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• Tibetan Mastiff English Mastiff Bodi Linnux Animation, Animation, cartoon, film, animation png
• Duncan: Firebreather
• List of original series broadcast by Cartoon Network
• Santa Fe Comic Con
• Jimmy Olsen
• 2012 Cynopsis Kids !magination Awards Winners & Honorable Mentions
• Hot Skitty-on-Wailord Action
• Canadian Olympic Swimmer Markus Thormeyer Comes Out As Gay
• Scarygirl Review
• My Portfolio

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Tibetan Mastiff English Mastiff Bodi Linnux Animation, Animation, cartoon, film, animation png

How to introduce Peter Chung in an ever so brief preface to an interview? It was beautiful to look at, esoteric, and intellectually stimulating. It is the kind of work which seduces the viewer and demands of him repeated viewing. In an epic two hour telephone conversation, Peter and I managed to talk about issues related to aesthetics, film, art history, the philosophy of mind and language, and any number of other topics before the two of us managed to exhaust each other.

Steven A. Michalkow: There are many ways one might describe your work. The one I like best is that which sees your work as an intricate series of visual and narrative puzzles. How intentional is this? How critical is that level of viewer interaction with your art, even if the puzzles may not be concretely resolvable?

Peter Chung: Well, I do have an answer for this. It goes back to the idea that all filmmakers, maybe all people involved in producing fiction and especially I think with animators, always try to find some way to justify what they enjoy doing. A lot of people come to animation just because they enjoy looking at animation or doing it. The thing is I found that neither of those possible justifications really satisfied me.

So in thinking about what is it that I get from the works that I enjoy, I realized that it was a way of thinking. I do find that when I am watching the films or reading the books that I enjoy my mind starts to get evoked into a thought process that is different…it takes you out of your ordinary, mundane way of thinking. That is really as much as I can hope to do for a viewer. I agree that it could, but I guess I feel putting that demand on art is too aggressive.

There are a lot of studies showing that storytelling and fiction have always been with us. Throughout evolution, in whatever the form it takes, be it telling stories or painting pictures or performing, storytelling has been a vital part of culture.

And it precedes things like farming and money. And Pinker talks about how it enables or facilitates empathy. You know he wrote a whole book about the reduction of violence over history, and that more literate societies tend to be less violent towards each other…and being able to identify with the way other people think and live enables you to empathize with them and see them as people like yourself. So it is a big factor in being able to maintain social cohesion.

You may not point to one particular work of fiction but I think that the consumption of literature or films definitely helps shape cultural attitudes. And that has definitely been moved by a political awareness shaped by pop culture. I thought, in the way you mentioned it, that yes, it would be impossible to conceive of a film depicting that now, and weirdly dates that film more so than his other work.

I actually want to explore a little deeper this idea of the collective effect of the arts that you are beginning to elaborate on here. I think what is particularly interesting to explore about this is how this collective effect manifests itself in terms of influence on the individual artist, in particular that artists who, like you, has a goal of trying to get his audience to think differently, or achieve something which shifts consciousness.

Conceivably you can enter this paradox where the influence affects the stories you want to tell, but if you want to do something new you may need to shed that influence. How have you managed to negotiate in your mind being influenced by certain antecedents while simultaneously driving your work towards an effort to get your viewers to think and see things differently? In attempting to create something new, do you push your influences away or look deeper into them?

Well, for me actually, the more important kind of influences are negative ones. What it does is inspire me to try and think of ways of doing it better or…well…I think this is what drives a lot of artists even if they may not talk about it that way.

As you get older you just become more forgiving I think. I usually find that there is something valuable I can find in it whether it has to do with technique or whether it is something completely unintentional or unintended by the artist. I do spend days sometimes just agonizing over some tiny little detail which would be very easy to solve if I was willing to do something conventional.

Personally, in thinking about creating my own work, David Foster Wallace is commonly on my mind in a not entirely positive manner. If you were to ask me in general what I think about his writing, there is a lot of it which I think is aesthetically unpleasant or annoying and yet I can still sense the sincerity or the attempt to get to a place I am also interested in going.

In reading one particular work of his, Brief Interviews with Hideous Men , I can tell within that work the desire to get out of a certain kind of solipsism, which I think he ultimately fails to do. But, in his having that desire to escape it, I am motivated to come to some personal resolution regarding that issue in creating my own work or discussions on those topics.

I think that probably happens more often than we initially think. This is dialogue that would never be shared among these men as much as is it a ham-fisted attempt to educate an audience unfamiliar with the history and the politics of the time. With most television you could almost turn off the picture and just listen to the dialogue and understand everything that is happening.

Unfortunately this is quite common. That was a little bit disappointing. The episodes were really shorter than the amount of story that I was trying to cram into them. We ended up having to cut out a lot of material out which was in the scripts when we went to storyboards, just because there was too much of it, too much story to fit into 22 minute episodes. I mean I like films with lots of dialogue, and dialogue can be used in different ways.

Dialogue should be as mundane as possible, or it should appear to be as mundane as possible in my mind. A perfect example of that would be a lot of the dialogue in A Space Odyssey. They still are still talking about preferring chicken to ham, and it is such a mundane bit of dialogue, but to me the implications of it are enormous. I wrote a kind of rebuttal to that type of thinking. I encounter that a lot too with viewers.

Basically in that whole trip to the moon, in just a few minutes with very little dialogue, is the entire evolution of human civilization. I always thought there was an obvious plot in , and never thought it confusing or meaningless.

