Light Entertainment (BFI Television Monograph, Volume 2) by Richard Dyer
By Richard Dyer
"Richard Dyer's 1973 learn of sunshine leisure was once one of many earliest BFI tv Monographs, released to redress television's being given 'too little critical attention'. He stated the broader ambit of the time period yet constrained his concentration to type on my own. He indexed Cilla as considered one of his favorite exhibits, being a lot fascinated by the innovation of incorporating genuine audience into the programme via stunts which all started with closed-circuit television set-ups in store home windows earlier than shifting to the studio. For Dyer the critical points of leisure have been abundance, power and group, all of which operated to distract audience from the drudgery of daily life. but his used to be now not unavoidably a celebratory examine; the assumption of utopia, which Dyer somewhere else unearths within the musical, he observed lacking from televised leisure, or a minimum of absent by any means with transformative strength. by means of except all yet musical leisure, Dyer's research was once not able to track the hyperlinks among the diversity of programmes which constituted the commercial class of sunshine leisure, and complex (though now not unavoidably more advantageous) its dating to the everyday." Ordinary tv: interpreting renowned TV through Frances Bonner
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Extra info for Light Entertainment (BFI Television Monograph, Volume 2)
He was, in fact, the ﬁrst animator of stature to look at the Internet as a viable content-delivery medium, using his animation studio, Spumco, to explore the options, and in 1997 the result was unveiled. On October 15 of that year Spumco launched The Goddamn George Liquor Program. Created in Flash, the show became the ﬁrst cartoon series to be created exclusively for the Internet. 29 30 THE MAVERICKS Back to School Others followed, as did some sporadic television work, but as the twentyﬁrst century moved forward, Kricfalusi had a new plan.
Nowadays, they just design the characters from a couple different angles, take them into Flash and then move the still pieces around like paper doll puppets. I can’t make my kind of custom stories and acting using that system. I need talented and SKILLED people to help. It’s worth it to me to help out before a production begins, but it will be up to you to practice and apply and critique yourselves according to what you learn. — John Kricfalusi about starting his “Cartoon College”2 Kricfalusi can be tied back to Art Babbitt by more than just a desire to impart animation techniques, though; both are idealistic artists in an industry that claims to want art but treasures commerce and control.
He had a great reverence for the music style as a fan and a fellow artist, and jazz musicians loved to work with him because he wasn’t looking for a song to simply mark time or act as an underscore. For Hubley, the music was the key to the animation, not the other way around. I feel that the composer has to have freedom and I think that the music has to go ﬁrst. Then the artist isn’t burdened with having to do everything to the split second. So the ﬁrst thing we did was throw the click-track in the garbage and let the composers work the way they used to when they created the great scores in ﬁlm history.