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Abandoning the Girl Show Ghetto: Introducing and Incorporating Care Ethics to Girls' Animation
AN ABSTRACT OF THE THESIS OF Adam C. Hughes for the degree of Master of Arts in Applied Ethics presented on July 15, 2013 Title: Abandoning the Girl's Show Ghetto: Introducing and Incorporating Care Ethics to Girls' Animation Abstract approved: Flora L. Leibowitz In regards to animation created and aimed at them, girls are largely underserved and underrepresented. This underrepresentation leads to decreased socio-cultural capital in adulthood and a feeling of sacrificed childhood. Although there is a common consensus in entertainment toward girls as a potentially deficient audience, philosophy and applied ethics open up routes for an alternative explanation of why cartoons directed at young girls might not succeed. These alternative explanations are fueled by an ethical contract wherein producers and content creators respect and understand their audience in return for the privilege of entertaining. ©Copyright by Adam C. Hughes July 15, 2013 All Rights Reserved Abandoning the Girl Show Ghetto: Introducing and Incorporating Care Ethics to Girls' Animation by Adam C. Hughes A THESIS submitted to Oregon State University in partial fulfillment of the requirements for the degree of Master of Arts Presented July 15, 2013 Commencement June 2014 Master of Arts thesis of Adam C. Hughes presented on July 15, 2013 APPROVED: Major Professor, representing Applied Ethics Director of the School of History, Philosophy, and Religion Dean of the Graduate School I understand that my thesis will become part of the permanent collection of Oregon State University libraries. My signature below authorizes the release of my thesis to any reader upon request. Adam C. Hughes, Author ACKNOWLEDGEMENTS This author expresses sincere respect for all animators and entertainers who strive to create a better profession for themselves and their audiences. -
Download the Word Farm 2016 Program
Word Farm 2016 Students Aubrie Amstutz Phalguni Laishram Joe Arciniega Gustavo Melo December Brown Claudia Niles Charlotte Burns Mia Roncati Derek Buss Melvin Singh Isabelle Carasso Corine Toren Christopher Connor Mel Weisberger Brendan Dassey Sydney Wiklund Phoebe DeLeon Dwight Yao Phi Do Julia Dumas Sylvia Garcia Gustavo A. Gonzalez Christine Hwynh Jae Hwan Kim Class Schedule Friday, January 29 9:00 Coffee & Snacks Sign-In 10:00-12:00 Session 1 Bryce & Jackie Zabel Tom Lazarus 12:00-1:00 Lunch 1:00-3:00 Session 2 David Gerrold Mitchell Kreigman Saturday, January 24 9:00 Coffee & Snacks 10:00-12:00 Session 3 Cheri Steinkellner J Kahn 12:00-1:00 Lunch 1:00-3:00 Session 4 Matt Allen & Lisa Mathis Dean Pitchford 3:00-3:30 Snacks 3:30-5:30 Session 5 Anne Cofell Saunders Toni Graphia 6:30 Dinner Annenberg Conference Room - 4315 SSMS Sunday, January 25 9:00 Coffee & Snacks 10:00-12:00 Session 6 Glenn Leopold Kevin McKiernan 12:00-1:00 Lunch 1:00-3:00 Session 7 Amy Pocha Allison Anders 3:00-3:30 Snacks 3:30-5:00 Session 8 Omar Najam & Mia Resella Word Farm Bios Allison Anders Allison Anders is an award-winning film and television writer and director. She attended UCLA film school and in 1984 had her first professional break working for her film mentor Wim Wenders on his movie Paris, Texas (1984). After graduation, Anders had her first film debut,Border Radio (1987), which she co-wrote and co-directed with Kurt Voss. -
Sloane Drayson Knigge Comic Inventory (Without
Title Publisher Author(s) Illustrator(s) Year Number Donor Box # 1,000,000 DC One Million 80-Page Giant DC NA NA 1999 NA Sloane Drayson-Knigge 1 A Moment of Silence Marvel Bill Jemas Mark Bagley 2002 1 Sloane Drayson-Knigge 1 Alex Ross Millennium Edition Wizard Various Various 1999 NA Sloane Drayson-Knigge 1 Open Space Marvel Comics Lawrence Watt-Evans Alex Ross 1999 0 Sloane Drayson-Knigge 1 Alf Marvel Comics Michael Gallagher Dave Manak 1990 33 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 1999 1 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 1999 2 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 1999 3 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 1999 4 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 2000 5 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 2000 6 Sloane Drayson-Knigge 1 Aphrodite IX Top Cow Productions David Wohl and Dave Finch Dave Finch 2000 0 Sloane Drayson-Knigge 1 Archie Marries Veronica Archie Comics Publications Michael Uslan Stan Goldberg 2009 600 Sloane Drayson-Knigge 1 Archie Marries Veronica Archie Comics Publications Michael Uslan Stan Goldberg 2009 601 Sloane Drayson-Knigge 1 Archie Marries Veronica Archie Comics Publications Michael Uslan Stan Goldberg 2009 602 Sloane Drayson-Knigge 1 Archie Marries Betty Archie Comics Publications Michael Uslan Stan Goldberg 2009 603 Sloane Drayson-Knigge 1 Archie Marries Betty Archie Comics Publications Michael Uslan Stan Goldberg 2009 -
Adventure Time References in Other Media
