Akira English Trailer

I enjoyed this because its different, the trailer makes the film seem reallly interesting and i want to watch it. in my lesson i did watch the whole film but in japanese and english subtitles, which i thought would make it boring but all the really good sound effects i forgot i was reading and i really got into it and flt like the film was in englisha byway. the trailer is in english so you can understand and be more interested in it because other wise you wont no what its saying and wont be drawn to it. im glad they do an english version so its easier to recomend the film to someone which i would defiently do.
alot of the characters tlook very similar because a lot of anime faces and expressions are the same and that is how i recognise the feature of anime. th charectors in the film are interesting and different. it seems to be around a lot of men/boys. the motorbike gangs aer guys, akira is a guy there is only a couple of girls and they are quite important. there is a really old looking young girl who seems quite significant. the other girl in this seems to be quite a mystery and noone but however is always there and with the big guy. Tetsuo seems to keep running into her verywhere and is trying to help her, saving her life and her saving his life. katsuhiro otomo made the film and Ryōhei Suzuki and Shunzō Katō where the directors of it. animation techniques used in this film are             . i think that anime and japanese film have influenced the UK/US animation/films quite a bit because if you see the films and the similarities between all of them you notice that they are all influenced by each other and by wherever they where originally from. ANIME is different to western animation because they are set differently and have different aspects of animations. also a lot of western animation sometimes makes more sense to us now than it did in akira for example because i was confused at the start and wasn't quite sure what was going on.

ANIME Research project

Spirited Away

I enjoyed this because its strangely weird and different, the trailer makes the film seem really interesting and i want to watch it. in my lesson i did watch the whole film. i thought that it would be boring but all the really good sounds and effects i got into it and felt like the film was not  animation. I watched the film in english so was easier to watch whereas i read english subtitles  i was glad that it was in english so that i could be drawn to it. im glad they do an english version/ english trailer so its easier to recommend the film to someone which i would defiently do.
a lot of the characters where unusual and were from another world. the humans were similar because a lot of anime faces and expressions are the same and that is how i recognise the feature of anime. the characters in the film are out of the ordinary, interesting and different. it seems to be around this one family who went to another world of people that don't seem to breathe. Toshio Suzuki made the film and Hayao Miyazaki was the director of it. animation techniques used in this film are             . i think that anime and japanese film have influenced the UK/US animation/films quite a bit because if you see the films and the similarities between all of them you notice that they are all influenced by each other and by wherever they where originally from. ANIME is different to western animation because they are set differently and have different aspects of animations. also a lot of western animation sometimes makes more sense to us now than it did in Akira for example because i was confused at the start and wasn't quite sure what was going on, however in spirited away i understood slightly more because what had happened was more clear whereas in Akira there were just a load of motorbikes.

Akira

Red Hot Riding Hood TEX AVERY review

I like the way the video starts with the old version and the actual wolf says he is bored of it and then changes to a completely different setting and characters, more older age however i don't find it as interesting for its a children's story that you can't improve or change... the whole build up of whats the wold going to do and whats going to happen to little red riding hood, wheres grandma and what big teeth she has.

Fred QUIMBY

Frederick Clinton "Fred" Quimby (Saturday, July 31, 1886 – Thursday, September 16, 1965) was an American cartoonproducer, best known as a producer of Tom and Jerry cartoons, for which he won seven Academy Awards. He was the film sales executive in charge of the Metro-Goldwyn-Mayer cartoon studio, which included Tex Avery and the team of William Hanna and Joseph Barbera, creators of Tom and Jerry.

Quimby was born in Minneapolis, and started his career as a journalist. In 1907, he managed a film theater in Missoula, Montana. Later, he worked at Pathé, rising to become a member of the board of directors before leaving in 1921 to become an independent producer. He was hired by 20th Century Fox in 1924, and then MGM in 1927 to head its short features department. In 1937, he was assigned to put together its animation department.

