ADVANCED ENGLISH COURSE 2010 2011: febrero 2011

jueves, 10 de febrero de 2011

ORDERING FOOD IN A RESTAURANT

Hi guys, this is the first one, we expect that the following ones will be better, so this is a very good start.

BEHIND THE SCENE

Hi guys, remember the work you are going to do? So, for next Thursday you´ll have to record the video of the theme you chose. Please do the dialogue and learn it by heart, here it is the URL of English IV, for the ones who are in fourth grade:
http://ivenglishcourse2010-2011403a.blogspot.com/

And about English V is:
http://venglishcourse2010-2011502.blogspot.com/2011/02/third-partial.html

miércoles, 9 de febrero de 2011

STUDENT´S BLOGS

jueves, 3 de febrero de 2011

A NEW TOEFL SITE

Hi guys, here it is a new site which you can do. It consists of 100 mini-lessons. It is for all of you but mainly for the persons who haven´t attended classes, such as: Natalia, Lorena, Alfonso Johnas, César Alfonso, Ovalle, Emmanuel Rafael, Mauricio Sánchez.

Regarding Yahumara and Mauricio Treviño, I don´t know anything about you. If you see me at the mediateca or not, anyway you have to do work, otherwise I am not going to have any elements to give you a grade this trimester. So I want to hear from you and each Wednesday, if by any chance you can´t attend our class, first, you have to tell me in advance if you are going to be absent and second you have to send me to this blog your work. Is it clear?

