Toy Story: How Pixar Reinvented the Animated Feature. London: Bloomsbury Academic, 2017

Total Page:16

File Type:pdf, Size:1020Kb

Toy Story: How Pixar Reinvented the Animated Feature. London: Bloomsbury Academic, 2017 Smith, Susan, Noel Brown, and Sam Summers. "Bibliography." Toy Story: How Pixar Reinvented the Animated Feature. London: Bloomsbury Academic, 2017. 220–232. Bloomsbury Collections. Web. 30 Sep. 2021. <>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 30 September 2021, 20:22 UTC. Copyright © Susan Smith, Sam Summers and Noel Brown 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 220 B IBLIOGRAPHY A c k e r m a n , A l a n , Seeing Th ings: From Shakespeare to Pixar ( Toronto : University of Toronto Press , 2011 ). Adamson , Glen and Victoria Kelley (eds). Surface Tensions: Writings on Popular Design and Material Culture ( Manchester : Manchester University Press , 2013 ). Akers , Chelsie Lynn . ‘Th e Rise of Humour: Hollywood Increases Adult Centred Humour in Animated Children’s Films’ (unpublished Master’s thesis submitted to Brigham Young University, July 2013 ). Allison , Tanine . ‘ Blackface, Happy Feet : Th e Politics of Race in Motion Picture Animation ’, in Dan North et al. (eds), Special Eff ects: New Histories, Th eories, Contexts ( London : BFI/ Palgrave Macmillan , 2015 ), pp. 114 – 26 . A l t m a n , R i c k . Film/ Genre ( London : BFI , 1999 ). Amidi , Amid . Th e Art of Pixar: Th e Complete Colorscripts and Select Art from 25 Years of Animation ( San Francisco : Chronicle Books , 2011 ). Ansen , David . ‘ Disney’s Digital Delight ’, Newsweek , 27 November 1995 , p. 89 . Balcerzak , Scott . ‘ Andy Serkis as Actor, Body and Gorilla: Motion Capture and the Presence of Performance ’, in Jason Sperb and Scott Balcerzak (eds), Cinephilia in the Age of Digital Reproduction, Vol. 1: Film, Pleasure and Digital Culture ( London : Wallfl ower Press , 2009 ), pp. 195 – 213 . Balio , Tino . ‘ Hollywood Production Trends in the Era of Globalisation, 1990– 1999 ’, in Steve Neale (ed.), Genre and Contemporary Hollywood ( London : BFI , 2002 ), pp. 165 – 84 . Barber , Benjamin . Consumed: How Markets Corrupt Children, Infantilise Adults and Swallow Citizens Whole ( London and New York : W. W. Norton , 2007 ). Barker , Jennifer M. Th e Tactile Eye: Touch and the Cinematic Experience ( Berkeley, CA; London : University of California Press , 2009 ). Barrier , Michael . Hollywood Cartoons: American Animation in Its Golden Age ( Oxford : Oxford University Press , 1999 ). B a r t h e s , R o l a n d . Mythologies , trans. Annette Lavers ( London : Vintage , 2000 ). Beale , Lewis . ‘ At Long Last, Disney Is Shooting for the Hip ’, New York Daily News , 20 November 1995 , p. 36 . B e l l , J o h n . American Puppet Modernism: Essays on the Material World in Performance ( New York : Palgrave Macmillan , 2008 ). Benjamin , Walter . ‘On the Concept of History’ ( 1940 ), trans. Dennis Redmond , 2005. https:// www.marxists.org/ reference/ archive/ benjamin/ 1940/ history.htm (accessed 24 March 2017 ). Berger , John , Ways of Seeing ( London : Penguin Modern Classics , 2008 ). B e s t o r , N i c h o l a s . ‘ Th e Technologically Determined Decade: Robert Zemeckis, Andy Serkis, and the Promotion of Performance Capture ’, animation: an interdisciplinary journal , vol. 11 , no. 2 (July 2016 ): 169 – 88 . Bianchi , Suzanne , John Robinson and Melissa Milke . Th e Changing Rhythms of American Family Life ( New York : Russell Sage Foundation , 2006 ). 