Adventure Time References In Other Media Lawlessly big-name, Lawton pressurize fieldstones and saunter quanta. Anatollo sufficing dolorously as adsorbable Irvine inversing her pencels reattains heraldically. Dirk ferments thick-wittedly? Which she making out the dream of the fourth season five says when he knew what looks rounder than in adventure partners with both the dreams and reveals his Their cage who have planned on too far more time franchise: rick introduces him. For this in other references media in adventure time of. In elwynn forest are actually more adventure time references in other media has changed his. Are based around his own. Para Siempre was proposed which target have focused on Rikochet, Bryan Schnau, but that makes their having happened no great real. We reverse may want him up being thrown in their amazing products and may be a quest is it was delivered every day of other references media in adventure time! Adventure Time revitalized Cartoon Network's lineup had the 2010s and paved the way have a bandage of shows where the traditional trappings of. Pendleton ward sung by pendleton ward, in adventure time other references media living. Dark Side of old Moon. The episode is precisely timed out or five seasons one can be just had. Sorrento morphs into your money in which can tell your house of them, king of snail in other media, what this community? The reference people who have you place of! Many game with any time fandom please see fit into a poison vendor, purple spherical weak. References to Movies TV Games and Pop Culture GTA 5. -
The Community-Centered Cult Television Heroine, 1995-2007
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, and Student Research: Department of English English, Department of 2010 "Just a Girl": The Community-Centered Cult Television Heroine, 1995-2007 Tamy Burnett University of Nebraska at Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/englishdiss Part of the Feminist, Gender, and Sexuality Studies Commons, Literature in English, North America Commons, and the Visual Studies Commons Burnett, Tamy, ""Just a Girl": The Community-Centered Cult Television Heroine, 1995-2007" (2010). Dissertations, Theses, and Student Research: Department of English. 27. https://digitalcommons.unl.edu/englishdiss/27 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, and Student Research: Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. “JUST A GIRL”: THE COMMUNITY-CENTERED CULT TELEVISION HEROINE, 1995-2007 by Tamy Burnett A DISSERTATION Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Philosophy Major: English (Specialization: Women‟s and Gender Studies) Under the Supervision of Professor Kwakiutl L. Dreher Lincoln, Nebraska May, 2010 “JUST A GIRL”: THE COMMUNITY-CENTERED CULT TELEVISION HEROINE, 1995-2007 Tamy Burnett, Ph.D. University of Nebraska, 2010 Adviser: Kwakiutl L. Dreher Found in the most recent group of cult heroines on television, community- centered cult heroines share two key characteristics. The first is their youth and the related coming-of-age narratives that result. -
00:00:02 Jesse Thorn Promo Welcome to the Judge John Hodgman Podcast
00:00:00 Sound Effect Transition [Three gavel bangs.] 00:00:02 Jesse Thorn Promo Welcome to the Judge John Hodgman podcast. I'm Bailiff Jesse Thorn. With me as always, the judge himself, Judge John Hodgman. We're gonna go into the courtroom in just a second, but first, this is week two of the MaxFunDrive. 00:00:16 John Promo Yeah, thank you so much for making week one so great! I mean, Hodgman look, we wanted to keep this, you know, MaxFun, but MinDrive, because it's such a strange time. But everyone in their own low-key and wonderful and supportive way, just all the shout-outs on Twitter, all the fun times we had together on the pub quiz, frankly it's been just a wonderful distraction for me. And obviously a huuuge boon to Maximum Fun. Because, you know, without MaxFun, without its members, we couldn't keep doing this show! This time or any time. Maximum Fun is audience supported, which means we're free to make the content you enjoy because people like you become members and contribute. 00:00:56 Jesse Promo We'll talk more about the MaxFunDrive later on in the show. But you can become a member now at MaximumFun.org/join. That's MaximumFun.org/join. Any level that you're comfortable with, and you can check out the great thank-you gifts we have this year there, too. That's MaximumFun.org/join. Now! On to this week's case! "Vampirical Evidence" (Empirical Evidence). Bethany brings the case against her wife, Heather. -
Jack in the Box Corporate
