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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. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Dissecting the Sundance Curse: Exploring Discrepancies Between Film Reviews by Professional and Amateur Critics
Dissecting the Sundance Curse by Lucas Buck — 27 Dissecting the Sundance Curse: Exploring Discrepancies Between Film Reviews by Professional and Amateur Critics Lucas Buck Cinema and Television Arts Elon University Submitted in partial fulfillment of the requirements in an undergraduate senior capstone course in communications Abstract There has been a growing discrepancy between professional-critic film reviews and audience-originating film reviews. In fact, these occurrences have become so routine, industry writers often reference a “Sundance Curse” – when a buzzy festival-circuit film bombs with the general public, commercially or critically. This study examines this inconsistency to determine which aspects of a film tend to draw the most attention from each respective type of critic. A qualitative content analysis of 20 individual reviews was conducted to determine which elements present in a film garnered the most attention from the reviewers, and whether that attention was positive, negative or neutral. This study indicates that audience film reviewers overwhelmingly focused on the “emotional response” gleaned from their movie-going experience above all other aspects of the film, whereas professional critics focused attention to more tangible – above-the-line contributions, such as direction, performances, and writing. I. Introduction As one of the most talked-about films of the 2018 Sundance Film Festival, theA24-released Hereditary became the breakout horror film of the year, opening in nearly 3,000 theaters and raking in $79 million while produced on just a $10 million production budget (Cusumano, 2018). Despite the obvious box office success, Hereditary’s word-of-mouth power seemed to have mostly been driven by glowing critical reviews, rather than by the opinion of audiences who paid to see the film. -
Prohibiting Product Placement and the Use of Characters in Marketing to Children by Professor Angela J. Campbell Georgetown Univ
PROHIBITING PRODUCT PLACEMENT AND THE USE OF CHARACTERS IN MARKETING TO CHILDREN BY PROFESSOR ANGELA J. CAMPBELL1 GEORGETOWN UNIVERSITY LAW CENTER (DRAFT September 7, 2005) 1 Professor Campbell thanks Natalie Smith for her excellent research assistance, Russell Sullivan for pointing out examples of product placements, and David Vladeck, Dale Kunkel, Jennifer Prime, and Marvin Ammori for their helpful suggestions. Introduction..................................................................................................................................... 3 I. Product Placements............................................................................................................. 4 A. The Practice of Product Placement......................................................................... 4 B. The Regulation of Product Placements................................................................. 11 II. Character Marketing......................................................................................................... 16 A. The Practice of Celebrity Spokes-Character Marketing ....................................... 17 B. The Regulation of Spokes-Character Marketing .................................................. 20 1. FCC Regulation of Host-Selling............................................................... 21 2. CARU Guidelines..................................................................................... 22 3. Federal Trade Commission....................................................................... 24 -
2610 Canada Blvd