99781501324918_pi-240.indd781501324918_pi-240.indd 222020 111/8/20171/8/2017 22:49:35:49:35 PPMM 2 21 Bibliography 221 B i r d , M i c h a e l . ‘ Th e Perception of Symmetry ’, Tate Etc. , 1 May 2004 . http:// www. tate.org.uk/ context- comment/ articles/ perception- symmetry (accessed 20 October 2016). Blackford , Holly . ‘ “Luke, I Am Your Father”: Toys, Play Space and Detached Fathers in Post- 1970s Hollywood Family Films’, in Noel Brown and Bruce Babington (eds), Family Films in Global Cinema: Th e World Beyond Disney ( London and New York : I.B. Tauris , 2015 ), pp. 137 – 51 . Bode , Lisa . ‘ From Shadow Citizens to Tefl on Stars: Reception of the Transfi guring Eff ects of New Moving Image Technologies ’, animation: an interdisciplinary journal , vol. 1 , no. 2 ( 2006 ): 173 – 89 . Bode , Lisa . ‘ “Grave Robbing” or “Career Comeback”? On the Digital Resurrection of Dead Screen Stars ’, in Kari Kallioniemi , Kimi K ä rki , Janne M ä kel ä and Hannu Slami (eds), History of Stardom Reconsidered ( Turku : International Institute for Popular Culture , 2007 ), pp. 36 – 40 . Bode , Lisa . ‘ No Longer Th emselves? Framing Digitally Enabled Posthumous “Performance” ’, Cinema Journal , vol. 49 , no. 4 ( 2010 ): 46 – 70 . Bode , Lisa . ‘ Fleshing It Out: Prosthetic Makeup Eff ects, Motion Capture and the Reception of Performance ’, in Dan North , Bob Rehak and Michael S. Duff y (eds), Special Eff ects: New Histories/ Th eories/ Contexts ( London : BFI/ Palgrave , 2010 ), pp. 32 – 44 . Bonifer , Mike . ‘Rule #23’, GameChangers , 7 October 2013 . http:// www.gamechangers. com/ rule- 23/ (accessed 29 August 2016). Botwinick , Stacy . ‘Power Rangers Deliver Knockout Punch’, Playthings , 1 December 1994 . https:// www.highbeam.com/ doc/ 1G1- 16540112.html (accessed 4 September 2016). Bouldin , Joanna . ‘ Cadaver of the Real: Animation, Rotoscoping, and the Politics of the Body ’, Animation Journal , no. 12 ( 2004 ): 7 – 31 . Bowie , Malcolm . Lacan ( Cambridge, MA : Harvard University Press , 1993 ). B r a d b u r y , R a y . Something Wicked Th is Way Comes ( New York : Simon and Schuster , 1962 ). Bradshaw , Peter . ‘Toy Story 2 ’, Th e Guardian , 4 February 2000 . http:// www.theguardian. com/ fi lm/ 2000/ feb/ 04/ 6 (accessed 21 June 2017). Bradshaw , Peter . ‘ Th e Pirates! In an Adventure with Scientists ’, Th e Guardian , 29 March 2012 , p. 15 . Brennan , Judy . ‘ Summer School Lessons ’, Th e Los Angeles Times , 12 September 1996 , p. F1 . Brodie, John. ‘Disney Wannabes Play Copycat- and- Mouse’, Variety , 2 January 1995, p. 3. Brodie , John and Jay Greene . ‘ Dwarfs Tell Disney: Draw! – Rival Studios Get Serious about Animation ’, Variety , 11 July 1994 , p. 1 . Brown , Bill . ‘ How to Do Th ings with Th ings (A Toy Story ) ’, Critical Inquiry , vol. 24 , no. 4 ( 1998 ): 935 – 64 . B r o w n , N o e l . Th e Hollywood Family Film: A History, from Shirley Temple to Harry Potter ( London and New York : I.B. Tauris , 2012 ). Brown , Noel ‘ “Family” Entertainment and Contemporary Hollywood Cinema ’, Scope: An Online Journal of Film and Television Studies , no. 25 ( 2013 ): 1 – 22 . B r o w n , N o e l . British Children’s Cinema: From Th e Th ief of Bagdad to Wallace and Gromit ( London and New York : I.B. Tauris , 2016 ). 