I mean it was pretty obvious to me what the story was focused on communicating. Even the metaphorical meaning of the star child was perfectly understandable. Yeah, and I actually have a good friend who argues with me all the time about this. He just accepts it as a given that films are an inferior medium for conveying ideas or stories than books. And people are just used to seeing films that are like that.

We will pick certain fights with people who accept preconceived notions of categories in either literature or film. Do you fetishize the elements of the genre or do you use the genre as a vehicle to express something substantial?

Actually, and this may be a tangent, you had the fortune of working at MTV during an ever so brief period when that network was willing to produce experimental or avant-garde animation of several filmmakers who do not follow these middle-brow notions. From your inside prospective, what was the series of fortunate events which allowed this to come into being?

Well, I was very much in that moment not only with Liquid Television, but also with Rugrats before that. When Nickelodeon first appeared, and even the name nickelodeon harkens back to old retro film consumption, they would show old TV programs including old cartoons. And so Colossal got the idea to make a half-hour show to sell these different animated shorts, and they already had this relationship with MTV and MTV thought that it was a good idea and wanted to produce it.

MTV was really catering to people with short attention spans or kids who would just turn the channel on and leave it on and not really pay attention to it…like background noise like if you had the radio on.

And so Liquid Television would have these little short segments that would be like 30 seconds long, or one minute or two minutes long, but there would always be something different happening on screen. It was a parody of different television genres…you know they had parodies of soap operas, of travelogues, of infomercials and commercials and so on.

And then you sneak in all the other stuff that you actually are really interested in putting into it. The only reason why they were interested in continuing to do it was that it tested well with audiences. One thing that was special about it was that it tested well with women and men. And at the time you have to remember, that when it was first run, there was nothing else like it. There was no Tomb Raider , there was no Resident Evil.

What was your agenda with making her a woman? That is an interesting reaction, and sort of overlaps well with my own reaction at the time of the original airing on Liquid Television.

Also, the initial positive reaction being strong with both men and women is particularly illuminating to note. To now know that the reaction was actually positive among both sexes undermines that expectation. Well, that was something I agonized over as I was doing it.

But, there are times when I have to remind myself that I chose to work in animation for a reason. And one of those reasons was because you can get away with stuff that you never could in live action. And you have to take advantage of that, and seize if for what it is. Yeah, for sure. And a lot of these developments we have been talking about occurred during the initial Liquid Television shorts phase of the show.

It sounds like the extension of the show into the full-length episodes phase occurred by virtue of the shorts having a wide enough audience. It was interesting actually. I remembered that line from the show for a long time, and when I ultimately wound up going to the University of Chicago, I became well versed in both Saul Bellow and Philip Roth by being in that same air.

Yeah there are some weird little references throughout the show. But for the most part, MTV had no idea what they were getting. And we had to be very careful about not really being too frank about what it was that we were really up to, as long as they were allowing us to do the show.

I had to make certain concessions along the way. And that makes perfect sense because Trevor is a politician and would be interested in putting his spin on things.

It would be totally out of character for her to deliver any kind of voice over. It was beneficial to make that change. Not only is it better for Trevor to deliver the voice overs from a functional perspective, it also allows his character to flourish in a way. Those voice over dialogues are hardly the kind of pure exposition we were just railing against, but are manifestations of his character and perspectives.

Actually I would put it a little differently, and I will reference the movie here because the movie does exactly what I tried so hard not to do in so many ways. She is free already.

Duncan: Firebreather

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List of original series broadcast by Cartoon Network

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Santa Fe Comic Con

Peter Watts. Originally published by Tor Books. In memory of Strange Cat, a. Author's Note.

Jimmy Olsen

Compare Books Settings Stats Print. Reading stats. Wildwood Imperium Wildwood Chronicles, 3. You can always get them back. Zita is no great hero. Her sole claim to fame till now is having marched in the South Wood parade as the May Queen.

2012 Cynopsis Kids !magination Awards Winners & Honorable Mentions

Welcome to the family, Markus! Thormeyer, who competed in the 4 x freestyle relay team at the Olympics in Rio, has penned an emotional essay about coming out as gay for OutSports. In the essay, he recalls the shame of hiding his sexuality from his teammates. I was wrong. I found out pretty fast how hard it was going to be for me to keep not to come out to my teammates. The following months in the closet were difficult and keeping my sexuality a secret got progressively harder every day.

Hot Skitty-on-Wailord Action

This is a list of upcoming programming on Cartoon Network, along with the year the show will premiere on Cartoon Network, and the rating. This is a list of former programming on Cartoon Network, along with the year the show premiered on Cartoon Network, and the rating. See also: What a Cartoon! This is a list of pilots on Cartoon Network, along with the year the pilot premiered on Cartoon Network, and the rating.

Canadian Olympic Swimmer Markus Thormeyer Comes Out As Gay

Four very different high school teenagers battle trolls, ghouls and a dark leader of them named Maldark in a video game that goes haywire and releases the battle into the real world. Sign In. Play trailer Adventure Comedy Family.

Scarygirl Review

Enough about what we think are the best comics of MTV Geek asked some of the hottest comic book writers and artists out there for their top three picks of ! Absurdly funny and morbidly honest, this tome explores loneliness, decline, and the perverse side of the human condition with appalling dignity and witty panache. Vanessa Davis picks up the gauntlet Harvey Pekar left behind and shows us that, not only can "comic books be about anything" but that they should be, too. Innocent, embarrassing, intelligent, sexy and sweet, Vanessa Davis makes me a woman. Jason Little is the unheralded promise of my generation of cartoonists. I've been waiting seven years for his bubblegum pop-noir to finally come into fruition, majestically capping off an exciting decade of comix aughts.

My Portfolio

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