Editor's Notebook
by Harvey Deneroff
Theme Park
Animation
Several years ago, when I started doing detailed profiles of animation studios
for my Animation Report newsletter, it quickly became evident that
theme park animation was showing up with more frequency than I had imagined
in the filmographies of a number of companies. It was this realization that
opened my eyes to the fact that this sort of production was a small, but
increasingly important segment of the animation industry. And for anyone
who has experienced such attractions as The Back to the Future Ride
at Universal City Studios knows, it can also be a lot of fun.
We start our survey of animation in theme parks with Robin Allan's "Disneyland
and Europe: Walt Disney's First Magic Kingdom," which details how the
first of modern theme parks came about, and the influences of Europe and
Disney cartoons shaped its character.
In "Something's Wrong With Our Ship: Animated Motion-Simulator Films
in Theme Parks," Judith Rubin provides an introduction to the nature
of animated ridefilms, along with a rundown of the latest productions from
some of the leaders in the field, including New Wave Entertainment, Rhythm
& Hues, Midland Productions, SimEx and The Works. Rita Street gets more
specific with her profile of one of the oldest companies in the field in
"BRC Imagination Arts," whose portfolio extends to films made
for "World Fairs, aquariums, museums and visitors centers." Then,
Bob Swain, interviews director Jim Cameron in "T2-3D" and how
he and his company, Digital Domain, turned his classic sci-fi film, Terminator
2 into a 3D extravaganza at Universal City Studios, Orlando.
In "The Fremont Street Experience: No Glitz, No Glory!," Frankie
Kowalski talks with Jane Baer, of The Baer Animation Company, about what
it was like animating for the world's largest electric sign (and biggest
movie screen as well) which towers over four city blocks in downtown Las
Vegas. And John Canemaker recalls how animation pioneer Otto Messmer, of
Felix the Cat fame, worked on a somewhat more modest scale for a sign in
New York's Time Square over a half century earlier.
On a completely different topic, Jill McGreal, in her "The National
Lottery: A Polemic," examines how Britain's policy of privatization
of government activities might impact the country's animation industry.
She sees hope, however, in an innovative plan to tap into the monies generated
by the national lottery as a possible solution. Also, Nicolas Valluet examines
the problems of "authors" in negotiation contracts for putting
their works online in "Contracts for Original Works Published on Internet."
In this month's selection of reviews and reports on festivals and conferences,
I start off with a brief look at Betty Boop: The Definitive Collection,
a new boxed set of eight video tapes, as well as take a more extended look
at the recent conference put on by the Society of Animation Studies, at
the University of Wisconsin, Madison. Also, Gene Walz reports in from the
latest edition of the Ottawa International Animation Festival, the premiere
event of its kind in North America, and David Marshall does the same for
the first edition of the Brisbane Animation Festival.
Finally, Frankie Kowalski's Desert Island Series hears from several people
involved in theme park animation at various levels, including Digital Domain's
Scott Ross, Baer Animation's Jane Baer and BRC Imagination Arts' Bob Rogers,
while John R. Dilworth presents the latest installment of his "The
Dirdy Birdy" comic strip.
Announcing Animation Review
It is no secret that a number of the articles that we have presented in
past issues derive from the work of some of the leading scholars in the
field of animation studies. Their works are often presented first at conferences
put on by organizations like the Society for Animation Studies and published
in peer-reviewed publications like Animation Journal.
Needless to say, there are limits to presenting scholarly work in a publication
like Animation World Magazine. There are certain limits to what one
can present in a magazine aimed at a more general readership: articles may
have to be drastically cut, the writing simplified and footnotes dispensed
with. This, along with the fact that, outside of Animation Journal, there
are no other peer-reviewed publications devoted strictly to animation. Thus
AWN is proud to announce that it will be publishing a new online academic
journal, Animation Review. I will act as Editor-in-Chief, although
individual issues will be under the direction of one of several Associate
Editors, which will include some our leading animation scholars.
We naturally invite submissions from readers, details of which can be found
in the Call for Papers at the end
of my report of the Society for Animation Studies Conference in this issue.
Call for Films & Videos
Animation World Magazine would like to expand its coverage of
new independent animated films and videos. However, it is hard for us to
keep up with what's new in this area, especially as many individuals and
smaller studios lack the public relations apparatus that larger companies
have. As such, we would invite filmmakers and companies to feel free to
submit their works for possible review; material should be submitted on
videotape; VHS tapes using NTSC format is preferred, but other formats are
also acceptable. We offer no guarantees, but will try to give proper consideration
to all titles submitted.
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