June 28, 2002 Powerpuff Girls Soar into Jack's Crime-fighting cuties team up with Jack in the Box® restaurants on exclusive promotional tie-in for �The Powerpuff Girls Movie� SAN DIEGO - When they're not learning their ABC's at Pokey Oaks Kindergarten or ridding the streets of Townsville of vile villains, America's favorite pint-sized superheroes, The Powerpuff Girls, can be found at Jack in the Box® restaurants. Beginning Monday, July 1, Jack in the Box restaurants will launch an exclusive promotional tie-in with "The Powerpuff Girls Movie," which punches its way into theaters on Wednesday, July 3. The promotion will include six action-packed toys that feature Townsville's own 5-year-old superkiddies and Mojo Jojo, the tots' evil monkey nemesis with a Mensa membership and a taste for mayhem. The toys include: Punching Buttercup Mojo Jojo's Volcano Viewer Kung-Fu Bubbles Bulging Brains Mojo Jojo Karate Kick Blossom Skyscraper Mo Mojo Jojo Jack in the Box will offer one Powerpuff Girls toy with each purchase of a Jack's Kid's Meal®, which includes a hamburger, cheeseburger or chicken pieces with french fries and a 16-oz. beverage. "Jack is a big fan of The Powerpuff Girls and we're thrilled to be part of the girls' leap to the big screen," said Jody Sawyer, product manager for Jack in the Box. "Due to the cartoon's broad appeal to both girls and boys, we expect the promotion to be a blockbuster with our younger guests." The Emmy Award-winning "The Powerpuff Girls," an original Cartoon Cartoon series from Cartoon Network, currently ranks among the network's top five highest-rated programs across households as well as a variety of kids demographics: kids 2-11, boys 2-11 and girls 6-11, to name a few. -
Introduction 1 Mimesis and Film Languages
Notes Introduction 1. The English translation is that provided in the subtitles to the UK Region 2 DVD release of the film. 2. The rewarding of Christoph Waltz for his polyglot performance as Hans Landa at the 2010 Academy Awards recalls other Oscar- winning multilin- gual performances such as those by Robert de Niro in The Godfather Part II (Coppola, 1974) and Meryl Streep in Sophie’s Choice (Pakula, 1982). 3. T h is u nder st a nd i ng of f i l m go es bac k to t he era of si lent f i l m, to D.W. Gr i f f it h’s famous affirmation of film as the universal language. For a useful account of the semiotic understanding of film as language, see Monaco (2000: 152–227). 4. I speak here of film and not of television for the sake of convenience only. This is not to undervalue the relevance of these questions to television, and indeed vice versa. The large volume of studies in existence on the audiovisual translation of television texts attests to the applicability of these issues to television too. From a mimetic standpoint, television addresses many of the same issues of language representation. Although the bulk of the exempli- fication in this study will be drawn from the cinema, reference will also be made where applicable to television usage. 1 Mimesis and Film Languages 1. There are, of course, examples of ‘intralingual’ translation where films are post-synchronised with more easily comprehensible accents (e.g. Mad Max for the American market). -
Theorising the Practice of Expressing a Fictional World Across Distinct Media and Environments
Transmedia Practice: Theorising the Practice of Expressing a Fictional World across Distinct Media and Environments by Christy Dena A thesis submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy (PhD) School of Letters, Art and Media Department of Media and Communications Digital Cultures Program University of Sydney Australia Supervisor: Professor Gerard Goggin Associate Supervisor: Dr. Chris Chesher Associate Supervisor: Dr. Anne Dunn 2009 Let’s study, with objectivity and curiosity, the mutation phenomenon of forms and values in the current world. Let’s be conscious of the fact that although tomorrow’s world does not have any chance to become more fair than any other, it owns a chance that is linked to the destiny of the current art [...] that of embodying, in their works some forms of new beauty, which will be able to arise only from the meet of all the techniques. (Francastel 1956, 274) Translation by Regina Célia Pinto, emailed to the empyre mailing list, Jan 2, 2004. Reprinted with permission. To the memory of my dear, dear, mum, Hilary. Thank you, for never denying yourself the right to Be. ~ Transmedia Practice ~ Abstract In the past few years there have been a number of theories emerge in media, film, television, narrative and game studies that detail the rise of what has been variously described as transmedia, cross-media and distributed phenomena. Fundamentally, the phenomenon involves the employment of multiple media platforms for expressing a fictional world. To date, theorists have focused on this phenomenon in mass entertainment, independent arts or gaming; and so, consequently the global, transartistic and transhistorical nature of the phenomenon has remained somewhat unrecognised. -
Animating Race the Production and Ascription of Asian-Ness in the Animation of Avatar: the Last Airbender and the Legend of Korra
