Frame by Frame—Shot by Shot—Is to Drain It of Its Narrative Content
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The University of Chicago Looking at Cartoons
THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174 -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
Animated Stereotypes –
Animated Stereotypes – An Analysis of Disney’s Contemporary Portrayals of Race and Ethnicity Alexander Lindgren, 36761 Pro gradu-avhandling i engelska språket och litteraturen Handledare: Jason Finch Fakulteten för humaniora, psykologi och teologi Åbo Akademi 2020 ÅBO AKADEMI – FACULTY OF ARTS, PSYCHOLOGY AND THEOLOGY Abstract for Master’s Thesis Subject: English Language and Literature Author: Alexander Lindgren Title: Animated Stereotypes – An Analysis of Disney’s Contemporary Portrayals of Race and Ethnicity Supervisor: Jason Finch Abstract: Walt Disney Animation Studios is currently one of the world’s largest producers of animated content aimed at children. However, while Disney often has been associated with themes such as childhood, magic, and innocence, many of the company’s animated films have simultaneously been criticized for their offensive and quite problematic take on race and ethnicity, as well their heavy reliance on cultural stereotypes. This study aims to evaluate Disney’s portrayals of racial and ethnic minorities, as well as determine whether or not the nature of the company’s portrayals have become more culturally sensitive with time. To accomplish this, seven animated feature films produced by Disney were analyzed. These analyses are of a qualitative nature, with a focus on imagology and postcolonial literary theory, and the results have simultaneously been compared to corresponding criticism and analyses by other authors and scholars. Based on the overall results of the analyses, it does seem as if Disney is becoming more progressive and culturally sensitive with time. However, while most of the recent films are free from the clearly racist elements found in the company’s earlier productions, it is quite evident that Disney still tends to rely heavily on certain cultural stereotypes. -
Indices for Alley Sing-A-Long Books
INDICES FOR ALLEY SING-A-LONG BOOKS Combined Table of Contents Places Index Songs for Multiple Singers People Index Film and Show Index Year Index INDICES FOR THE UNOFFICIAL ALLEY SING-A-LONG BOOKS Acknowledgments: Indices created by: Tony Lewis Explanation of Abbreviations (w) “words by” (P) “Popularized by” (CR) "Cover Record" i.e., a (m) “music by” (R) “Rerecorded by” competing record made of the same (wm) “words and music by” (RR) “Revival Recording” song shortly after the original record (I) “Introduced by” (usually the first has been issued record) NARAS Award Winner –Grammy Award These indices can be downloaded from http://www.exelana.com/Alley/TheAlley-Indices.pdf Best Is Yet to Come, The ............................................. 1-6 4 Between the Devil and the Deep Blue Sea .................. 2-6 nd Bewitched .................................................................... 1-7 42 Street (see Forty-Second Street) ........................ 2-20 Beyond the Sea ............................................................ 2-7 Bicycle Built for Two (see Daisy Bell) ..................... 2-15 A Big Spender ................................................................. 2-6 Bill ............................................................................... 1-7 A, You’re Adorable (The Alphabet Song) .................. 1-1 Bill Bailey, Won’t You Please Come Home ............... 1-8 Aba Daba Honeymoon, The ........................................ 1-1 Black Coffee ............................................................... -
Jazz Im Film
Jazz im Film »Jazz ist für mich eine Geistes- oder Lebenshaltung und Schwarze Musiker erscheinen in den Spielfilmen nur nicht so sehr eine bestimmte Musikrichtung. Ebenso wie als Randfiguren, in Kurzfilmen, die hauptsächlich Songs eine Filmvorführung im Kinosaal kann der Jazz eine Form illustrieren, müssen sie in klischeehaften Spielszenen des Sich-Lösens und des Sich-Entfernens vom Alltäglichen agieren, die diese Songs miteinander verbinden. Den- sein. Wenn ich ein bekanntes Stück wie z.B. ›Summertime‹ von Gershwin zum wiederholten Male höre und dennoch im- noch sind Filme wie ST. LOUIS BLUES (1929), A RHAP- mer wieder von der Interpretation berührt werde oder nicht SODY IN BLACK AND BLUE (1932) heute einzigartige mehr über die Grundmelodie nachdenke, dann ist das für Dokumente, in manchen Fällen die einzigen erhaltenen mich Jazz. Dieses Erlebnis kann ich sowohl auf die Musik als filmischen Aufnahmen legendärer Jazzgrößen, die die auch auf den Film übertragen.« Julian Benedikt ihnen auferlegten mitunter absurden Szenarien einfach überstrahlen. Am besten gelingt die Symbiose von Jazz »Im Gegensatz zu anderen Kunstformen ist der Film nie das Werk eines Einzelnen. Er basiert auf einem Kollek- und Film in einigen frühen Zeichentricktonfilmen: Ins- tiv, fast wie eine Jam-Session im Jazz. Der Bassist hat besondere Dave Fleischer konnte Exzentriker wie Cab zum Beispiel seinen eigenen Verantwortungsbereich, er Calloway und Louis Armstrong mit ihrer Musik mühelos liefert das rhythmische Rückgrat. Der Schlagzeuger ver- in das anarchistische Universum seines Zeichentrick- vollständigt das zusammen mit dem Pianisten – das har- filmvamps Betty Boop integrieren, MINNIE THE MOO- monisch-rhythmische Rückgrat. Diese Dinge lassen sich CHER (1932), I’LL BE GLAD WHEN YOU’RE DEAD, YOU auch auf den Film übertragen. -