http://www.ompersonal.com.ar/omtoefl/contenidotematico.htm

martes, 1 de febrero de 2011

CONVOCATORIA XI CONGRESO PREPARATORIANO DE LAS HUMANIDADES

Universidad Nacional Autónoma de México
Escuela Nacional Preparatoria
Plantel 2 Erasmo Castellanos Quinto
XV Congreso Preparatoriano de las Ciencias
XI Congreso Preparatoriano de las Humanidades
Con la finalidad de estimular y promover la investigación entre los alumnos del nivel medio superior como vía privilegiada para alcanzar un aprendizaje crítico, constructivo y significativo, así como una formación integral, el plantel 2 Erasmo Castellanos Quinto de la Escuela Nacional Preparatoria de la UNAM, convoca a participar en el XV Congreso Preparatoriano de las Ciencias y XI Congreso Preparatoriano de las Humanidades, que se efectuarán del 22 al 24 de marzo de 2011 en las instalaciones del plantel bajo las siguientes:
BASES
1. Podrán participar alumnos inscritos en el nivel medio superior: Escuela Nacional Preparatoria, Colegio de Ciencias y Humanidades, Colegio de Bachilleres, Centro de Estudios Científicos y Tecnológicos, instituciones educativas privadas, entre otras.
2. Los trabajos deberán ser producto de investigaciones realizadas durante el ciclo escolar 2010-2011 en cualquiera de las áreas del conocimiento: ciencias, humanidades y artes.
3. Los trabajos podrán ser individuales o colectivos (máximo 4 alumnos) y asesorados por un máximo de 2 profesores y, al menos uno de ellos tendrá la responsabilidad de apoyar a los alumnos ponentes hasta que finalice su presentación, de lo contrario no se otorgará constancia de participación a los asesores.
4. El trabajo deberá entregarse por escrito en letra Times New Roman 12 a doble espacio, bajo el siguiente formato:
4.1 CARÁTULA. Incluirá: nombre de la institución, dependencia, título de la investigación (máximo 60 caracteres), nombre y firma de los autores y asesores (iniciando por el apellido paterno) y datos de localización (teléfono y correo electrónico). NOTA: no se aceptarán trabajos sin la firma del asesor.
4.2 RESUMEN. Presentado sólo en una cuartilla, incluirá los siguientes datos: título de la investigación, nombre de autores y asesores, correo electrónico, nombre de la institución y dependencia. La palabra Resumen centrada, seguida del desarrollo del resumen que integre objetivos, metodología y/o desarrollo, resultados y conclusiones, sin imágenes, ni macros. Es de suma importancia incluir el Resumen, ya que se publicará en las memorias del Congreso de manera íntegra, bajo la responsabilidad de los autores y asesores.
4.3 EXTENSO. Contendrá los siguientes aspectos: título, introducción, justificación del trabajo, marco teórico, objetivos y/o hipótesis, desarrollo y/o metodología, resultados, conclusiones y referencias, citas intercaladas (autor o numérico). Su extensión máxima será de 10 cuartillas numeradas (sin incluir carátula ni resumen; se recomienda imprimir las hojas por ambos lados)
5. Los trabajos experimentales, de campo, descriptivos o bibliográficos podrán ser presentados en modalidades PONENCIA, CARTEL O PROGRAMAS MULTIMEDIA.
5.1 PONENCIA. Exposición con apoyos audiovisuales: Power Point (Office 97-2003), diapositivas y/o acetatos.
5.2 CARTEL. Trabajo presentado en impresión digital, en papel o lona sin ojillos (100 x 76 cm vertical) con fotografías, esquemas, gráficas, etc.
 Antes de imprimir el cartel, el trabajo escrito será evaluado, para lo cual es necesario anexar un boceto del cartel impreso en tamaño carta, que incluya el visto bueno del asesor. Una vez ACEPTADO, el cartel se entregará el día 17 de marzo de 2011, de acuerdo con las características que a continuación se indican:
Nota: de no ser entregado el cartel en esta fecha, no se permitirá la presentación del trabajo.
 En el cartel incluirá los siguientes apartados:
 Encabezado. Incluye título, nombre de los autores, asesores e institución.
 Resumen. Brinda un panorama general de lo que fue el proyecto de investigación, los objetivos y las conclusiones.
 Metodología. Ofrece la información de los procedimientos utilizados durante el desarrollo del trabajo experimental, de campo o descriptivo. Se sugiere un diagrama esquemático del procedimiento, ya que puede cubrir gran cantidad de información sin mucho texto.
 Resultados. Marcan el desenlace de la investigación a través de tablas, figuras, gráficas o fotografías, esto facilita la comprensión de la información. En el trabajo descriptivo es necesario destacar la información relevante.
 Conclusiones. Se limitarán a enunciados breves que contengan las principales contribuciones del estudio.
 Fuentes de información. Brindan el soporte teórico de la investigación.