99781501324918_pi-240.indd781501324918_pi-240.indd 222121 111/8/20171/8/2017 22:49:35:49:35 PPMM 222 222 Bibliography B r o w n , N o e l . Th e Children’s Film: Genre, Nation and Narrative ( New York : Columbia University Press , 2017 ). B r o w n , N o e l . Contemporary Hollywood Animation ( Edinburgh : Edinburgh University Press , forthcoming ). Brown , Noel and Bruce Babington (eds). Family Films in Global Cinema: Th e World Beyond Disney ( London and New York : I.B. Tauris , 2015 ). Bruno , Giuliani . Surface: Matters of Aesthetics, Materiality, and Media ( Chicago : University of Chicago Press , 2014 ). Bryant , Jacob . ‘ John Lasseter, Ed Catmull and “ Toy Story ” Team Celebrate 20th Anniversary ’, Variety , 2 October 2015 . http:// variety.com/ 2015/ scene/ vpage/ toy- story- 20th- anniversary- john- lasseter- ed- catmull- 1201608613/ (accessed 18 April 2017 ). Buchan , Suzanne . Th e Quay Brothers: Into a Metaphysical Playroom ( Minneapolis and London : University of Minnesota Press , 2011 ). Bunn , Austin . ‘ Welcome to Planet Pixar: How the Pixel- Packing Upstart Became an Animation Superpower and Left Disney in the Dust ’, Wired , vol. 12 , no. 6 ( 2004 ): 126 – 33 . Carnicke , Sharon . ‘ Emotional Expressivity in Motion Capture Technology ’, in Joerg Sternagel , Deborah Levitt and Dieter Mersch (eds), Acting and Performance in Moving Image Culture: Bodies, Screens, Renderings ( Piscataway, NJ : Transaction , 2012 ), pp. 321 – 38 . ‘Cars 2’, Rotten Tomatoes https:// www.rottentomatoes.com/ m/ cars_ 2/ (accessed 28 August 2016). Casement , Ann . ‘ Encountering the shadow in rites of passage: a study in activations ’, Journal of Analytical Psychology , vol. 48 , no. 1 ( 2003 ): 29 – 46 . Cassar , Ignaz . ‘ Viewed from Behind: Th e Projected Image and Its Doppelg ä nger ’, Parallax , vol. 14 , no. 2 ( 2008 ): 115 – 25 . C a t m u l l , E d . Creativity, Inc.: Overcoming the Unseen Forces that Stand in the Way of True Inspiration ( New York : Random House , 2014 ). Chion , Michel . ‘ On a Sequence from Th e Birds : Sound Film as Palimpsestic Art ’, in Film, A Sound Art , translated by Claudia Gorbman ( New York and Chichester, West Sussex : Columbia University Press , 2009 [2003]), pp. 162 – 85 . Chion , Michel . ‘ Th e Sensory Aspects of Contemporary Cinema ’, in John Richardson , Claudia Gorbman and Carol Vernallis (eds), Th e Oxford Handbook of New Audiovisual Aesthetics ( Oxford : Oxford University Press , 2013 ), pp. 325 – 30 . C h o w , K e n n y . Animation, Embodiment, and Digital Media: Human Experience of Technological Liveliness ( Basingstoke : Palgrave Macmillan 2013 ). C l a r k e , J a m e s . Th e Films of Pixar Animation Studio ( Harpenden : Kamera Books , 2013 ). Clarke , Frederick . ‘ Contents ’, Cinefantastique , vol. 27 , no. 2 ( 1995 ): 3 . Clayton , Alex . ‘ Performance, With Strings Attached: Team America ’s Snub to the Actor ’, in Tom Brown and James Bennett (eds), Film Moments: Criticism, History, Th eory ( London : BFI , 2010 ), pp. 127 – 30 . Collings , Matthew . Th is Is Modern Art ( London : Weidenfeld & Nicolson , 1999 ), p. 248 . Courrier , Kevin . Randy Newman’s American Dreams ( Toronto, Ontario : ECW Press , 2005 ). C r a ft on , Donald . Shadow of a Mouse: Performance, Belief, and World- Making in Animation ( Berkeley : University of California Press , 2013 ). 99781501324918_pi-240.indd781501324918_pi-240.indd 222222 111/8/20171/8/2017 22:49:35:49:35 PPMM 2 23 Bibliography 223 Cunningham , Jennifer .
