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Core Plot Series Episode Intro Jasper/ClusterHomeworldSteven Connie Garnet AmethystPearl Lapis Peridot BismuthGreg/RoseLars Sadie Lion CentipeedleMask IslandRubies 1 1 Gem Glow 2 Laser Light Cannon 3 Cheeseburger Backpack 4 Together Breakfast 5 Frybo 6 Cat Fingers 7 Bubble Buddies 8 Serious Steven 9 Tiger Millionaire 10 Stevenʼs Lion 11 Arcade Mania 12 Giant Woman 13 So Many Birthdays 14 Lars and of the Cool Kids 15 Onion Trade 16 Steven the Sword Fighter 17 Lion 2: The Movie 18 Beach Party 19 Roseʼs Room 20 Coach Steven 21 Joking Hazard 22 Steven and the Stevens 23 Monster Buddies 24 An Indirect Kiss 25 Mirror Gem 26 Ocean Gem 27 House Guest 28 Space Race 29 Secret Team 30 Island Adventure 31 Keep Beach City Weird 32 Fusion Cuisine 33 Garnetʼs Universe 34 Watermelon Steven 35 Lion 3: Straight to Video 36 Warp Tour 37 Alone Together 38 The Test 39 Future Vision 40 On the Run 41 Horror Club 42 Winter Forecast 43 Maximum Capacity 44 Marble Madness 45 Roseʼs Scabbard 46 Open Book 47 Shirt Club 48 Story for Steven 49 The Message 50 Political Power 51 The Return 52 Jail Break 2 1 Full Disclosure 2 Joy Ride 3 Say Uncle 4 Love Letters 5 Reformed 6 Sworn to the Sword 7 Rising Tides, Crashing Skies 8 Keeping It Together 9 We Need to Talk 10 Chille Tid 11 Cry for Help 12 Keystone Motel 13 Onion Friend 14 Historical Friction 15 Friend Ship 16 Nightmare Hospital 17 Sadieʼs Song 18 Catch and Release 19 When It Rains 20 Back to the Barn 21 Too Far 22 The Answer 23 Stevenʼs Birthday 24 It Couldʼve Been Great 25 Message Received 26 Log Date 7 15 2 3 1 Super Watermelon Island 2 Gem Drill 3 Same Old World 4 Barn Mates 5 Hit the Diamond 6 Steven Floats 7 Drop Beat Dad 8 Mr. Greg 9 Too Short to Ride 10 The New Lars 11 Beach City Dri� 12 Restaurant Wars 13 Kikiʼs Pizza Delivery Service 14 Monster Reunion 15 Alone at Sea 16 Greg the Babysitter 17 Gem Hunt 18 Crack the Whip 19 Steven vs. Amethyst 20 Bismuth 21 22 Beta 23 Earthlings 24 Back to the Moon 25 Bubbled 4 1 Kindergarten Kid 2 Know Your Fusion 3 Buddyʼs Book 4 Mindful Education 5 Future Boy Zoltron 6 Last One out of Beach City 7 Onion Gang 8 Gem Harvest 9 10 Three Gems and a Baby 11 Stevenʼs Dream 12 Adventures in Light Distortion 13 Gem Heist 14 The Zoo 15 That Will Be All 16 The New Crystal Gems* 17 Storm in the Room 18 Rocknaldo 19 Tiger Philanthropist 20 Room for Ruby* 21 Lion 4: Alternate Ending 22 Doug Out 23 The Good Lars* 24 Are You My Dad? 25 I Am My Mom 5 1 Stuck Together 2 The Trial 3 Oﬀ Colors 4 Larsʼ Head 5 Dewey Wins 6 Gemcation 7 Raising the Barn 8 Back to the Kindergarten 9 Sadie Killer* 10 Kevin Party 11 Lars of the Stars 12 Jungle Moon 13 Your Mother and Mine 14 The Big Show 15 Pool Hopping 16 Letters to Lars 17 Canʼt Go Back 18 A Single Pale Rose 19 Now Weʼre Only Falling Apart 20 Whatʼs Your Problem? 21 The Question 22 Made of Honor 23 Reunited 24 25 Legs from Here to Homeworld 26 Familiar 27 Together Alone 28 Escapism 29 Change Your Mind 30 31 32.

