exploring the linguistic landscape: the case of the ‘Golden Triangle’ in the Algarve, Portugal

Studies of the linguistic landscape (LL) are concerned with language in its written form, in the public sphere; language that is visible to all through texts such as billboards and other public signs. The LL is such a taken-for-granted part of our everyday experience that its importance as a form of social practice is often overlooked. Taking a mixed methods approach to the case of the linguistic landscape of the ‘Golden Triangle’, an area of tourist resorts which is gradually becoming a residential area in the Algarve, Portugal, I suggest that the discursive construction of a place is partly achieved through the highly visible texts of the LL which may also impact upon the discursive construction of the collective identities of those who inhabit the place.

Foodies in the UK: A Sense of Self, Connection and Belonging Beyond the Passion?

The global rise of the Foodie movement has attracted some research attention as well as critique in the food industry trend followers, but little research attention in marketing research. The present study looks at the ‘Foodie’ phenomenon in the UK and aims to extend how the notion has been coined in literature through a qualitative investigation of a sample of self-professed Foodies. The objective is to provide an in-depth understanding of what it means to be a Foodie at the individual and group levels, probing attitudes, motivations and self-awareness. Results indicate that the term Foodie cannot be used as an implicit definition of someone ‘simply interested in food’; the capacity of the Foodie may be dependent on individual involvement and the level of importance along the five emerging themes; these being: Learning and discovery; Pleasure and enjoyment; Inspirational influences; Quality; and Experiencing food as an individual and in connection with others. Findings imply that there might be different levels of Foodies, leading to a start on developing a Foodie Typology. The study poses implications for food marketers and researchers that can assist in more effective segmentation, efficient targeting and tailored positioning, as well as opportunities for future research.

Children's television: the soft underbelly of public service broadcasting

The provision of children's content should be a key constituent of the public service brand, but has often been viewed as a programme category at risk. Certainly in many countries children's television has moved from the 'scarcity' associated with terrestrial provision, to the 'plenty' of digital (see Ellis 2000). However in spite of a range of dedicated public service children's channels in Europe (CBeebies, Kika, Z@ppelin), domestically produced children's television in Europe is notoriously under-resourced if not marginalised. There is a pronounced reliance on imports (particularly on commercial television) notwithstanding the launch by US-owned multinationals (Disney, Nickelodeon, Cartoon Network) of localised versions of their children's television channels in many European countries. Within the broader context of global developments in children's media, this paper starts by outlining the recent and rapid crisis in British children's television and the factors that caused it. This was a crisis, which caught broadcasters and producers by surprise in the middle of 2006, but reflects many of the challenges faced by the children's television sector in other countries. It clearly demonstrated how a combination of the lack of regulatory protection, a change in commercial priorities among broadcasters, advertising restrictions, budgetary pressures and the competitive environment at home and abroad all combined to reinforce the trend towards a contraction of domestic production. The crisis also served to underline the dominance of the BBC - both as a representative of public service principles, and as the dominant producer and commissioner in the market. With the reasons underpinning the crisis explained, the paper will then analyse how the children's television community responded to the crisis and with what effect. Based on interviews, contemporary accounts and documentary evidence the paper will chart the converging and diverging views of broadcasters, producers, regulatory authority Ofcom, and a range of advocacy groups which represent children's interests and the industry. What arguments were elaborated in favour of protecting children's television as an integral part of the public service media brand? Can lessons be learned about how best to ensure the origination of children's media within a public service environment? Can developments in the UK be used to provide insight into how children's media might develop further?

The BBC's role in the changing production ecology of pre-school television in Britain

This paper examines the changing production ecology of British pre-school television in light of developments since the mid-1990s and the specific role played by the BBC. Underpinning the research is the perception that pre-school television is characterised by a complex set of industry relationships and dependencies that demands content which needs to satisfy a wide range of international circumstances and commercial prerogatives. For the BBC this has created tension between its public service goals and commercial priorities. Pre-school programming began in Britain in 1950, but it was not until the mid-1990s that Britain emerged as a leading producer of pre-school programming worldwide with government/industry reports regularly identifying the children’s production sector as an important contributor to exports. The rise of pre-school niche channels (CBeebies, Nick Junior, Playhouse Disney), audience fragmentation and the internationalisation and commercialisation of markets have radically altered the funding base of children’s television and the relationships that the BBC enjoys with key players. The international success of much of its pre-school programming is based on the relationships it enjoys with independent producers who generate significant revenues from programme-related consumer products. This paper focuses on the complex and changing relationships between the BBC, independent producers, and financiers, that constitute the production ecology of pre-school television and shape its output. Within the broader setting of cultural production and global trends the paper investigates the following questions: 1) In the light of changes to the sector since the mid-1990s, what makes pre-school television significant both generally and as an ideal public service project? 2) What is the nature of the current funding crisis in British children’s television and what implications does this crisis have for the BBC’s involvement in pre-school television? 3) How is the Corporation reacting to and managing the wider commercial, cultural, regulatory and technological forces that are likely to affect its strategies for the commissioning, production and acquisition of pre-school content?

“Something there that wasn’t there before”: representação do amor romântico em Beauty and the Beast (1991)

Dissertação apresentada à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Audiovisual e Multimédia.

British Methodist Episcopal Church Tithing Ticket, 1874

A quarterly tithing ticket from the British Methodist Episcopal Church, signed by Walter Hawkins, Minister, issued on August 16, 1874. This ticket was in the possession of the Richard Bell Family of St. Catharines.Minister Walter Hawkins was Superintendent of the Conference for the British Methodist Episcopal Church (Brant Co.) This excerpt from the Dictionary of Canadian Biography Online describes his role in reestablishing the BMEC in Canada following a period of reunion with the African Methodist Episcopal Church, an initiative spearheaded by Richard Randolph Disney, a free-born black American Methodist preacher. "By the end of the 1870s the BMEC had 56 congregations with about 3,100 members, the bulk of the latter being in the Danish West Indies and British Guiana. Because mission work outside Canada had overtaxed the church's financial resources, in 1880 Disney began negotiations towards reunion with the AMEC. The reunion was effected that year, and it was overwhelmingly ratified at a BMEC convention held at Hamilton in June 1881. A referendum showed that although a majority in Ontario was opposed, 86 per cent of the membership was in favour. Disney was accepted as an AMEC bishop and was assigned to its Tenth Episcopal District, a region embracing his former territory as well as some of the AMEC churches in Canada which had not joined the BMEC. Reunification appeared to have been a triumph for Disney, but trouble soon occurred. A majority of the Ontario churches and preachers, led by the Reverend Walter Hawkins of Chatham, sought to re-establish the BMEC, fearing the loss of their distinctive identity and perhaps feeling that the Caribbean groups had exercised too much influence on the reunification question. In 1886 this group held an ecclesiastical council at Chatham, at which it was claimed that Disney had defected to the AMEC. At a subsequent general conference that year the BMEC was reconstituted. The conference deposed Disney, agreeing to "erase his name and ignore his authority, and cancel his official relationship as bishop." The conference minutes also refer to a court case instigated by Disney which reached the High Court of Chancery in Britain, but records of this case have not been located. The reconstituted BMEC elected Hawkins as its general superintendent, avoiding the title of bishop for several years." Source: Dictionary of Canadian Biography Online. Government of Canada.