Animating Race The Production and Ascription of Asian-ness in the Animation of Avatar: The Last Airbender and The Legend of Korra Francis M. Agnoli Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Art, Media and American Studies April 2020 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 2 Abstract How and by what means is race ascribed to an animated body? My thesis addresses this question by reconstructing the production narratives around the Nickelodeon television series Avatar: The Last Airbender (2005-08) and its sequel The Legend of Korra (2012-14). Through original and preexisting interviews, I determine how the ascription of race occurs at every stage of production. To do so, I triangulate theories related to race as a social construct, using a definition composed by sociologists Matthew Desmond and Mustafa Emirbayer; re-presentations of the body in animation, drawing upon art historian Nicholas Mirzoeff’s concept of the bodyscape; and the cinematic voice as described by film scholars Rick Altman, Mary Ann Doane, Michel Chion, and Gianluca Sergi. Even production processes not directly related to character design, animation, or performance contribute to the ascription of race. Therefore, this thesis also references writings on culture, such as those on cultural appropriation, cultural flow/traffic, and transculturation; fantasy, an impulse to break away from mimesis; and realist animation conventions, which relates to Paul Wells’ concept of hyper-realism. -
Third Wave Feminism and the Powerpuff Girls Evie Kendal Introduction the Popular Children's
There’s No One Perfect Girl: Third Wave Feminism and The Powerpuff Girls Evie Kendal Introduction The popular children’s television series, The Powerpuff Girls, was originally conceived by animator Craig McCracken under the name The Whoopass Girls in 1992.1 Following a name change and three alternative pilot epi- sodes, the series was picked up by the Cartoon Network and ran from 1995 through to 2005. During this time the show won several awards, including two Primetime Emmy awards for Outstanding Individual Achievement in Animation (2000 and 2005), and two Annie awards for Production Design and Musical Score in an Animated Series (2001).2 In this article I will be exploring The Powerpuff Girls from a feminist perspective, focusing on what is unique about this series and where it is positioned in popular media culture, before addressing some of the common criticisms of the show and identifying some of its major strengths. It will be my contention that The Powerpuff Girls embraces third-wave feminist ideology, with its focus on “Girl Power” and consumerism, while also abandoning the more individual- istic aspects of this brand of feminism by exploring the meaning of sister- hood and female empowerment through community. COLLOQUY text theory critique 24 (2012). © Monash University. www.arts.monash.edu.au/ecps/colloquy/journal/issue024/kendal.pdf ░ Third Wave Feminism and The Powerpuff Girls 235 Background: The relationship between the second and third waves of feminism According to Lise Shapiro Sanders, one of the major distinguishing features of third-wave feminism is the privileging of the “diversity of women’s experi- ence over the similarities amongst women,” with a particular focus on ad- dressing the inadequacies of second-wave ideology to deal with women’s experience beyond its “white, middle-class biases.”3 In this way, women of colour and those from the developing world were recruited into the fight for equality, while at the same time a radical reclamation of the symbols asso- ciated with traditional femininity was initiated. -
Celebrate the Visionary Talents of Jim Henson and David Bowie with the Labyrinth 30Th Anniversary Theatrical Re-Release and All-New Special Anniversary Editions
FOR IMMEDIATE RELEASE CELEBRATE THE VISIONARY TALENTS OF JIM HENSON AND DAVID BOWIE WITH THE LABYRINTH 30TH ANNIVERSARY THEATRICAL RE-RELEASE AND ALL-NEW SPECIAL ANNIVERSARY EDITIONS Fathom Events Presents The Jim Henson Company’s Classic Fantasy in Select Movie Theaters on Sept. 11 & 14 All-New 4K Restoration Presented in Collectible Digibook Packaging & Limited Edition Gift Set Debuts on 4K Ultra HD™, Blu-ray™, DVD & Digital Sept. 20 CULVER CITY, Calif. (April 25, 2016) – Sony Pictures Home Entertainment celebrates the 30th anniversary of the generation-defining fantasy: LABYRINTH, newly restored in 4K. Directed by renowned filmmaker Jim Henson, executive produced by George Lucas (Star Wars) and with a screenplay by Monty Python’s Terry Jones, LABYRINTH stars David Bowie (The Prestige) and Academy Award® winner Jennifer Connelly (Best Supporting Actress, A Beautiful Mind, 2001) in the story of a girl (Connelly) who must save her little brother from the Goblin King (Bowie). As part of the anniversary celebration, the film will have a limited engagement theatrical run through Fathom Events and will be shown in select movie theaters in the United States on Sept. 11 & 14. The theatrical engagements will also showcase select exclusive content. More information is available at http://www.fathomevents.com/event/labyrinth- 30th-anniversary. Following the theatrical re-release, the beloved fantasy will come to Blu-ray™ and next-generation 4K Ultra HD™ Sept. 20, with the Blu-ray available within a gorgeous 24-page Digibook package that includes rare photos and a look behind the scenes. In addition, the film will be released in a Limited Edition Gift Set in unique “mirrorbox” packaging inspired by the film’s climactic and iconic final scene.