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Universidade Estadual Da Paraíba Campus Iii Centro De Humanidades Departamento De História Curso De História
UNIVERSIDADE ESTADUAL DA PARAÍBA CAMPUS III CENTRO DE HUMANIDADES DEPARTAMENTO DE HISTÓRIA CURSO DE HISTÓRIA ÔNISSON BATISTA BESERRA A REPRESENTATIVIDADE SEXUAL NO CARTOON “STEVEN UNIVERSE” GUARABIRA 2019 ÔNISSON BATISTA BESERRA A REPRESENTATIVIDADE SEXUAL NO CARTOON “STEVEN UNIVERSE” Trabalho de Conclusão de Curso (Artigo) apresentado à Coordenação do Curso de História da Universidade Estadual da Paraíba, como requisito parcial à obtenção do título de Licenciado em História. Área de concentração: Gênero. Orientador: Prof.ª Dr.ª Susel Oliveira de Rosa. GUARABIRA 2019 É expressamente proibido a comercialização deste documento, tanto na forma impressa como eletrônica. Sua reprodução total ou parcial é permitida exclusivamente para fins acadêmicos e científicos, desde que na reprodução figure a identificação do autor, título, instituição e ano do trabalho. B554r Beserra, Onisson Batista. A representatividade sexual no cartoon "Steven Universe" [manuscrito] / Onisson Batista Beserra. - 2019. 26 p. : il. colorido. Digitado. Trabalho de Conclusão de Curso (Graduação em História) - Universidade Estadual da Paraíba, Centro de Humanidades , 2019. "Orientação : Prof. Dr. Susel Oliveira de Rosa , Departamento de História - CEDUC." 1. Steven Universe. 2. Representatividade. 3. Sexualidade. I. Título 21. ed. CDD 305.21 Elaborada por Andreza N. F. Serafim - CRB - 15/661 BSC3/UEPB À minha mãe e meu pai, pela dedicação, companheirismo, amizade, amor e zelo, DEDICO. I learned compassion from being discriminated against. Everything bad that's ever happened to me has taught me compassion. Ellen DeGeneres Eu aprendi o que era compaixão por ser discriminada. Tudo de ruim que já me aconteceu ensinou- me sobre compaixão. (tradução nossa) LISTA DE ILUSTRAÇÕES Figura 1 – Sapphire beija Ruby..........................................................................
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Steven Universe’: Un Héroe Dialógico Como Engranaje Del Cambio ‘Steven Universe’: a Dialogical Hero As a Catalyst for Change
indexlcomunicación | nº 9 (3) 2019 | Páginas 207-235 E-ISSN: 2174-1859 | ISSN: 2444-3239 | Depósito Legal: M-19965-2015 Recibido el 31_08_2019 | Aceptado el 27_10_2019 | Publicado el 16_11_2019 ‘STEVEN UNIVERSE’: UN HÉROE DIALÓGICO COMO ENGRANAJE DEL CAMBIO ‘STEVEN UNIVERSE’: A DIALOGICAL HERO AS A CATALYST FOR CHANGE https://doi.org/10.33732/ixc/09/03Steven −−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−− Delicia Aguado-Peláez [email protected] http://orcid.org/0000-0001-9349-4668 Aradia Cooperativa y Euskal Herriko Unibertsitatea −−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−− Para citar este trabajo: Aguado-Peláez, D. (2019). ‘Steven Universe’: un héroe dialógico como engranaje del cambio. index.comunicación, 9(3), 207-235. https://doi.org/10.33732/ixc/09/03Steven indexlcomunicación| número monográfico 9(3), 2019 Intersecciones televisivas Resumen: El objetivo de la presente investigación es reflexionar sobre la representación de los sistemas de dominación y resistencias presentes en la serie de animación infantil/juvenil imaginada por Rebeca Sugar: Steven Universe (Cartoon Network, 2013-2019). Para ello, se analizan las cinco temporadas (160 episodios) utilizando como herramientas metodológicas el análisis de contenido cualitativo y la interseccionalidad, especialmente la «matriz de dominación» diseñada por Patricia Hill Collins. En este sentido, hay que destacar que esta producción utiliza las licencias de la ciencia ficción fantástica para narrar, en clave infantil, la interacción de sistemas de dominación como el capitalismo, el colonialismo, el racismo o el sexismo. Pero también habla de las estrategias que desarrollan los personajes para superarla, especialmente, a través del diálogo y la empatía y de la introducción de temáticas tan diversas como la búsqueda de identidad, los derechos LGBTI+ o la crisis de los refugiados, entre otras.