The Walt Disney Silly Symphony Cartoons and American Animation in the 1930S
Exploration in Imagination: The Walt Disney Silly Symphony Cartoons and American Animation in the 1930s By Kendall Wagner In the 1930s, Americans experienced major changes in their lifestyles when the Great Depression took hold. A feeling of malaise gripped the country, as unemployment rose, and money became scarce. However, despite the economic situation, movie attendance remained strong during the decade.1 Americans attended films to escape from their everyday lives. While many notable live-action feature-length films like The Public Enemy (1931) and It Happened One Night (1934) delighted Depression-era audiences, animated cartoon shorts also grew in popularity. The most important contributor to the evolution of animated cartoons in this era was Walt Disney, who innovated and perfected ideas that drastically changed cartoon production.2 Disney expanded on the simple gag-based cartoon by implementing film technologies like synchronized sound and music, full-spectrum color, and the multiplane camera. With his contributions, cartoons sharply advanced in maturity and professionalism. The ultimate proof came with the release of 1937’s Snow White and the Seven Dwarfs, the culmination of the technical and talent development that had taken place at the studio. The massive success of Snow White showed that animation could not only hold feature-length attention but tell a captivating story backed by impressive imagery that could rival any live-action film. However, it would take nearly a decade of experimentation at the Disney Studios before a project of this size and scope could be feasibly produced. While Mickey Mouse is often solely associated with 1930s-era Disney animation, many are unaware that alongside Mickey, ran another popular series of shorts, the Silly Symphony cartoons. -
Missouri State Archives Finding Aid 5.20
Missouri State Archives Finding Aid 5.20 OFFICE OF SECRETARY OF STATE COMMISSIONS PARDONS, 1836- Abstract: Pardons (1836-2018), restorations of citizenship, and commutations for Missouri convicts. Extent: 66 cubic ft. (165 legal-size Hollinger boxes) Physical Description: Paper Location: MSA Stacks ADMINISTRATIVE INFORMATION Alternative Formats: Microfilm (S95-S123) of the Pardon Papers, 1837-1909, was made before additions, interfiles, and merging of the series. Most of the unmicrofilmed material will be found from 1854-1876 (pardon certificates and presidential pardons from an unprocessed box) and 1892-1909 (formerly restorations of citizenship). Also, stray records found in the Senior Reference Archivist’s office from 1836-1920 in Box 164 and interfiles (bulk 1860) from 2 Hollinger boxes found in the stacks, a portion of which are in Box 164. Access Restrictions: Applications or petitions listing the social security numbers of living people are confidential and must be provided to patrons in an alternative format. At the discretion of the Senior Reference Archivist, some records from the Board of Probation and Parole may be restricted per RSMo 549.500. Publication Restrictions: Copyright is in the public domain. Preferred Citation: [Name], [Date]; Pardons, 1836- ; Commissions; Office of Secretary of State, Record Group 5; Missouri State Archives, Jefferson City. Acquisition Information: Agency transfer. PARDONS Processing Information: Processing done by various staff members and completed by Mary Kay Coker on October 30, 2007. Combined the series Pardon Papers and Restorations of Citizenship because the latter, especially in later years, contained a large proportion of pardons. The two series were split at 1910 but a later addition overlapped from 1892 to 1909 and these records were left in their respective boxes but listed chronologically in the finding aid. -
The Rita Williams Popular Song Collection a Handlist
The Rita Williams Popular Song Collection A Handlist A wide-ranging collection of c. 4000 individual popular songs, dating from the 1920s to the 1970s and including songs from films and musicals. Originally the personal collection of the singer Rita Williams, with later additions, it includes songs in various European languages and some in Afrikaans. Rita Williams sang with the Billy Cotton Club, among other groups, and made numerous recordings in the 1940s and 1950s. The songs are arranged alphabetically by title. The Rita Williams Popular Song Collection is a closed access collection. Please ask at the enquiry desk if you would like to use it. Please note that all items are reference only and in most cases it is necessary to obtain permission from the relevant copyright holder before they can be photocopied. Box Title Artist/ Singer/ Popularized by... Lyricist Composer/ Artist Language Publisher Date No. of copies Afrikaans, Czech, French, Italian, Swedish Songs Dans met my Various Afrikaans Carstens- De Waal 1954-57 1 Afrikaans, Czech, French, Italian, Swedish Songs Careless Love Hart Van Steen Afrikaans Dee Jay 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Ruiter In Die Nag Anton De Waal Afrikaans Impala 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Van Geluk Tot Verdriet Gideon Alberts/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs Wye, Wye Vlaktes Martin Vorster/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs My Skemer Rapsodie Duffy -
