NATPE (National Association of Television Programming Executives) has been the marketplace for the trading of television shows to domestic and international outlets since May of 1962. The evolution of NATPE has been put into high speed in the last several years in order to establish a new direction.
The Financial Syndication Act of 1994 deflated the syndication market, which was NATPE's prime function. NATPE brought television stations, station groups, networks and producers together to fill those local access times with unique and popular programming. Oprah, Dr. Phil, Jeopardy and Judge Judy can thank today's version of syndication for their success. But prior to 1994, animation was a huge seller and reigned equally next to live action at NATPE. Stations bought up anything new and unique for their kid audience, knowing Mattel, Hasbro and General Foods would follow with lucrative ad dollars for the local market.
Mary Ann Skweres focuses the spotlight on the animation that appeared at the Sundance Film Festival.
Pamela Kleibrink Thompson, in this month's "Career Coach" column, offers some suggestions for how to spend your extra day in 2008.
Mary Ann Skweres highlights some of the top of the crop of animated shorts from this year's Slamdance Film Festival.
Director Andrew McPhillips took home the Slamdance Grand Jury Award and a $2,500 Credit at Filmworks/FX for his animated short film Blood Will Tell (2007, 6 min, Canada), which incorporates 3D computer animation, 2D matte painting and live action with music written and performed by Sigur Ros, to tell the story set in 16th-century Holland of a mysterious visitor who attempts to hide from death in a dark, mosquito-infested well.
McPhillips started working on Blood Will Tell when he was at PDI. "I started doing some painting, because I paint a lot," McPhillips says. "I ended up telling what...
In a rare, good old-fashioned rant, Martin "Dr. Toon" Goodman takes to task the distribution of indie animation, which makes NYC and L.A. happy, but leaves the majority of the country asking -- Persepolis who?
Joe Strike chats with Dan Povenmire and Jeff "Swampy" Marsh about their careers and the creation of Disney Channel's new animated series Phineas and Ferb.
The AWN Media Center brain trust of Rick DeMott and Mo Whelan have scoured the Net looking for a collection of Web animation from 2007 that we feel needs to be seen. Witness what special treats we have found.
Russell Bekins chronicles the eclectic mix of films from the East and the West at the Future Film Festival.
Joe Strike braves the (virtual) cold of the Canadian winter to report on the merger of two of Canada's premier producers of animation.
In this month's "The Animated Scene," Joseph Gilland explores the sea change that's come about in the animation process.
Joe Strike swings through the jungles of production (misses a tree) and finds the details behind Classic Media's revamp of the TV classic, George of the Jungle.
With the growth of motion/performance capture, Oscar-winning animator Gene Deitch contemplates the future of animation.
Joe Strike samples a bit of the behind-the-scenes work that went into cooking up Cartoon Network's latest series.
Andrew Farago cracks open three new books from Jerry Beck to see if they stack up to the high standard of his previous work.
Janet Hetherington talks to the creators of the new VeggieTales movie about the challenges of animating vegetables and making pirates more jolly and less jolly roger.
In this month's "Mind Your Business," Sgt. Simon fights for a good contract, offering survivaltips for artists.
For the first "Press Start" column of 2008, Peter "Rizk" Rizkalla takes a look at Unreal Tournament III, NiGHTS Journey of Dreams, Assassin's Creed and Dementium: The Ward.
In this month's "Dr. Toon," Martin Goodman contemplates the Princess explosion and whether fairy-tale role models are good for little girls.
In the first "Career Coach" of 2008, Pamela Kleibrink Thompson discusses the only constant in life -- change.
In their quest for the next big idea, feature film studios are open to simple, elegant pitches with a strong core concept. Karen Raugust reports.
Karl Cohen talks to the makers of Persepolis about fundamentalism, growing up in Iran, and the unexpected success of their groundbreaking film.