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Exploring Embodied Gender Identities in Steven Universe
AN ABSTRACT OF THE THESIS OF Stephanie Painter for the degree of Master of Arts in Applied Ethics presented on March 22, 2017. Title: Exploring Embodied Gender Identities in Steven Universe. Abstract approved: ______________________________________________________ Stephanie C. Jenkins Steven Universe, a relatively new show from Cartoon Network, explores an unexpectedly complex understanding of gender through their main protagonists. Utilizing Judith Butler’s work on gender performativity and doing gender, as well as Daniel Dennett’s conception of the self as a theorist’s fiction, and Alexander Weheliye’s understanding of power and oppression existing in the articulated assemblages of people’s embodiment, I analyze the construction of several of the characters in Steven Universe and how they deviate from normative modes of being. In this paper, I argue that Steven Universe is expanding the normative construction of what it means to have an identity and a gender identity in children’s animation. ©Copyright by Stephanie Painter March 22, 2017 All Rights Reserved Exploring Embodied Gender Identities in Steven Universe by Stephanie Painter A THESIS submitted to Oregon State University in partial fulfillment of the requirements for the degree of Master of Arts Presented March 22, 2017 Commencement June 2017 Master of Arts thesis of Stephanie Painter presented on March 22, 2017 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 release of my thesis to any reader upon request.
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The Fatalis Project: a Creative Response To
THE FATALIS PROJECT: A CREATIVE RESPONSE TO LGBTQIA+ REPRESENTATION IN ANIMATION by LILLY BONASERA A THESIS Presented to the Department of Cinema Studies and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts November 2019 An Abstract of the Thesis of Lilly Bonasera for the degree of Bachelor of Arts in the Department of Cinema Studies to be taken October 2019 Title: The Fatalis Project: A Creative Response to LGBTQIA+ Representation in Animation Approved: _______________________________________ Tyrras Warren “The Fatalis Project: A Creative Response to LGBTQIA+ Representation in Animation” aims to analyze two animated shows’ LGBTQIA+ representation utilizing a variety of film history and queer theories, including abjection, intersectionality, and recognition of problematic tropes and stereotypes. The two shows in question are Steven Universe and Voltron: Legendary Defender. While representation in animation has seen some increase over the last few years, it is still exceedingly rare, and often solely focuses on a white perspective when tackling issues such as diversity and colonialism. As a solution, I propose my own pitch for an animated show with positive images of LGBTQIA+ characters using character designs, scripts, and storyboards. This show aims to tackle the problems of LGBTQIA+ representation using an intersectional framework while explicitly discussing characters’ salient identities. ii Acknowledgements I would like to thank my thesis advisors, Professor Ty Warren, Professor Peter Alilunas, and Professor Casey Shoop, for their patience and help in creating and editing this thesis project. I chose all of them because I enjoyed their classes and teaching style, and am so glad that they were able to be on my committee.