 El Número de folio. Este deberá colocarse en la parte inferior derecha, en un cuadro de 10 x 10 cm, con un tamaño de letra de 200 puntos en negrita.
5.3 PROGRAMAS MULTIMEDIA. Elaboración de un trabajo realizado en un paquete de cómputo con herramientas multimedia.
 El Programa o presentación multimedia tendrá que incluir un alto grado de interactividad con el usuario, permitiendo ingresar por diferentes rutas hacia los contenidos o temas desarrollados. No se aceptarán presentaciones lineales (pasa páginas)
 Para su elaboración se podrá utilizar alguno de los siguientes programas: Director, Authorware, Multimedia Builder, Visual Basic, Flash, Animator, 3D, Dreamweaver, Power Point, entre otros.
 Es necesario incluir en la presentación multimedia una sección que permita evaluar la utilidad de la información ofrecida.
 Las pantallas no deberán contener demasiado texto (se recomienda no incluir párrafos de más de 50 palabras) y las imágenes y/o videos deberán apoyar al mismo.
 La presentación multimedia deberá contener los siguientes apartados:
 Título.
 Menú principal. Hipervínculos o ligas con títulos o subtítulos.
 Instrucciones de manejo. Describir el manejo, indicando el significado de cada uno de los botones (avanzar, retroceder, inicio, etc.) y reconocimiento de hipervínculos.
 Presentación. Propósitos claramente expuestos y población a la que va dirigida.
 Contenido o estructura del programa.
 Desarrollo. Texto, imágenes, animaciones, videos, etc.
 Instrumentos de evaluación. Cuestionario, crucigrama, rompecabezas, entre otros.
 Fuentes de información. Libros, artículos, periódicos, películas, páginas web, entre otras.
 Datos de identificación. Nombre de autor(es), nombre de asesor(es), correo electrónico, institución.
 La presentación multimedia será ejecutable con extensión .exe o .pps (en el caso de Power Point de Office 2007) y contener las utilerías necesarias para ejecutarse en una PC Intel Pentium IV, con 512 MB en RAM.
 Junto con el trabajo escrito se entregarán dos discos compactos con el programa ejecutable y las utilerías necesarias para su evaluación. UNO DE ELLOS NO DEBERÁ CONTENER DATOS DE IDENTIFICACIÓN.
 En la exposición del trabajo se explicará tanto la parte técnica como el tema desarrollado.
6. Independientemente de la modalidad, los trabajos aceptados contarán con 10 minutos para su exposición y 5 minutos para su réplica.
7. REGISTRO Y RECEPCIÓN DE TRABAJOS
8.1 El registro de los trabajos se realizará vía Internet en la siguiente dirección: http://132.248.92.91/congresoxv/congreso.html del 10 de enero al 2 de marzo de 2011.
8.2 El registro lo deberá realizar el profesor, utilizando su RFC, y sólo se aceptará un máximo de 5 (cinco) trabajos por asesor.
8.3 La recepción de trabajos se llevará a cabo el día 3 de marzo de 2011, de 10:00 a 18:00 horas, en la Biblioteca Raúl Martínez y Rosas del plantel.
8.4 Los trabajos deberán cumplir con los siguientes requisitos:
 Se entregarán dos sobres amarillos tamaño carta, rotulados con el número de folio (asignado al momento del registro), área y modalidad.
Uno deberá contener 2 copias del resumen y extenso, con título y sin datos de identificación.
El otro deberá incluir la carátula y el resumen con datos de identificación, así como la ficha de registro en original y copia.
 Un CD que llevará en la carátula el número de folio de registro del trabajo con tres archivos en Word (Office 2007) con los nombres y contenidos respectivos:
Caratula.doc
Resumen.doc
Extenso.doc
8.5 La omisión de alguno de los puntos anteriores ocasionará que el trabajo no sea recibido.
8.6 El comité organizador sólo se hará responsable de los trabajos entregados en el lugar y fecha señalados.
8.7 La publicación de los trabajos aceptados será el día 11 de marzo de 2011, en la página web http://132.248.92.91/congresoxv/congreso.html
8.8 Los casos no previstos en la presente convocatoria serán resueltos por el Comité Organizador y su fallo será inapelable.
9 CRITERIOS DE SELECCIÓN
9.1 Se aplicarán los siguientes criterios de selección:
 Presentación del trabajo. Limpieza, uso correcto del lenguaje, ortografía, claridad en la exposición de ideas y secuencia lógica.
 Dominio de aspectos conceptuales. Conocimiento y sustento de los conceptos involucrados en el trabajo.
 Relación entre la teoría y la práctica (en trabajos experimentales o de campo).
 Metodología. Claridad, coherencia, congruencia y rigor en su empleo.
 Originalidad. Creativo en la forma de abordar el tema o en el diseño y aplicación de técnicas, equipos y materiales.
 Pertinencia de las fuentes de investigación. Bibliográficas, hemerográficas, mesográficas y orales; CONFIABLES.
Para mayor información favor de consultar la página http://132.248.92.91/congresoxv/congreso.html
o enviar correo electrónico a congresoprepa2@gmail.com