2610 Canada Blvd. Glendale, CA 91208 FOR SALE CAROLINE GIM Expert Real Estate & Investment 562 861 4311 Direct [email protected] STEVE GIM Vice President NAI Capital Commercial Inc. 949.468.2333 Direct 562.822.0420 Mobile [email protected] CA DRE #01400546 Opportunity Overview: DAVID KNOWLTON, SIOR, CCIM NAI Capital Commercial, Inc and Expert Real Estate are proud to present a rare opportunity to own a beautiful Executive Vice President 1940’s Residential Duplex in desirable Glendale, CA. On the market for the first time in over 40 years, this NAI Capital Commercial, Inc. charming property features two spacious ; 2+2 and 2+1 units on 0.29 acres. The asset features original 949.468.2307 Direct hardwood floors and two fireplaces in each unit. In addition, there is plenty of onsite parking with a four‐car 949.887.7872 Mobile detached garage. Possible ADU garage conversion or completely redevelop into 4 units with the current R‐3050 Land Zoning Classification. Buyer to verify all information as part of their Due Diligence. [email protected] CA DRE #00893394 No warranty, express or implied, is made as to the accuracy of the information contained herein. This information is submitted subject to errors, omissions, change of price, rental or other conditions, withdrawal without notice, and is subject to any special listing conditions imposed by our principals. Cooperating brokers, buyers, tenants and other parties who receive this document should not rely on it, but should use it as a starting point of analysis, and should independently confirm the accuracy of the information contained herein through a due diligence review of the books, records, files and documents that constitute reliable sources of the information described herein. -
An Analysis of Moral Values in Zootopia Movie
AN ANALYSIS OF MORAL VALUES IN ZOOTOPIA MOVIE THESIS Submitted by: MAULIDIA HUMAIRA Student of Department of English Language Education Faculty of Education and Teacher Training Reg. No: 231324225 FACULTY OF EDUCATION AND TEACHER TRAINING AR-RANIRY STATE ISLAMIC UNIVERSITY DARUSSALAM-BANDA ACEH 2018/1439 H ACKNOWLEDGEMENT Alhamdulillah, All praises be to Allah ‘azzawajalla, the most gracious, the most merciful, andthe most beneficent who has given me love and blessing that made me able to finish this research and writing this thesis. Peace and salutation be upon our beloved prophet Muhammad SAW, his family and companions has struggled whole heartedly to guide ummah to the right path. On this occasion with great humility, I would like to thank to all of those who help me and guidance, so that this thesis can be finished in time. Completion of writing this thesis, I would like to thanks Dr. Muhammad Nasir, M.Hum and Mr. T. Murdani, S.Ag, M.IntlDev as my supervisor forgiving the useful supervision, guidance and constructive ideas during the process of completing this thesis. Also I would like to express my gratitude and high appreciation to my beloved father Burhanuddin, and my lovely mother Rasunah for their wisdom, patience, love, attention, support and care. I also bestow my thankfulness to my beloved sisters Puspitasari and Safrida , my brothers Hafidh Kurniawan and Muhammad Irfan, and my cousins Putri Nabila Ulfa and Maulizahra, for their endless love who inspired and motivated me all along accomplishing this thesis. My special thanks to my academic advisor Mr. Dr.Syarwan, M.LIS, who has supervised me since I was first semester until now. -
PROGRAM NOTES Disney in Concert: Around the World Quincy Symphony Orchestra September 29, 2019 Quincy, IL Notes by Dr
PROGRAM NOTES Disney in Concert: Around the World Quincy Symphony Orchestra September 29, 2019 Quincy, IL Notes by Dr. Paul Borg We begin our season with a generous offering of music from the films of the Walt Disney Company [Walt Disney Productions until 1986]. When Walt Disney died in 1966, the corporation continued his inspired and successful animated-film output. Although not all of nearly 200 animations, live-action films, television series, documentaries, or videos are equally memorable, everyone today has heard many of the songs associated with the films, whether from viewing the films, listening to recordings, or in live concerts such as this one. In the late 1920s and 30s films had newly been furnished with recorded sound, giving motion pictures real-time spoken dialogue among the characters as well as music that could entertain with songs embedded in the storyline. Music could also be employed to enhance or evoke a particular emotion--think the spooky two-note shark approach in Jaws or the "screeching" of the knife in the shower scene of Psycho. Walt Disney and his brother Roy extended these sound element to animated cartoons, short at first (Steamboat Willie) and eventually feature length (Snow White and the Seven Dwarfs). Disney's intent to continue a series of fairy tale animations was interrupted by the Second World War, during which he and his collaborators produced a series of training and propaganda films, even using Donald Duck in some comical short sketches. After the war, Disney turned his vision to television and then his entertainment parks, starting with Disneyland in 1955. -