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Peramaki Janna-Riina.Pdf (12.84Mt)
Opinnäytetyö (AMK) Elokuva ja televisio Animaatio 2017 Janna-Riina Perämäki HAHMON KEHITYS TARINASSA – Sankarin matka suuruuteen OPINNÄYTETYÖ (AMK) | TIIVISTELMÄ TURUN AMMATTIKORKEAKOULU Elokuvan ja television koulutusohjelma|Animaatio Kevät 2017 | 73 sivua Janna-Riina Perämäki HAHMON KEHITYS TARINASSA - Sankarin matka suuruuteen Kirjallisen opinnäytetyöni aiheena on hahmon kehitys tarinassa. Tavoitteenani on tutkia miten animaatiosarjan päähahmo sekä sivuhahmot kasvavat tarinan edetessä, ja miten tarina muokkaa hahmojaan. Tekstissä tarkastelen lapsille suunnattua tv-animaatiosarjaa ”Steven Universe” ja sen rakennetta. Olen ottanut tutkimukseni pohjaksi Christopher Voglerin version Joseph Camp- bellin teoriasta ”The Hero’s Journey”, johon sovitan sarjan hahmoja ja tapahtu- mia. Teen johtopäätökseni sarjan 80 ensimmäisen jakson pohjalta. Näihin jaksoihin sisältyy sarjan ensimmäinen ja toinen tuotantokausi, sekä osa kolmatta tuotan- tokautta. Opinnäytetyössäni pyrin selvittämään, kuinka hyvin Steven Universe sopii Campbellin malliin, ja miten toimiva se on tv-sarjaksi suunnitellun animaation pohjaksi. Analysoin myös hahmojen sisäistä kasvua tarinan etenemisen ohella, omia johtopäätöksiä sekä muuta lähdemateriaalia käyttäen. ASIASANAT: Animaatio, Campbell, hahmo, hahmokehitys, The Hero’s Journey, sankari, Vogler BACHELOR´S / MASTER’S THESIS THESIS | ABSTRACT TURKU UNIVERSITY OF APPLIED SCIENCES Film and television| Animation Spring 2017 | 73 pages Janna-Riina Perämäki CHARACTER DEVELOPMENT IN THE STORY - The Hero’s journey to greatness The subject of my written thesis is character development in the story. My main purpose is to study how the main character and their supporting cast grow and how the story affects their development. In my text I’m analyzing a children’s animated tv-series called ”Steven Universe” and its structure. To support my research, I’m referencing my material to Cristopher Voglers version of Joseph Campbell’s story writing theory called ”The Hero’s Journey”.
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Steven Universe Latino Temporada 6
Steven universe latino temporada 6 Continue YOUTUBE Will it be true that this will be a new and improved intro of our beloved universe Stephen progama? In my opinion, this intro I love, the best I've seen in the entire series, fascinated me: Hearts: In Steven Universe Espa'ol? Join the community. Get Amino's Steven Universe English? Join the community. Get App After Saving the Universe, Stephen is still in it, tying every free end. But when you run out of other people's problems to solve, you will finally have to face your own. Beware of the past and lost in the present, Stephen begins to show new and uncontrollable powers that crystal stones have never seen him before. What does it all mean and what does Stephen want for his future? Episodes in Latin SpanishFirst season consists of 52 episodes. It premiered on November 4, 2013. In Latin America, this season premiered on April 7, 2014. In Latin America, an episode of Brighten Gems was to be released first, but instead the Laser Gun was released, changing the order of the series. The season ended on March 12, 2015 in the United States with an episode of Prison Escape and in Los Angeles ended on June 15, 2015 with the same episode. In Spain, this season premiered on May 31, 2014, with an episode of Mohil Hamburgues and ended on October 3, 2015 with an episode of La Fuga. EpisodesProgram personal visit to our Help CenterMore Information Content Show Title letter title in Los Angeles Title in ES Title in the U.S.
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Non-Normative Family on Children's Television
Non-normative Family on Children’s Television Queering Kinship, Temporality and Reproduction in Steven Universe Paulína Kožuchová Supervisor's name: Tara Mehrabi Gender Studies, LiU Master’s Programme Gender Studies – Intersectionality and Change Master’s thesis 30 ECTS credits ISNR: LIU-THEME G / GSIC2-A-18/002-SE Abstract The purpose of this Master’s thesis is to examine queer aspects of the animated television show Steven Universe (2013-present), created by Rebecca Sugar and produced by Cartoon Network. Situating Steven Universe in the context of Cartoon Network and children’s animation in general, and drawing on queer theory, as well as feminist cultural studies and kinship studies, the thesis aims to contribute to understanding of non-normative family representation in children’s entertainment. Through a close reading of the material, the thesis explores how Steven Universe queers the notion of family. It focuses on the show’s depiction of kinship, temporality and reproduction, and examines how each of these aspects subverts reproduces different modes of normativity. In Steven Universe, the family of the main character, Steven, is depicted as socially unintelligible, and as a mixture of biological and chosen kinship, highlighting the importance of both. It places great emphasis on being accepted by one’s family and community, and I discuss how this message can be both empowering and undermining. Steven’s family mostly inhabits queer time and does not give in to chrononormative structures. However, I also explore and critically evaluate parts of the series in which queer temporality is provisionally replaced by chrononormativity and striving for maturity.