SAMPLES OF FORMER WORKS

SAMPLE OF RESUMEN
Título: “Fashion”

Autores: Dehesa Garcés Michelle

Asesora: Robles Mier y Terán Marsella

Universidad Nacional Autónoma de México
Escuela Nacional Preparatoria número 1 “Gabino Barreda”

RESUMEN
Fashion is a sensitive subject for most populace. Each being has their own only one of its kind style and choices for clothing. There are styles for everyday use and for particular occasion that need just the right touch. Read on to be taught more regarding fashion, and a hardly any tips to aid you find the right type of clothes for you.
One of the first systems of fashion is in the direction of pick out clothes that praise your body, and feel great on. Another so call rule is to be you while exhausting the fitting clothing for the juncture. Fashions trends do come and go, except the classic style never go out of method. Basic and easy applies to every fashion plan on the marketplace. From the little simple black dress with a small number of trimmings, to the wedding gown of your thoughts, makes elegant any fashion clothes that you wear in fashion.
I chose this theme because Fashion has always interested me and I think that it is important, not only for rich or older people but for teenagers as well and we must be prepared to manage our lives not only with academic knowledge but also with this important part of our development as future entrepreneurs, scholars or professionals.

SAMPLE OF EXTENSO

Tim Burton, “movie life.”
EXTENSO
Introduction
What made me decide about working in the research work on Tim Burton was that all his movies had a sense of black humor, surrealism, animations and creative scenes with bizarre characters, but the center of all that magic scenes and stuff transformed in a story with a message, a story that leaves us to understand or to leave us a smile. My research work came from a lot of media, all his information on internet, and movie collectives, short movies in youtube.com, and some magazines with articles about him, and so on. The base of this project is to know more about this producer from his stories to his films by the articles I will present and my explanations of his developments.
Justification and objectives
I wanted to do this work because since I was a child I’ve been always attracted by his movies, the characters, everything. I’ve been always inspired by Jack Skellington, and his idealisms of Christmas Eve, or by the sweet way that Emily, the corpse bride, loved Victor. All those characters with a magic sense of surrealism a different visualization of simple concepts into strange scenes, and pale faces. Something so creepy and at the same time so fantastic, I think knowing more about Tim Burton will make you think that everything on your minds is possible to bring out, with talent and objectives, let’s cultivate our minds with this man, a producer and writer, animator and creator.
Disney started to be one of the stairs for Tim Burton’s animation but Tim didn’t like his simple and pretty foxes and hounds from The Fox and the Hound, very traditional and boring for him, so he soon left Disney not without been appointed with The Nightmare Before Christmas, so Burton approached the opportunity to show his movie to all the world, between other works. After high school in 1976, Burton attended the California Institute of the Arts. Cal Arts had been founded by Disney as a "breeding ground" for new animators, he though they did offer other courses of study. Burton entered the Disney animation program in his second year, thinking it would be a good way to make a living. In 1979, he was drafted to join the Disney animation ranks.
Burton did not enjoy being an animator, not one little bit. Imagine, if you will, what it's like to be an animator. Films are projected at 24 frames per second. For a 90-minute film, that's over 129,000 individual frames. Characters are drawn separately and then put together, and placed over painted backgrounds. The work requires talented artists, but they cannot deviate from the structured manner of drawing the characters. Burton had been brought in to work on The Fox And The Hound. The studio recognized that Burton's talent was not being used. They made him a conceptual artist. )Taken from: http://www.timburtoncollective.com/bio.html)
Stop motion is the technique of taking shot by shot of an object in move by move in a very well planned sequence, and finally unite all those shots into a film or record. It’s a hard work to think but when you get all the equipment, we are talking about artists, scenes, lightening, designs, puppets, and technology for puppets moves, it’s successful to do a movie on this way, as Tim demonstrates. I have to be fair and say that Tim Burton didn’t create this technique; of course it was an old method. “Stop motion animation has a long history in film. Of the forms already mentioned, object animation is the oldest, then direct manipulation animation, followed (roughly) by sequential drawings on multiple pages, which quickly evolved into cel animation, with clay animation, pixilation, puppet animation, and time-lapse being developed concurrently next. The first instance of the stop motion technique can be credited to Albert E. Smith and J. Stuart Blackton for The Humpty Dumpty Circus (1898), in which a toy circus of acrobats and animals comes to life. In 1902, the film, Fun in a Bakery Shop used clay for a stop-motion "lightning sculpting" sequence. French trick film maestro Georges Méliès used it to produce moving title-card letters for one of his short films, but never exploited the process for any of his other films.”

