Computer animation is prevalent in the U.S., U.K., Canada, France and Japan, but what about the rest of the globe? Olivier Cotte investigates...
Sean MacLennan Murch describes how companies are integrating 2D and 3D animation in order to obtain the best of both worlds.
With digital animators being the hottest commodity on the market, AWM profiles three schools that have recently received major donations from leading corporations. Mike Scroggins profiles CalArts. Dr. Richard Weinberg discusses USC's program, while Robin King describes the Sheridan College experience.
MainBrain's Tom Mason (Dinosaurs For Hire), Steve Rude (Nexus) and Randy and Jean-Marc Lofficier (The Garage) describe their experiences in the world of development.
Alice Carter leads us through a day in the life of the groundbreaking collaborative educational program, the ACME Virtual Training Network.
Steve Hulett of the Motion Picture Screen Cartoonists' Union (MPSC Local 839) reviews animation wages of the past, present and future
Jerry Hibbert, drawing from his own experience, provides some thoughts on the need for production companies to embrace change.
Janet Benn provides a case study of the role played by Animation Director Yvette Kaplan on Beavis and Butt-head Do America, while saying more than a little about who Yvette is.
A international selection of filmmakers, executives and others share their thoughts about why animators should consider sending their works to festivals.
Judith Rubin surveys what's going on in animated ridefilms at theme parks and other venues around the world and who's making them.
The Dutch film industry's most ambitious production during World War II was an anti-Semitic sequel to Reynard the Fox. Egbert Barten and Gerard Groeneveld detail the fascinating story behind the film's production.
The Brothers Quay, those enigmatic masters of stop motion, have now come forth with The Institute Benjamenta, their first "live-action" feature. Suzanne Buchan takes a look at the film and their career.
Although women did not play the most prominent roles in the policy making bodies, they were particularly visible in all kinds of artistic activities blossoming in the years after the Revolution...
Before being adapted to the screen, Roald Dahl's children's book, Jamesand the Giant Peach captured the imagination of several generations of readers since it was first published in 1961.
European animation is on the move -- though whether the confidence ofproducers and studios is fully justified remains to be seen. Iain Harvey,an independent producer who has worked with such studios as TV Cartoons,Hibbert Ralph and Animation City, as well as his own production company,The Illuminated Film Company, discusses the progress of European animationover the last decade.
I know I must be alone in this, and I know that there is nothing I can do about it except eventually accept it and go with it, but I do feel that I am waving at a computer-generated Emperor and politely telling him that he is wearing no clothes...