Chapter 1: Mattes and Compositing Defined Chapter 2: Digital Matting
Chapter 1: Mattes and Compositing Defined Chapter 2: Digital Matting Methods and Tools Chapter 3: Basic Shooting Setups Chapter 4: Basic Compositing Techniques Chapter 5: Simple Setups on a Budget Chapter 6: Green Screens in Live Broadcasts Chapter 7: How the Pros Do It one PART 521076c01.indd 20 1/28/10 8:50:04 PM Exploring the Matting Process Before you can understand how to shoot and composite green screen, you first need to learn why you’re doing it. This may seem obvious: you have a certain effect you’re trying to achieve or a series of shots that can’t be done on location or at the same time. But to achieve good results from your project and save yourself time, money, and frustration, you need to understand what all your options are before you dive into a project. When you have an understanding of how green screen is done on all levels you’ll have the ability to make the right decision for just about any project you hope to take on. 521076c01.indd 1 1/28/10 8:50:06 PM one CHAPTER 521076c01.indd 2 1/28/10 8:50:09 PM Mattes and Compositing Defined Since the beginning of motion pictures, filmmakers have strived to create a world of fantasy by combining live action and visual effects of some kind. Whether it was Walt Disney creating the early Alice Comedies with cartoons inked over film footage in the 1920s or Ray Harryhausen combining stop-motion miniatures with live footage for King Kong in 1933, the quest to bring the worlds of reality and fantasy together continues to evolve. -
Redefining Gender in Disney Films from the 20Th to 21St Century Shrien Alshabasy SUNY New Paltz Honors Thesis 2018-2019
Alshabasy 1 "A Whole New World": Redefining Gender in Disney Films from the 20th to 21st Century Shrien Alshabasy SUNY New Paltz Honors Thesis 2018-2019 Alshabasy 2 The Disney Dynasty is as familiar to American culture as apple pie. Sitting on land that is twice the size of Manhattan, the Disney Kingdom has expanded over the years to create a whole new world; a world seriously considered by cultural theorists like Baudrillard, as a simulacrum, a symbol so close to reality that it becomes hyperreality. Before water parks and resort hotels, before Disney bought out the land of orange groves and walnut trees in Anaheim, California, the Magic Kingdom began its conquest on American ideology. The Walt Disney Company started in 1923 as “The Disney Brothers Cartoon Studio,” and churned out films that embodied American ideals. Oftentimes, these films were set in 19th century rural America and featured an American hero -- usually Mickey Mouse, who could outwork and challenge any enemy big or small with his bravery. An embodiment of American ideals, Disney films became loved and endeared by audiences during morally depleting times, like the Depression years (“How Disney Came to Define What Constitutes the American Experience”). Audiences latched onto these ideals, seemingly stable, even when external factors were not. In 1938, Disney shifted gears into feature films with his vision of Snow White and the Seven Dwarfs. Although many had their doubts, after three years of work Snow White was released and it quickly became the highest grossing film of all time. Feature films became the money makers for Disney and the start of consumer fascination with Disney culture (“Disney Animation Is Closing the Book on Fairy Tales”). -
Diplomarbeit