Image taken from http://www.zap2it.com/media/photo/2008-07/41246187.jpg. A set from The Nightmare Before Christmas.
Vincent became to the first job from Tim in Stop-Motion, The short film tells the sad tale of Vincent Malloy, a suburbanite boy who wants to be just like his idol, Vincent Price. It was a deeply personal film for the young Burton, and it marked his first teaming with two collaborators who would have a great impact on his oeuvre. Rick Heinrichs, who would go on to design several of Burton’s later films, was the producer and provided additional designs. More importantly, the narration was provided by Vincent Price, the classic horror star’s role also reinforced the theme of the film, which is that fantasies about monsters and mad scientists can become more important to kids than their own mundane lives. As Burton later said, “It was probably one of the most shaping experiences of my life.” http://www.timburtoncollective.com/earlymovies.htm
The Nightmare Before Christmas. Tim Burton´s words: The Nightmare Before Christmas is a movie that I was starting to make ten years before we started with its production, in that time I remember that I was working as animator in Disney Studios, I started Jack’s story as a poem, a kind of poem like Dr. Seuss ones, I started to draw each character too which were in my poems and with time it was taking form of an animated movie. In a beginning I thought that The Nightmare before Christmas would be a great Christmas special, although y considered other ways for taking it out like a book for kids. With time I thought that it would be a great movie but I thought it would be a little bit strange for Disney in that time, so I kept the project a while. And it’s just that the concept, the title, sounded a little bit scary, the true is that its characters are good, trying to do good things, although from a point of view a little retarded from what everybody knows. Like everybody I was growth loving Christmas specials like Rudolph, the deer with a red nose and The Grinch, which only were on TV every winter. I really wanted something similar, a story that would come in a family tradition. So, The Nightmare Before Christmas, tell us the story about Jack the famous Pumpkin King from Halloween Town, who discovers Christmas Town and sees that celebration and he with no doubt he wanted to make something similar in his own town, although the results are far of what Halloween town was. I really adore Jack, is a character full of passion and energy, a fighter of life and he doesn’t stop to anything for following an ideal, a dream. That’s why I don’t think that Jack is a villain, simply he lives accustomed to his town celebrations. Christmas and Halloween are my favorite holidays in the year. Sincerely The Nightmare before Christmas is my favorite movie and has a very special place in my heart, the final result is beautiful, more than I imagined, again I thank to Henry and his wonderful equipment for his work and passion on this film, and this movie is the movie that I always wanted to see when I was a child”.

Here are sketches of the poem-song “What’s This?” taken from Virtual Kids magazine # 42

Some of the replaceable faces of Jack Skellington, taken from Virtual Kids magazine, No. 42, México.
The Corpse Bride. Animating a movie by the Stop-Motion Process takes a lot of attention and precision from the director and his animators, that in just a few minutes of animating takes like two weeks or more, and the more less mistake of movement, lightening would ruin all a scene, so why something so complicated and risky would be on the practice of movie making if there exists easier ways of animation and technology? Tim answers that Stop-Motion is one of the techniques in animation that awake the same feeling in the audience as in live action movies, and in most of the cases there’s a relation that the public establishes with the characters. The movie was taken by digital cameras SLR and Final Cut Pro for its edition, that’s why this movie is watched more lively than any other common filming equipment. Although, the edition work made it much more easy and quick thanks about the new technology, it wasn’t so much that, because the film started to be produced in finals of 2003 in England, for this production were needed miles of puppets that has a steel skeleton covered with silicon and plastic skin. Each figure had a body, unique extremities, but with more than one hundred heads, hands, eyebrows, mouths, eyes all different to give an exact and detailed animation on screen presence. The Corpse Bride was based on a popular story from Russia, which parents related to their child before getting to bed, at XIX century, in Asia an Europe. In that century, the anti-Semitism was present in all the region of Europe, so it was very common to see the racist bands attacking Jewish communities in their celebrations. In the case of Jewish weddings, the woman was the one who was securing the family future, a new tradition was born between the bandits, and they kidnap the bride and murder her and then bury her body on her white dress. The story of this film narrates this facts are showed tenuously, but the message stays on the film, the importance of the heir between a generation and other, like the respect to the sacrifice of the forbears trying to leave a better life to their descendents. The story tells us that this movie takes place in a European village near the XIX century, where a couple is almost getting married, although they never met before. The pressure of their parents make Victor goes away into the forest and accidentally gets compromised with a corpse bride. It is a movie that would be defined as a love story, mysterious, and about death, perhaps the particular Tim vision will get us to an animated world very fascinating, Corpse Bride will tell us that even the most tragic fact, that human nature is capable to give heat to the coldest heart, demonstrating that only love is strongest than death.