In 1939, William Hanna and Joseph Barbera presented him with their project for a series of cartoons featuring a cat and a mouse. Quimby approved, and the result was Puss Gets the Boot, which was nominated for an Academy Award. Initially he refused to pursue more Cat and Mouse cartoons after Puss Gets the Boot but success and money earnings that were for the cartoon he agreed to make Tom and Jerry an official cartoon for the MGM cartoon studio. As producer, Quimby became a repeated recipient of the Academy Award for Animated Short Film for the Tom and Jerry films without inviting Hanna and Barbera onstage and his name became well known due to its prominence in the cartoon credits

Chuck JONES

Charles Martin "Chuck" Jones (September 21, 1912 – February 22, 2002) was an animator, cartoon artist, screenwriter,producer, and director of animated films, most memorably of Looney Tunes and Merrie Melodies shorts for the Warner Bros. Cartoons studio. He directed many of the classic short animated cartoons starring Bugs Bunny, Daffy Duck, the Road Runner and Wile E. Coyote, Sylvester, Pepé Le Pew and a slew of other Warner characters. Three of these shorts (Duck Amuck, One Froggy Evening and What's Opera, Doc?) were later inducted into the National Film Registry. Chief among Jones' other works was the famous "Hunting Trilogy" of Rabbit Fire, Rabbit Seasoning, and Duck! Rabbit, Duck! (1951–1953).

After his extraordinary career at Warner Bros. ended in 1962, Jones started Sib Tower 12 Productions and began producing memorable cartoons for Metro-Goldwyn-Mayer, including a new series of Tom and Jerry shorts and the television adaptation of Dr. Seuss' How the Grinch Stole Christmas! He later started his own studio, Chuck Jones Productions, which created several one-shot specials, and periodically worked on Looney Tunes related works.

Film historian Leonard Maltin has praised Jones' work at Warner Bros., MGM and Chuck Jones Productions. He also noted that the "feud" that there may have been between Jones and colleague Bob Clampett was mainly because they were so different from each other. Chuck Jones' character styles were more controlled and calmed down, while Bob Clampett's were crazy, wacky and insane.

Tex AVERY

Frederick Bean "Texas/Fred/Tex" Avery (February 26, 1908 – August 26, 1980) was an American animator, cartoonist, voice actor and director, famous for producing animated cartoons during The Golden Age of Hollywood animation. He did his most significant work for the Warner Bros. and Metro-Goldwyn-Mayer studios, creating the characters of Bugs Bunny, Daffy Duck, Droopy, Screwy Squirrel, and developing Porky Pig, Chilly Willy (this last one for the Walter Lantz Studio) into the personas for which they are remembered.

Avery's influence can be seen in almost all of the animated cartoon series by various studios in the 1940s and 1950s. Gary Morris described Avery's innovative approach:Above all, [Avery] steered the Warner Bros. house style away from Disney-esque sentimentality and made cartoons that appealed equally to adults, who appreciated Avery's speed, sarcasm, and irony, and to kids, who liked the nonstop action. Disney's "cute and cuddly" creatures, under Avery's guidance, were transformed into unflappable wits like Bugs Bunny, endearing buffoons like Porky Pig, or dazzling crazies like Daffy Duck. Even the classic fairy tale, a market that Disney had cornered, was appropriated by Avery, who made innocent heroines like Red Riding Hood into sexy jazz babies, more than a match for any Wolf. Avery also endeared himself to intellectuals by constantly breaking through the artifice of the cartoon, having characters leap out of the end credits, loudly object to the plot of the cartoon they were starring in, or speak directly to the audience.

Avery's style of directing encouraged animators to stretch the boundaries of the medium to do things in a cartoon that could not be done in the world of live-action film. An often-quoted line about Avery's cartoons was, "In a cartoon you can do anything." He also performed a great deal of voice work in his cartoons, usually throwaway bits (e.g. the Santa Claus seen briefly in Who Killed Who?), but Tex did fill in for Bill Thompson as Droopy, although the individual cartoons where Avery did this have never been specified.

TOM & JERRY Fred Quimby

WILE COYOTE Chuck Jones

 

ROAD RUNNER Chuck Jones