DIPLOMARBEIT Titel der Diplomarbeit “Alice’s Journey Through Utopian and Dystopian Wonderlands“ verfasst von Katharina Fohringer, BA angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2015 Studienkennzahl lt. Studienblatt: A 190 344 333 Studienrichtung lt. Studienblatt: Lehramtsstudium Englisch, Deutsch Betreut von: o.Univ.-Prof. Dr. Margarete Rubik TABLE OF CONTENTS 1. INTRODUCTION ............................................................................................ 3 2. ADAPTATION THEORY ................................................................................ 5 2.1. Defining and Categorizing Adaptations .................................................... 5 2.2. Approaches to Analysis ............................................................................ 8 2.2.1. Meaning and Reality .......................................................................... 8 2.2.2. Narrative, Time and Space .............................................................. 11 2.2.3. Film Techniques............................................................................... 14 3. UTOPIA AND DYSTOPIA ON SCREEN...................................................... 16 3.1. Definitions .............................................................................................. 16 3.2. Historical Development of Utopia in Film ............................................... 18 3.3. Categories for Analysis .......................................................................... 21 4. FILM ANALYSIS ......................................................................................... -
Frozen out Pdf, Epub, Ebook
FROZEN OUT PDF, EPUB, EBOOK Quentin Bates | 336 pages | 27 Jan 2011 | Little, Brown Book Group | 9781849013604 | English | London, United Kingdom Frozen Out PDF Book Frozen Fever Retrieved May 5, Archived from the original on August 10, Archived from the original on March 7, Archived from the original on March 13, Retrieved December 11, Archived from the original on June 7, Lee had to work through how to write Anna's personality; some of her colleagues felt Anna should be more dysfunctional and co-dependent. WDW Info. It went on to receive six Academy Award nominations the following year. Retrieved December 5, Hyrum Osmond, the supervising animator on Olaf, is quiet but he has a funny, wacky personality so we knew he'd bring a lot of comedy to it; Anna's animator, Becky Bresee , it's her first time leading a character and we wanted her to lead Anna. Alternate Versions. Viacom International Inc. Frozen soundtrack accolades Frozen II soundtrack. October 7, Film Music Reporter. Retrieved January 13, According to Lee, several core concepts were already in place, such as the film's "frozen heart" hook : "That was a concept and the phrase Portuguese Europe. Archived from the original on July 7, According to him, it lent a hyper-reality to the film: "Because this is a movie with such scale and we have the Norwegian fjords to draw from, I really wanted to explore the depth. Retrieved March 8, They don't want the truth. Films directed by Chris Buck. If you find yourself overwhelmed, try climbing on the rock stack in the middle of the cave and attacking at range. -
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OFERTA DE SERIES ANIMADAS TELÉFONOS 7870-9639 y 7879-7787 LLAMAR DESPUÉS DE LAS 10am HASTA LAS 8pm DE LUNES A SÁBADO SI NO ESTAMOS LE DEVOLVEREMOS LA LLAMADA PARA GRABAR EN MEMORIA Y DISCO DURO DIRÍJASE A LA CALLE BELASCOAIN # 317 BAJOS, ESQUINA A SAN RAFAEL. ESTA ABIERTO DESDE LAS 10am HASTA LAS 8pm. NUESTRO PLACER ES COMPLACER A NUESTROS CLIENTES. PRECIOS EN MEMORIA O DISCO DURO. 1 $ EN MONEDA NACIONAL POR CAPITULO MENSAJERIA GRATIS A TODOS LOS MUNICIPIOS DE LA HABANA Llevamos pedidos a su casa sin costo adicional siempre y cuando su pedido sea de 175 $ MN en adelante. ¡Gratis! la actualización del Antivirus. LLÁMENOS YA AL 78-70-96-39 Y AL 78-79-77-87 VISITE NUESTRO SITIO WEB seriesroly.com South Park [ADULTOS] País(es): USA Género(s): Comedia Sinopsis: South Park es una serie PARA ADULTOS de comedia animada distribuida por WarnerBros. Trata sobre las aventuras de cuatro niños que viven en el pequeño pueblollamado South Park, Colorado. South Park hace sátira y crítica de muchos aspectosde la cultura estadounidense y eventos históricos recientes, reta a las firmescreencias, y los tabúes y muy frecuentemente hace uso del humor negro. DOBLADA Temporada 1-6(13+18+17+17+14+17 Capítulos)[1997-*] Temporada 18(10 Capítulos)[2014] Temporada 21-23(10+10+10 Capítulos)[2017-2019] SUBTITULADA Temporada 7-16(15+14+14+14+14+14+14+14+14+14 Capítulos)[*-2011] Temporada 17-23(10+10+10+10+10+10+10 Capítulos)[2013-2019] Star Wars The Clone Wars País(es): USA Género(s): Fantástico, Comedia, Drama, Ciencia Ficción, Aventuras Sinopsis: Situada entre Star Wars Episodio II: El ataque de los clones y Star Wars Episodio III:La venganza de los Sith.