Recommended publications
  • Toying with Twin Peaks: Fans, Artists and Re-Playing of a Cult-Series
    CULTURE / RECEPTION / CONSUMPTION TOYING WITH TWIN PEAKS: FANS, ARTISTS AND RE-PLAYING OF A CULT-SERIES KATRIINA HELJAKKA Name Katriina Heljakka and again through mimetic practices such as re-creation of Academic centre School of History, Culture and Arts Studies characters and through photoplay. Earlier studies indicate (Degree Program of) Cultural Production and Landscape that adults are showing increased interest in character toys Studies, University of Turku such as dolls, soft toys (or plush) and action figures and vari- E-mail address [email protected] ous play patterns around them (Heljakka 2013). In this essay, the focus is, on the one hand on industry-created Twin Peaks KEYWORDS merchandise, and on the other hand, fans’ creative cultivation Adult play; fandom; photoplay; re-playing; toy play; toys. and play with the series scenes and its characters. The aim is to shed light on the object practices of fans and artists and ABSTRACT how their creativity manifests in current Twin Peaks fandom. This article explores the playful dimensions of Twin Peaks The essay shows how fans of Twin Peaks have a desire not only (1990-1991) fandom by analyzing adult created toy tributes to influence how toyified versions of e.g. Dale Cooper and the to the cult series. Through a study of fans and artists “toy- Log Lady come to existence, but further, to re-play the series ing” with the characters and story worlds of Twin Peaks, I will by mimicking its narrative with toys. demonstrate how the re-playing of the series happens again 25 SERIES VOLUME I, Nº 2, WINTER 2016: 25-40 DOI 10.6092/issn.2421-454X/6589 INTERNATIONAL JOURNAL OF TV SERIAL NARRATIVES ISSN 2421-454X PARATEXTS, FANDOMS AND THE PERSISTENCE OF TWIN PEAKS CULTURE / RECEPTION / CONSUMPTION > KATRIINA HELJAKKA TOYING WITH TWIN PEAKS: FANS, ARTISTS AND RE-PLAYING OF A CULT-SERIES FIGURE 1.
    [Show full text]
  • 60 Years of Collecting Barbie®! by Christopher Varaste
    60 Years of Collecting Barbie®! by Christopher Varaste Muse. Pioneer. Icon. That’s Barbie® doll, a fashion model whose stride down an endless runway inspired an entire line of quality collectibles for an astounding 60 years! An elevation of design and fashion, Barbie doll appeals to anyone interested in contemporary fashion trends. With her online presence, Barbie also serves as a major influencer. Barbie always encapsulates that intangible quality known as “style.” Under Mattel owner Ruth Handler’s influence and designer Charlotte Johnson’s tutelage, the world was first taken by surprise when Barbie was introduced at the New York Toy Fair on March 9th, 1959, along with her pink fashion booklet. Sales took off after Barbie appeared in a commercial aired during The Mickey Mouse Club™. All it took was one look and everyone wanted a Barbie doll! From the beginning, astute collectors recognized the ingenuity and detail that had gone into the doll and her wardrobe, which began to grow along with Barbie doll’s popularity. Today, those early tailored fashions are a veritable freeze frame of the era, reminiscent of Balenciaga, Schiaparelli, Givenchy and Dior. Many clever girls handled their precious Barbie dolls with care, and that eventually marked the beginning of the very first Barbie™ Fan Club in 1961, which set the stage for more clubs where Barbie™ fans could gather and make new friends. There was so much to collect! Nothing stopped Barbie from constantly evolving with hairstyles like Ponytails, Bubble Cuts, Mod hairstyles and an eclectic wardrobe that showcased the latest looks from smart suits, career outfits and go-go boots! Mattel advertisement from 1967 introducing Mod Twist ‘N Turn Barbie®.
