In Wednesday morning’s roundup of the Animated Short nominees, I called the French film “Logorama” “the freshest and most audacious” of the nominees. The film is a brazen, foul-mouthed crime story set in a world where corporate logos and mascots run amok: the good guys are Michelin Men, the psychotic criminal Ronald McDonald. “Logorama” was directed by Ludovic Houplain, Herve de Crecy and Francois Alaux for the collective H5, which has also created advertising campaigns and acclaimed videos for the likes of Massive Attack and Royksopp. Via email, Houplain and de Crecy answered a few questions about an unhinged, raunchy film that is one of the oddest and wildest entries in this year’s Oscar race. How did you hit upon the idea of creating a world populated exclusively by corporate logos and mascots?

Aug 24, 2010 - [/ref] ] Like in Caterpillar, it cannot be said that the LOGORAMA film. Crack mysql password hash calculator download. Trademark infringement likelihood of confusion analysis are lacking. Logorama, the movie The Logorama movie is a short animation by H5 that, after six years in the making, picked up a 2010 Oscar in the short film category.

DE CRECY: It was a long time ago, beginning of the 21st century. The project took various forms before we wrote the particular story of “Logorama.” We almost made a tribute music video for George Harrison with this idea (around 2002), before our producers asked us to create fake logotypes instead of existing ones that was impossible to us, we put the project on hold until, years after, we met Nicolas Schmerkin, famous producer of shorts in France, who believed in the project. HOUPLAIN: We started the production in 2006. We succeeded in putting together a production team who agreed on the signification, meaning not censoring ourselves in terms of the brands we chose or the icons and logos we were going to use. We had to take the idea to its logical conclusion without fear of the possible reaction. From there the project became about creating a real picture of modern and contemporary society through two of its most powerful visual elements: logos and visual medias. The film is based on the same concept as Pop Art.

NOTES • Acceptance Speech. Retrieved March 15, 2010, from [] • See Davis, M. City of quartz: Excavating the future of Los Angeles. London: Verso. And Davis, M. Ecology of fear: Los Angeles and the imagination of disaster.

New York: Metropolitan [] • Diaz, Ann-Christine (11 September 2010). “H5 Builds the World of Logorama” Retrieved March 12, 2010 from [] • Scott, A. (20 February 2010).

“Short on time, long on wit and daring,” Retrieved March 12, 2010 from [] • Jardin, X (15 September 2009). “ Logorama, animated “city of corporate logos” short by H5, debuts in LA at Flux tonight,” Retrieved 12 March 2010 from [] • “Logos, Brands, and Marquees Bring Logorama an Oscar” (12 March 2010). Transfer of property act 1882 in marathi pdf free download.

Retrieved 12 March 2010 from [] • See Stabbe, M. (2005) “Fair or fowl?” in American Journalism Review 27 (4) 68-72. And McGeveran (2008). “Rethinking trademark fair use” in Iowa Law Review.

[] • Diaz, Ann-Christine (11 September 2010). “H5 Builds the World of Logorama” Retrieved March 14, 2010 from []. You make some excellent points.

I originally thought of Logorama as straight up satire, up until it won the Academy. Now with this piece, you got me thinking. Specifically, I began thinking about Shepard Fairey’s Andre the Giant campaign which he has now successfully iconized and marketed to the demographic that subscribes to certain value systems that traditional marketing cannot capture. Has written some interesting articles on marketing to the new generation. Mostly he talks about stealth marketing and embedded marketing, but I think Logorama pushes another form of marketing.