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2019 Cryptozoic Steven Universe Trading Cards Checklist
TRADING CARDS BASE CARDS 01 Steven’s Gem 25 Betraying The Diamonds 49 On Trial 02 Cheeseburger Backpack 26 Earthly Observations 50 Off Colors 03 Bubble Buddies 27 Fusion Showdown 51 Rebirth 04 Lion Around 28 “We’ve All Got 52 Imminent Danger Each Other” 05 A Prisoner No More 53 Lars Of The Stars 29 Barn Mates 06 Beach City With No Beach 54 A Strange Dream 30 Batter Up 07 Ocean Gem 55 Rose Quartz Rebellion 31 Jumping For Joy 08 Island Adventure 56 Sadie Killer And The 32 Mr. Greg Suspects 09 A Big, Big Secret 33 Differences Aside 57 Hideout On The Moon 10 Melon Madness 34 Jasper Returns 58 Sworn To Secrecy 11 Earth Hub Maintenance Check 35 An Old Friend 59 Preserving Life 12 You Are An Experience 36 Bubbling Bismuth 60 A Crystal Gem Reunion 13 On The Run 37 Kindergarten Combat 61 I Now Pronounce You Garnet 14 “I Never Asked To 38 A Convincing Disguise Be Made” 62 Wedding Crashers 39 Interstellar Steven 15 Making Contact 63 Diamond In The Rough 40 Sardonyx Tonight 16 Memories Of Her 64 Seeking White Diamond 41 Pumpkin 17 Gem Warship 65 Diamondly Duties 42 Taken Away 18 Garnet Vs. Jasper 66 Lend A Helping Hand 43 The Zoo 19 Bad For Each Other 67 Fusion Of Five 44 “What’s The Use Of 20 Mr. Universe Feeling Blue?” 68 Starlight 21 Sworn To The Sword 45 The Crystal Temps 69 Beautifully Flawed 22 In Love With A Human 46 Disappearances 70 New And Old Friends 23 Love Is The Answer 47 Searching For My Dad 71 Back To Normal 24 Colony Blueprints 48 I Am My Mom 72 Peace And Love TM & © 2019 Cartoon Network.
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Monográfico: Nuevas Amazonas Nº 7 - 2019
Monográfico: Nuevas Amazonas Nº 7 - 2019 ISSN: 1989-6972 D.O.I.: http://dx.doi.org/10.12795/AdMIRA.2019.07.03 Poshumanismo y creación de identidades y sexualidades queer y racializadas: un análisis de ‘Steven Universe’ Posthumanism and the creation of racialised, queer identities and sexualities: An analysis of ‘Steven Universe’ Marta Roqueta Fernández Investigadora independiente School of Oriental and African Studies E-mail: [email protected] ORCID Pp.: 48- 84 Fecha de recepción del artículo: 22/02/2019 Fecha de aceptación definitiva: 13/05/2019 RESUMEN El artículo analiza cómo la serie de animación Steven Universe refuerza y desafía concepciones actuales sobre racialización, género y cuerpo capacitado. Usando teorías feministas, poshumanistas, queer, sobre diversidad funcional y raza, estos conceptos son considerados tecnologías cuyos componentes pueden ser estudiados, deconstruidos y reconstruidos por el objeto técnico que es el dibujo animado, una herramienta cuyo significado es coestablecido por el público. Utilizando este marco conceptual para analizar la narrativa de la serie y para crear encuestas orientadas a entender cómo las nociones del público sobre género y raza pueden influir en la narrativa de la serie, el artículo concluye que Steven Universe crea un relato queer que pretende desmantelar nociones contemporáneas sobre género, raza y diversidad funcional. Sin embargo, al utilizar los componentes que forman estas tecnologías, la serie puede reproducir representaciones estereotípicas si no tiene en cuenta los imaginarios adscritos a ellos. Palabras clave: animación, ciencia-ficción, poshumanismo, racialización, género, sexualidad, diversidad funcional, Steven Universe. ABSTRACT This article analyses how the cartoon show Steven Universe both underpins and defies normative understandings of race, gender and able-bodiedness.
