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ANIMATIONWorld Magazine

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Heard at NATPE 97

At the 1997 Convention and Conference of the National Association of Television Program Executives (NATPE), our reporter on the scene, asked animation distributors: "What are some of the considerations involved in developing, producing, and ultimately distributing animation to the international market?" Herein are a selection of answers followed by some comments drawn from a panel discussion "Animation: The Universal Language," moderated by Cartoon Network President Betty Cohen , which discussed the realities of the much-hyped global marketplace for animation.Joel Andryc, Saban's Senior Vice...

Animation ANIMATIONWorld

Louise Beaudet: A Passion For Animation

By Guest (not verified) | Saturday, February 1, 1997 at 12:00am

Front half of cover illustration by Jacques Drouin from the Tribute to Louise Beaudet issue of the ASIFA-Canada magazine (September 1996).On January 3, Louise Beaudet, perhaps the most famous and respected animation archivist in the world died of lung cancer. In her role as curator of Montrl's Cinathue Quecoise, she more than helped fulfill that organization's special interest in animation. Herein are a few thoughts by some of the people who knew and/or worked with her. But first, to provide some general background, we start off with the two part press...


La Freccia Azzurra

Scarafoni in La Freccia Azzurra by Enzo d'Alò.Usa il computer in maniera raffinatissima, questo film: cosraffinata che quasi non si vede. Guidata dal cervello elettronico, la sua macchina da presa compie carrellate ed evoluzioni che sarebbero possibili solo nel cinema "dal vero"; disegnati dai pixel, i suoi personaggi arrivano a disporsi su 30-40 livelli in profonditdi campo, rimanendo tutti perfettamente a fuoco. questo uno dei segreti della fondamentale leggerezza di un film che non assomiglia a nessun altro, e che riesce a narrare una divertente e gentile fiaba...


La Freccia Azzurra (The Blue Arrow)

La Freccia Azzurra (The Blue Arrow) is a film that uses computers in a highly refined manner; so much so, that one hardly notices. Guided by an electronic brain, its camera is able to execute tracking shots and pans which one only thought possible in a live-action movie; drawn with pixels, the film's characters are seen across 30-40 levels, with each one staying in perfect focus. This is one of the secrets to the basic "lightness" of a film like no other, one which tells an amusing and fun-loving fairy tale set in the 30s, with the touch of a modern electronic storyteller. Scarafoni...