Picture which we can appreciate the work on puppet Stop-Motion animation with Victor’s heads. Taken from: http://www.animationartconservation.com/images/paint5.jpg

Johnny Depp (John Christopher Depp II). A very known collaborator in acting, is of course the talented actor Johnny Depp, a man who shows with his steps and awesome style every character he does, we can remember him recently from Sweeney Todd “The Demon Barber of Fleet Street”. Interview, in a interview with Chuck the movie guy, he said that Johnny first sang all songs from the play, and it was an hilarious amazing thing, “Johnny said me he thought he would do it and that was all I needed, you know, because there’s no reason why he wouldn’t do it without telling me”. Tim is very familiarized with Johnny, they had been working in many movies.
Movie Year of release Played Character
Edward Scissor Hands 1990 As Edward Scissor Hands a misunderstood boy which had scissors instead hands and people rejected him from being different.
Ed Wood 1994 As Ed Wood , a man who had vision but not talent in movie filming.
Sleepy Hollow 1999 As Ichabod Crane a detective of strange murders in the XVIII century.
Charlie and the Chocolate Factory 2005 As Willy Wonka the owner of the Chocolate Factory, an ironic and hilarious man.
Corpse Bride 2005 As the voice of Victor Van Dort a timid young man who’s forced to marry, by accident with the Corpse Bride.
Sweeney Todd “The Demon Barber of Fleet Street” 2007 As Sweeney Todd, an man who wants revenge of his family loss, by cutting throats to all the ones who come to his barber shop.
Helena Bonham Carter. The actress Helena Bonham Carter, Burton’s wife, is one and well known collaborator of most of Tim’s movies, we remember her as Mrs. Lovetts, cooking meat pies, she said “ I got the paper with the right reasons”, so she declared she didn’t got the paper because she’s Burton’s wife, but also in Burtons productions she always had a special female paper, not the protagonist but special for her because Tim always knew she had special talents, for special characters, not forcedly the lead character. Here is a part of an interview she gave published in this page: http://movies.about.com/od/thecorpsebride/a/corpsehb.htm
“He wanted me to play Victoria and I was kind of like, ‘Hmm,’ because it was sort of… Victoria was sort of [the] drama ingénue [and I] kind of did that, you know – to death. I felt like I was going to be type cast as a puppet as well. He said, ‘Well who do you want to play?’ I said, ‘Well, Corpse Bride.’ So then he went away and thought about it and then he came back and he said, ‘You know what? I’ve been thinking about it and, yeah, yeah, I could…”
Movie Year of release Played character
Planet of the Apes 2001 As Ari, A female chimpanzee who protests the way humans are treated. She helps Leo lead the rebellion.
Big Fish 2003 Jenniffer Hill, a divorced piano teacher who lives in the town of Spectre.
Charlie and The Chocolate Factory 2005 Mrs. Bucket, as the mother of Charlie Bucket, the one who cooks in the poor family.
Corpse Bride 2005 Emily, the voice of the corpse bride who wishes to get married Victor Van Dort.
Sweeney Todd “ The Demon Barber of Fleet Street” 2007 Mrs. Lovetts, a poor meat pie cook who lives in London and loves deeply Mr. Todd so she helps him to do pies with the corpses of Todd’s victims.
Danny Elfman (Daniel Robert Elfman). The composer of most of Tim Burton’s films in soundtracks, yes, we talk about Danny Elfman a man who makes those soundtracks, that harmony to our ears and make us suspire, cry or laugh, involving us into an ambient of sadness, fear, happiness and so on. The genius musician met Tim in 1985, when he and Paul Reubens invited Elfman to write the score for their first feature film, Pee-wee's Big Adventure. Instantly they had a connection in music and filming, the perfect suit of involving characters in musical stages. Burton has said of Elfman: "We don't even have to talk about the music. We don't even have to intellectualize – which is good for both of us, we're both similar that way. We're very lucky to connect" (Breskin, 1997)
Movie Year of release Song or Soundtrack made
Peewee’s Big Adventure 1985 Overture / The Big Race
Beetlejuice 1989 Beetlejuice theme
Edward Scissor Hands 1990 Ice Dance
Batman Returns 1992 The Joker's Poem
The Nightmare Before Christmas 1993 This is Halloween!
Mars Attacks! 1996 Destructo X
Sleepy Hollow 1999 The Tree Of Death