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Columbia Pictures: Portrait of a Studio
University of Kentucky UKnowledge Film and Media Studies Arts and Humanities 1992 Columbia Pictures: Portrait of a Studio Bernard F. Dick Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Dick, Bernard F., "Columbia Pictures: Portrait of a Studio" (1992). Film and Media Studies. 8. https://uknowledge.uky.edu/upk_film_and_media_studies/8 COLUMBIA PICTURES This page intentionally left blank COLUMBIA PICTURES Portrait of a Studio BERNARD F. DICK Editor THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1992 by The University Press of Kentucky Paperback edition 2010 Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Cataloging-in-Publication Data for the hardcover edition is available from the Library of Congress ISBN 978-0-8131-3019-4 (pbk: alk. paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials.
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(De)Constructed Gender and Romance in Steven Universe: a Queer
(DE)CONSTRUCTED GENDER AND ROMANCE IN STEVEN UNIVERSE: A QUEER ANALYSIS A Thesis Submitted to the Graduate Faculty of the North Dakota State University of Agriculture and Applied Science By Olivia Michel Vogt In Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE Major Department: Communication April 2019 Fargo, North Dakota North Dakota State University Graduate School Title (DE)CONSTRUCTED GENDER AND ROMANCE IN STEVEN UNIVERSE: A QUEER ANALYSIS By Olivia Michel Vogt The Supervisory Committee certifies that this disquisition complies with North Dakota State University’s regulations and meets the accepted standards for the degree of MASTER OF SCIENCE SUPERVISORY COMMITTEE: Dr. Melissa Vosen Callens Chair Dr. Ann Burnett Dr. Christina D. Weber Approved: 4/10/19 Dr. Stephenson Beck Date Department Chair ABSTRACT As LGBTQ issues come to the forefront of discussion, the acceptance of queer television is becoming more common. However, research has shown that seemingly progressive shows often reinforce dominant ideologies, despite the presence of queer characters or themes. This analysis seeks to understand whether the children's animated series, Steven Universe, is as progressive as reviews would make it seem. Two open-ended research questions are used to explore the constructions of gender and romance in the series. Through the use of queer analysis, this study reveals that the series is indeed queer. The series narrative subverts gender through the deconstruction of societal binaries. Likewise, love is treated inclusively, and is not limited to heterosexual romances. Steven Universe, though not perfect, is an amicable example of how children's cartoons can educate upcoming generations in what it means to defy expectations and go beyond labels.
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AUTOR: Trabajo D
FACULTAD DE ARTES Y HUMANIDADES CARRERA DE INGENIERÍA EN PRODUCCIÓN Y DIRECCIÓN EN ARTES AUDIOVISUALES TEMA: Análisis de la influencia de los elementos de la animación japonesa en el guion y estructura narrativa de la historia en la serie animada “Steven Universe” AUTOR: Maldonado Martínez Bryan Ricardo Trabajo de titulación previo a la obtención del grado de Ingeniero en Producción y Dirección en Artes Audiovisuales TUTOR: Ing. Sara Cabanilla Urrea, Mgs. Guayaquil, Ecuador 18 de Septiembre del 2020 FACULTAD DE ARTES Y HUMANIDADES CARRERA DE INGENIERÍA EN PRODUCCIÓN Y DIRECCIÓN EN ARTES AUDIOVISUALES CERTIFICACIÓN Certificamos que el presente trabajo de titulación fue realizado en su totalidad por Bryan Ricardo Maldonado Martínez, como requerimiento para la obtención del título de Ingeniero en Producción y Dirección en Artes Audiovisuales. TUTOR f. ______________________ Ing. Sara Cabanilla Urrea, Mgs. DIRECTORA DE LA CARRERA f. ______________________ Lcda. María Emilia García Velásquez, Mgs. Guayaquil, a los 18 días del mes de Septiembre del año 2020 FACULTAD DE ARTES Y HUMANIDADES CARRERA DE INGENIERÍA EN PRODUCCIÓN Y DIRECCIÓN EN ARTES AUDIOVISUALES DECLARACIÓN DE RESPONSABILIDAD Yo, Maldonado Martínez Bryan Ricardo DECLARO QUE: El Trabajo de Titulación, Análisis de la influencia de los elementos de la animación japonesa en el guion y estructura de la historia en la serie animada “Steven Universe”, previo a la obtención del título de Ingeniero en Producción y Dirección en Artes Audiovisuales, ha sido desarrollado respetando derechos intelectuales de terceros conforme las citas que constan en el documento, cuyas fuentes se incorporan en las referencias o bibliografías. Consecuentemente este trabajo es de mi total autoría.
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