    [Show full text]
  • FY 2017 Annual Report CREATING FLEXIBLE SPACES for the 21ST CENTURY Public Libraries Are Fundamental for a Democracy in Which Learning Is Available to All
    Cover graphic created by Lindsey Atnip FY 2017 Annual Report CREATING FLEXIBLE SPACES FOR THE 21ST CENTURY Public libraries are fundamental for a democracy in which learning is available to all. Dear Friends, Twenty years ago, the Belvedere Tiburon community came together after OFFICERS a decade of planning to build a library that would serve as an important John Scarborough, President community hub and educational space for current and future generations. Douglas Norby, Vice President How fortunate we are that they achieved their goal! Today, people of all Barry Moss, Treasurer generations gather at our library to enjoy vibrant programming, discuss the latest books, and expand their horizons – all in a place that fosters human Jannette Mussche, Secretary connection. But so much has changed since that time. When our library was last DIRECTORS renovated, Bill Clinton was President, books were only available in physical Gary Cookhorn form, and self-driving cars were a thing of futuristic novels. Wyman Harris The library has certainly done its best to keep pace with these rapid changes Judy Huret by offering new programming and access to the latest technologies that include 3D printing, robot-building, and virtual reality experiences. John Kunzweiler Whitney Lee But the building itself is quite literally overflowing. Programming has jumped to over 1,000 offerings per year, our community has grown by 10 percent, and Rachael Ong the library has been ranked among the highest in California for circulation, Amanda Rickel program attendance, and visits per capita. Lori Runnfeldt Our beloved library has reached capacity, and just as those who came before Jeff Slavitz us had the foresight to bring us the library we know and love today, we must again come together to plan for the future.
    [Show full text]
  • Wmc Investigation: 10-Year Analysis of Gender & Oscar
    WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S.
    [Show full text]
  • PIRATI DEI CARAIBI Ai Confini Del Mondo (Pirates of the Caribbean: at World’S End)
    WALT DISNEY PICTURES Presenta In associazione con JERRY BRUCKHEIMER FILMS PIRATI DEI CARAIBI Ai Confini Del Mondo (Pirates Of The Caribbean: At World’s End) Regia GORE VERBINSKI JOHNNY DEPP ORLANDO BLOOM KEIRA KNIGHTLEY STELLAN SKARSGǺRD BILL NIGHY con CHOW YUN-FAT e GEOFFREY RUSH JACK DAVENPORT, KEVIN R. MCNALLY, NAOMIE HARRIS, TOM HOLLANDER e JONATHAN PRYCE LEE ARENBERG, MACKENZIE CROOK, DAVID BAILIE, MARTIN KLEBBA Distribuito da BUENA VISTA INTERNATIONAL Data di uscita: 23 maggio 2007 Durata: 2 ore e 49 minuti PIRATI DEI CARAIBI Ai Confini Del Mondo Regia GORE VERBINSKI Sceneggiatura TED ELLIOTT & TERRY ROSSIO Tratto Dai Personaggi Creati Da TED ELLIOTT & TERRY ROSSIO e STUART BEATTIE e JAY WOLPERT Tratto Da ”LA MALEDIZIONE DELLA PRIMA LUNA” della Walt Disney Prodotto Da JERRY BRUCKHEIMER Produttori Esecutivi MIKE STENSON CHAD OMAN BRUCE HENDRICKS ERIC MCLEOD Direttore Della Fotografia DARIUSZ WOLSKI, ASC Scenografie RICK HEINRICHS Montaggio CRAIG WOOD STEPHEN RIVKIN, A.C.E. Costumi PENNY ROSE Supervisione Effetti Visivi JOHN KNOLL CHARLES GIBSON Musiche HANS ZIMMER Supervisione Musiche BOB BADAMI Casting DENISE CHAMIAN, CSA Casting Uk PRISCILLA JOHN, CDG Unit Production Manager ERIC MCLEOD Unit Production Manager DOUGLAS C. MERRIFIELD First Assistant Director DAVID H. VENGHAUS, JR. Second Assistant Director AMY J. SCHMIDT Associate Producer PAT SANDSTON ILM Animation Supervisor HAL HICKEL ILM Visual Effects Producer JILL BROOKS Additional Editing by DAN HANLEY Score Co-Produced by MELISSA MUIK Special Appearance by KEITH RICHARDS CAST Jack Sparrow JOHNNY DEPP Barbossa GEOFFREY RUSH Will Turner ORLANDO BLOOM Elizabeth Swann KEIRA KNIGHTLEY Norrington JACK DAVENPORT Davy Jones BILL NIGHY Governor Weatherby Swann JONATHAN PRYCE Pintel LEE ARENBERG Ragetti MACKENZIE CROOK Gibbs KEVIN R.