Planet Of The Apes 2001 the Dirty Deed

Big Fish 2003 Big Fish (Titles)

Charlie and The Chocolate Factory 2005 Oompa Loompa’s Song
The Corpse Bride 2005 The piano Duet
Sweeney Todd The Demon Barber of Fleet Street 2007 Sweeney Todd The Demon Barber Of Fleet Street
Conclusions.
For the ones who are interested in movie making, I hope you will be inspired in work in animation areas, or also with live action films every detail it is important. Thank you for the attention, as you saw first, he worked in Disney Studios, he started difficultly drawing pictures and characters that he didn’t like, but we can learn that he had an space in one of the most important animation studios, and he was in well steps, but he also was chasing his dreams of his real inspiration, he started to make a lot of his ideas and finally in the right time and the right opportunity that Disney gave him to present his famous and favorite movie “The Nightmare Before Christmas”. Then, I talked about the importance of Stop-Motion on his films, of course this unique technique is basically one of the choices he made for filming because the method captures the truly essence of the characters to the audience and you can prove it watching a film of that technique, the way it involves you, and of course this great magic on screen has a very complicated and must be watched with carefully in every detail, and artistic form of creating a story don’t you think? I have showed you two articles of the most gratified stop-motion movies from Tim, The Corpse Bride and The Nightmare Before Christmas, these two films, basically showing the true essence of stop-motion technique, of course The Nightmare Before Christmas was more difficult to make and took more time than The Corpse Bride who had more technology appointments. I wish you could appreciate these movies, and of course the messages they leave to us, as characters who try to make good things, the chase of a dream, the understanding of a mistake, the solidarity, love, in a dark but not awful point of view. Finally I compared three often collaborators in Tim Burton’s films, Johnny Depp the male actor and often protagonist of most of Tim’s movies, an extroverted quite man which we can learn about his humor and appreciate his acting. And Danny Elfman a genius composer and musician of soundtracks that make us enter into another world exalting our feelings and thoughts. These three collaborators have in common that, the three are often in Burton’s productions and that they are very talented.
References:
Magazine articles: Gamers, “Oogie’s Revenge”,#3, Edit, Limit-X Media, year 2005, page 51, title: “El cadaver de la novia”, author José M Saucedo.
Virtual Kids, # 42, Edit. Mina, Director Yonatan Gomez Uribe, page 20, title “The Nightmare Before Christmas in words of Tim Burton•.
Internet pages: http://www.timburtoncollective.com/
http://movies.about.com/od/thecorpsebride/a/corpsehb.htm
If you want to know more about this, you can check my blog:
http://thebizarrekatt.blogspot.com/