George P. Johnson Negro Film Collection LSC.1042
http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections. -
Using Film and Literature to Examine Uncle Remus: a Comparison and Analysis of the Film—Song of the South
Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1996 Volume III: Race and Representation in American Cinema Using Film and Literature to Examine Uncle Remus: A Comparison and Analysis of the Film—Song Of The South Curriculum Unit 96.03.02 by Felicia R. McKinnon Grade level Second-Sixth grade students Time Eight weeks, 30-40 minutes per day I am a second grade teacher at L.W. Beecher School in the city of New Haven. The prevailing demographic is that of a predominant African-American culture. Many of the families in the school come from regions with direct links to African culture -the West Indies, Bahamas, West and South Africa and especially the American South. Because of the dominance in African ancestry, I felt that my students would benefit from Black History taught from a different angle. Routinely, we teach Black History every February; during this time we bombard the students with facts, names and dates that they never really are able to internalize. The main cause in this failure to assimilate the required information is a basic lack of foundation for the information to make any real sense to them. Accordingly, in my unit I plan to expose them to the oral tradition of storytelling and provide facts about the contributions of African-Americans to this oral tradition in an attempt to approach the history and dynamics of African-American folklore from a more comprehensive perspective. Additionally, I plan to immerse them in the oral tradition by allowing them to see storytelling in films, experience the story with a professional storyteller, create their own folktales, and even have the opportunity to become the storyteller. -
Sonic Icons: Prominent Moments of Cinematic Self- Reflexivity 2018
Repositorium für die Medienwissenschaft Winfried Pauleit Sonic Icons: Prominent Moments of Cinematic Self- Reflexivity 2018 https://doi.org/10.25969/mediarep/14812 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Pauleit, Winfried: Sonic Icons: Prominent Moments of Cinematic Self-Reflexivity. In: Research in Film and History. New Approaches (2018), S. 1–45. DOI: https://doi.org/10.25969/mediarep/14812. Erstmalig hier erschienen / Initial publication here: https://film-history.org/approaches/sonic-icons Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ 1 Sonic Icons Prominent Moments of Cinematic Self-Reflexivity Winfried Pauleit Published: November 21, 2018 Figure 1. THE KING'S SPEECH, Tom Hooper, UK/USA/AUS 2010 History produces sound recordings. And sound recordings shape history in turn. This interrelationship is clearly attested to in recordings of historical voices, such as that of John F. Kennedy’s speech before the Schöneberger Rathaus in Berlin on June 26, 1963. Sections of this recording have taken on a life of their own, becoming iconic sound bites over the course of their frequent rebroadcasting, not least Kennedy’s famous phrase “Ich bin ein Berliner”. In the context of his thoughts on the history of Weimar and Nazi era music, Brian Currid introduced the concept of “sonic icons” to describe 1. -
A Tribute to Walt Disney Productions Sunday, April 9, 1978
A Tribute to Walt Disney Productions Sunday, April 9, 1978 Delta Kappa ·Alpha's 39th. Annual Awards Banquet Delta Kappa Alpha National Honorary Cinema Fraternity Division of Ci111ma UNIVERSITY oF SouTHERN C ALIFORNIA ScHOOL OF P ERFORMI IIC AttTS U IIIVIRSITY PARK March 31, 1978 Los A IICELES, CALIFORNIA 90007 DKA Honorarits JuUe Andrtrr• Frtd. AJCaire Greetings: Lucill< Ball '..ucieo Ba1latd Anne Bu ur Ricbard Bnd1 On behalf of the Alpha Chapter of Delta Kappa Alpha, ~ittk~a~ , . the National Honorary Cinema Fraternity, I wish to Scaoley Conn extend my warmest welcome to you on the occasion ?x;~~~:u of our thirty-ninth Annual Awards Banqu7t. Delmer Dava rr::!eb~c o AllanDwon The fraternity was established in 1937 and is Blok< EdwordJ Rudf Fchr dedicated to the furthering of the film arts and to Sylvta FiDe )Obo Flory the promotion of better relations between the Gl<nn Ford Gene Fowler academic and practicing members of the industry, Marjorie Fowler both theatrical and non-theatrical. Our Greek ~~u~ ·r~:J•• Lee Garmc:t letters symbolize the Dramatic, Kinematic and Gl'ftr Ganoo John Gr¥cD Aesthetic aspects of film. Coond Hall Henry Hathawar Howard Hawks EdirhHnd Of our yearly activities, the Banquet is one of All red H irchcodt Wilton Holm the most gratifying. It gives us the opportunity Ross Hu nter John Hu•oo to recognize the truly talented people in the in Norman JcwiiOD "Chuck" {,OD .. dustry, people who direct its future. Crtnt K<l7 Stanley Kramer Lf~rv~!, This year we feel that the honorees are most ~lltmr Roubtn Mamoulian worthy of such distinction £or their tremendous WaherMaubau Sc:eYc McQueen contribution to the art of animation.