    [Show full text]
  • An Analysis of Torture Scenes in Three Pixar Films Heidi Tilney Kramer University of South Florida, [email protected]
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School January 2013 Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films Heidi Tilney Kramer University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Feminist, Gender, and Sexuality Studies Commons Scholar Commons Citation Kramer, Heidi Tilney, "Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films" (2013). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/4525 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films by Heidi Tilney Kramer A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of Women’s and Gender Studies College of Arts and Sciences University of South Florida Major Professor: Elizabeth Bell, Ph.D. David Payne, Ph. D. Kim Golombisky, Ph.D. Date of Approval: March 26, 2013 Keywords: children, animation, violence, nationalism, militarism Copyright © 2013, Heidi Tilney Kramer TABLE OF CONTENTS Abstract ................................................................................................................................ii Chapter One: Monsters Under
    [Show full text]
  • The Wonder of Barbie: Popular Culture and the Making of Female Identity
    Essays in Philosophy Volume 4 Issue 1 Feminine Politics in Popular Culture: The Article 3 Construction of Gender 1-2003 The ondeW r of Barbie: Popular Culture and the Making of Female Identity Lenore Wright Baylor University, [email protected] Follow this and additional works at: http://commons.pacificu.edu/eip Recommended Citation Wright, Lenore (2003) "The ondeW r of Barbie: Popular Culture and the Making of Female Identity," Essays in Philosophy: Vol. 4: Iss. 1, Article 3. Essays in Philosophy is a biannual journal published by Pacific nivU ersity Library | ISSN 1526-0569 | http://commons.pacificu.edu/eip/ Essays in Philosophy Essays in Philosophy A Biannual Journal Vol. 4 No. 1, January 2003 The Wonder of Barbie: Popular Culture and the Making of Female Identity The popular doll, Barbie, has evoked a steady stream of critical attention since her debut in 1959. Though Barbie serves primarily and properly as a toy for children, much of this attention has been generated by the secondary role she plays in popular culture—artifact of female representation. Barbie is no ordinary toy. She mimics the female form. She stands for woman within the games of make-believe in which children involve her. She functions as a tool for self-imagining. It is Barbie’s secondary nature as a representation of woman that creates special quandaries for feminist aestheticians, quandaries that are both cultural and philosophical.1 Included among the former are America’s attraction to public personas, the influence of the acting industry on female representation, and the tacit roles iconic figures play in shaping the attributes of female beauty.
    [Show full text]
  • Barbie® Doll's Friends and Relatives Since 1980
    BARBIE® DOLL’S FRIENDS AND RELATIVES SINCE 1980 1980 1987 Beauty Secrets Christie #1295 Jewel Secrets Ken #1719 Kissing Christie #2955 Jewel Secrets Ken (African American) #3232 Scott (Skippers Boyfriend) #1019 Jewel Secrets Whitney #3179 Sport and Shave Ken #1294 Jewel Secrets Skipper #3133 Sun Lovin’ Malibu Christie #7745 Revised Rocker Dana #3158 Sun Lovin’ Malibu P.J. #1187 Revised Rocker Dee Dee #3160 Sun Lovin’ Malibu Skipper #1019 Revised Rocker Derek #3137 Super Teen Skipper #2756 Revised Rocker Diva #3159 Revised Rocker Ken #3131 1981 Golden Dream Christie #3249 1988 Roller Skating Ken #1881 California Dream Christie #4443 California Dream Ken #4441 1982 California Dream Midge #4442 Star Ken #3553 California Dream Teresa #5503 Fashions Jeans Ken #5316 Cheerleader Teen Skipper #5893 Pink and Pretty Christie #3555 Island Fun Christie #4092 Sunsational Malibu Christie #7745 Island Fun Miko #4065 Sunsational Malibu P.J. #1187 Island Fun Skipper #4064 Sunsational Malibu Ken #1088 Island Fun Steven #4093 Sunsational Malibu Ken (African American) #3849 Island Fun Teresa #4117 Sunsational Malibu Skipper #1069 Party Teen Skipper #5899 Western Ken #3600 Perfume Giving Ken #4554 Perfume Giving Ken (African American) #4555 1983 Perfume Giving Whitney #4557 Barbie & Friends Pack #4431 Sensation Becky #4977 Dream Date Ken #4077 Sensation Belinda #4976 Dream Date P.J. #5869 Sensation Bobsy #4967 Horse Lovin’ Ken #3600 Teen Sweetheart Skipper #4855 Horse Lovin’ Skipper #5029 Workout Teen Skipper #3899 Todd (Ken’s Handsome Friend) #4253 Tracy (Barbie’s Beautiful Friend) #4103 1989 Animal Lovin’ Ken #1351 1984 Animal Lovin’ Nikki #1352 Crystal Ken #4898 Beach Blast Christie #3253 Great Shape Ken #7318 Beach Blast Ken #3238 Great Shape Skipper #7414 Beach Blast Miko #3244 Sun Gold Malibu Ken #1088 Beach Blast Skipper #3242 Sun Gold Malibu P.J.
    [Show full text]
  • Emmy Nominations
    2021 Emmy® Awards 73rd Emmy Awards Complete Nominations List Outstanding Animated Program Big Mouth • The New Me • Netflix • Netflix Bob's Burgers • Worms Of In-Rear-Ment • FOX • 20th Century Fox Television / Bento Box Animation Genndy Tartakovsky's Primal • Plague Of Madness • Adult Swim • Cartoon Network Studios The Simpsons • The Dad-Feelings Limited • FOX • A Gracie Films Production in association with 20th Television Animation South Park: The Pandemic Special • Comedy Central • Central Productions, LLC Outstanding Short Form Animated Program Love, Death + Robots • Ice • Netflix • Blur Studio for Netflix Maggie Simpson In: The Force Awakens From Its Nap • Disney+ • A Gracie Films Production in association with 20th Television Animation Once Upon A Snowman • Disney+ • Walt Disney Animation Studios Robot Chicken • Endgame • Adult Swim • A Stoopid Buddy Stoodios production with Williams Street and Sony Pictures Television Outstanding Production Design For A Narrative Contemporary Program (One Hour Or More) The Flight Attendant • After Dark • HBO Max • HBO Max in association with Berlanti Productions, Yes, Norman Productions, and Warner Bros. Television Sara K. White, Production Designer Christine Foley, Art Director Jessica Petruccelli, Set Decorator The Handmaid's Tale • Chicago • Hulu • Hulu, MGM, Daniel Wilson Productions, The Littlefield Company, White Oak Pictures Elisabeth Williams, Production Designer Martha Sparrow, Art Director Larry Spittle, Art Director Rob Hepburn, Set Decorator Mare Of Easttown • HBO • HBO in association with wiip Studios, TPhaeg eL o1w Dweller Productions, Juggle Productions, Mayhem Mare Of Easttown • HBO • HBO in association with wiip Studios, The Low Dweller Productions, Juggle Productions, Mayhem and Zobot Projects Keith P. Cunningham, Production Designer James F. Truesdale, Art Director Edward McLoughlin, Set Decorator The Undoing • HBO • HBO in association with Made Up Stories, Blossom Films, David E.
    [Show full text]
  • Casa De Teresa
    Casa de Teresa A F B E D C Wow — you’re building my house! Seems a little small doesn’t it? Build Barbie And Her Friends’ Homes! A: Barbie Dreamhouse B: House of Ken C: The Raquelle Mansion D: House of Nikki E: The Ryan Mansion F: Casa de Teresa Your house will look like this: ©2014 Mattel, Inc. All Rights Reserved. Casa de Teresa INSTRUCTIONS 1. Use safety scissors to cut around the solid black lines. Ask a grownup if you need help. CUT MOUNTAIN FOLD 2. Fold along the dotted lines. 3. Glue tabs in number order on buildings 1, 2 and 3. 4. Once buildings are dry, affix roofs 1, 2 and 3 as well as turret pieces. 5. Glue buildings 1, 3 and turret pieces to building 2. When dry, glue to base. ©2014 Mattel, Inc. All Rights Reserved. Casa de Teresa Glue to Glue to Building 1 Building 3 4 4 1 3 2 Roof 2 1 Building 2 3 2 2 Building 1 Building 1 3 2 3 1 BUILDINGS 1 & 2 AND ROOFS 1 & 2 1 & 2 AND ROOFS BUILDINGS 4 4 Roof 1 Building 2 Building Glue to to Glue ©2014 Mattel, Inc. All Rights Reserved. Casa de Teresa 4 Turret 2 (Top) Turret Glue to 4 Building 2 2 1 3 1 Building 3 3 Roof 3 2 BUILDING 3 & TURRETS Turret 1 Roof Turret Turret 1 Turret (Bottom) ©2014 Mattel, Inc. All Rights Reserved. Casa de Teresa BASE Building 3 Building 2 Building 1 ©2014 Mattel, Inc. All Rights Reserved.
    [Show full text]
  • 89Th Oscars® Nominations Announced
    MEDIA CONTACT Academy Publicity [email protected] January 24, 2017 FOR IMMEDIATE RELEASE Editor’s Note: Nominations press kit and video content available here 89TH OSCARS® NOMINATIONS ANNOUNCED LOS ANGELES, CA — Academy President Cheryl Boone Isaacs, joined by Oscar®-winning and nominated Academy members Demian Bichir, Dustin Lance Black, Glenn Close, Guillermo del Toro, Marcia Gay Harden, Terrence Howard, Jennifer Hudson, Brie Larson, Jason Reitman, Gabourey Sidibe and Ken Watanabe, announced the 89th Academy Awards® nominations today (January 24). This year’s nominations were announced in a pre-taped video package at 5:18 a.m. PT via a global live stream on Oscar.com, Oscars.org and the Academy’s digital platforms; a satellite feed and broadcast media. In keeping with tradition, PwC delivered the Oscars nominations list to the Academy on the evening of January 23. For a complete list of nominees, visit the official Oscars website, www.oscar.com. Academy members from each of the 17 branches vote to determine the nominees in their respective categories – actors nominate actors, film editors nominate film editors, etc. In the Animated Feature Film and Foreign Language Film categories, nominees are selected by a vote of multi-branch screening committees. All voting members are eligible to select the Best Picture nominees. Active members of the Academy are eligible to vote for the winners in all 24 categories beginning Monday, February 13 through Tuesday, February 21. To access the complete nominations press kit, visit www.oscars.org/press/press-kits. The 89th Oscars will be held on Sunday, February 26, 2017, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be televised live on the ABC Television Network at 7 p.m.
    [Show full text]
  • Test Your Oscar ESP
    Test your Oscar ESP Achievement in music d. “Tanghi Argentini”: Guido Thys and AND THE OSCAR written for motion pictures Anja Daelemans GOES TO... (Original score) e. “The Tonto Woman”: Daniel Barber and Matthew Brown You’ve seen the films. You a. “Atonement”: Dario Marianelli have your opinions. So, who do b. “The Kite Runner”: Alberto Iglesias Achievement in sound you think will win the statue? c. “Michael Clayton”: James Newton editing The correct answers will be Howard a. “The Bourne Ultimatum”: Karen revealed on ABC at 8 p.m. Sun- d. “Ratatouille”: Michael Giacchino Baker Landers and Per Hallberg day. e. “3:10 to Yuma”: Marco Beltrami b. “No Country for Old Men”: Skip Lievsay Performance by an actor in Achievement in music a leading role c. “Ratatouille”: Randy Thom and written for motion pictures Michael Silvers a. George Clooney in “Michael (Original song) d. “There Will Be Blood”: Christopher Clayton” a. “Falling Slowly” from “Once”: Scarabosio and Matthew Wood b. Daniel Day-Lewis in “There Will Be music and lyric by Glen Hansard and e. “Transformers”: Ethan Van der Ryn Blood” Marketa Irglova and Mike Hopkins c. Johnny Depp in “Sweeney Todd: The b. “Happy Working Song” from Demon Barber of Fleet Street” Achievement in sound “Enchanted”: music by Alan Menken; mixing d. Tommy Lee Jones in “In the Valley Photos provided lyric by Stephen Schwartz of Elah” a. “The Bourne Ultimatum”: Scott “American Gangster” c. “Raise It Up” from “August Rush”: Millan, David Parker and Kirk Francis e. Viggo Mortensen in “Eastern music and lyric by Jamal Joseph, Promises” Charles Mack and Tevin Thomas b.
    [Show full text]