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Das Disney's Faces
Universidade de Brasília Instituto de Ciências Humanas Programa de Pós-Graduação em História Área de concentração: História Cultural Defesa de Dissertação de Mestrado Das Disney’s faces Representações do Pato Donald sobre a Segunda Guerra (1942-4) Bárbara Marcela Reis Marques de Velasco – 07/68715 Banca Examinadora: Prof. Dr. José Walter Nunes – Orientador Profa. Dra. Maria Thereza Negrão de Mello Prof. Dr. David Rodney Lionel Pennington Profa. Dra. Márcia de Melo Martins Kuyumijan – Suplente Brasília, setembro de 2009. Universidade de Brasília Instituto de Ciências Humanas Programa de Pós-Graduação em História Área de concentração: História Cultural Defesa de Dissertação de Mestrado Das Disney’s faces Representações do Pato Donald sobre a Segunda Guerra (1942-4) Bárbara Marcela Reis Marques de Velasco – 07/68715 Brasília, setembro de 2009. Onde é que eu fui parar Aonde é esse aqui Não dá mais pra voltar Porque eu fiquei tão longe, longe (Arnaldo Antunes) Agradecimentos Ao Senhor que sabe o porquê de todas as coisas. Aos meus avós que sempre foram exemplo. Se não fosse por eles eu não estaria aqui. Aos professores membros da banca, José Walter Nunes, Maria Thereza Negrão de Mello, David Rodney Lionel Pennington, pelo resultado aqui apresentado. À força da Professora Myriam Christiano Maia Gonçalves. Motivação para seguir a diante, prosseguindo. Aos colegas Sílvia Fernandes e Ricardo Moreira. Sempre existe uma possibilidade. Vamos ver... Ao CNPq pela contribuição em parte da pesquisa. Resumo A presente pesquisa é resultado de um estudo sobre 10 produções animadas do início da década de 1940, dos estúdios Walt Disney. Protagonizadas pelo personagem Pato Donald, verifica-se nelas as mais diversas formas de representações traçadas pelos estúdios a respeito da Segunda Guerra Mundial e de alguns de seus atores: os Estados Unidos da América e seus inimigos. -
Nationalism, the History of Animation Movies, and World War II Propaganda in the United States of America
University of Akureyri Faculty of Humanities and Social Science Modern Studies 2011 Intersections of Modernity: Nationalism, The History of Animation Movies, and World War II propaganda in the United States of America Kristján Birnir Ívansson Final BA Thesis in the Faculty of Humanities and Social Sciences University of Akureyri Faculty of Humanities and Social Science Modern studies 2011 Intersections of Modernity: Nationalism, The History of Animation Movies, and World War II propaganda in the United States of America Kristján Birnir Ívansson A final BA Thesis for 180 ECTS unit in the Faculty of Humanities and Social Sciences Instructor: Dr. Giorgio Baruchello Statements I hereby declare that I am the only author of this project and that is the result of own research Ég lýsi hér með yfir að ég einn er höfundur þessa verkefnis og að það er ágóði eigin rannsókna ______________________________ Kristján Birnir Ívansson It is hereby confirmed that this thesis fulfil, according to my judgement, requirements for a BA -degree in the Faculty of Hummanities and Social Science Það staðfestist hér með að lokaverkefni þetta fullnægir að mínum dómi kröfum til BA prófs í Hug- og félagsvísindadeild. __________________________ Giorgio Baruchello Abstract Today, animations are generally considered to be a rather innocuous form of entertainment for children. However, this has not always been the case. For example, during World War II, animations were also produced as instruments for political propaganda as well as educational material for adult audiences. In this thesis, the history of the production of animations in the United States of America will be reviewed, especially as the years of World War II are concerned. -
Donald Duck Joins up the Walt Disney Studio
Where To Download Donald Duck Joins Up The Walt Disney Studio During World War Ii Donald Duck Joins Up The Walt Disney Studio During World War Ii pdf free donald duck joins up the walt disney studio during world war ii manual pdf pdf file Page 1/13 Where To Download Donald Duck Joins Up The Walt Disney Studio During World War Ii Donald Duck Joins Up The Donald Duck joins up: The Walt Disney Studio during World War II (Studies in cinema) Hardcover – January 1, 1982. by. Richard Shale (Author) › Visit Amazon's Richard Shale Page. Find all the books, read about the author, and more. Donald Duck joins up: The Walt Disney Studio during World ... Donald Duck Joins Up book. Read reviews from world’s largest community for readers. Donald Duck Joins Up: The Walt Disney Studio During World ... Donald Duck Joins Up: The Walt Disney Studio During World War II Studies in cinema no. 16 Issue 16 of Studies in cinema: Author: Richard Shale: Page 2/13 Where To Download Donald Duck Joins Up The Walt Disney Studio During World War Ii Edition: illustrated: Publisher: UMI Research Press,... Donald Duck Joins Up: The Walt Disney Studio During World ... He officially joins the army in 1942's Donald Gets Drafted, fights in the Pacific Theater in Commando Duck, and uses some futuristic camouflage to torment Drill Sergeant Pete in The Invisible Private. The untold truth of Donald Duck - looper.com Darth Maul with Donald Duck eyes, says "Join the Duck Side" directly below the Darth Maul version of Donald. -
Donald Duck from Wikipedia, the Free Encyclopedia Donald Duck
Donald Duck From Wikipedia, the free encyclopedia Donald Duck First appearance The Wise Little Hen (1934) Created by Walt Disney Clarence Nash (1934–1985) Voiced by Tony Anselmo (1985–present) Don Nickname(s) Uncle Donald Duck Avenger (USA) Superduck (UK) Aliases Italian: Paperinik Captain Blue Species Pekin duck Family Duck family Significant other(s) Daisy Duck (girlfriend) Ludwig Von Drake (uncle) Scrooge McDuck (uncle) Relatives Huey, Dewey, and Louie (nephews) Donald Fauntleroy Duck[1] is a cartoon character created in 1934 at Walt Disney Productions and licensed by The Walt Disney Company. Donald is an anthropomorphic white duck with a yellow-orange bill, legs, and feet. He typically wears a sailor suit with a cap and a black or red bow tie. Donald is most famous for his semi-intelligible speech and his explosive temper. Along with his friend Mickey Mouse, Donald is one of the most popular Disney characters and was included in TV Guide's list of the 50 greatest cartoon characters of all time in 2002.[2] He has appeared in more films than any other Disney character[3] and is the fifth most published comic book character in the world after Batman, Superman, Spider-Man, and Wolverine.[4] Donald Duck rose to fame with his comedic roles in animated cartoons. He first appeared in The Wise Little Hen (1934), but it was his second appearance in Orphan's Benefit which introduced him as a temperamental comic foil to Mickey Mouse. Throughout the 1930s, '40s and '50s he appeared in over 150 theatrical films, several of which were recognized at the Academy Awards. -
An Analysis of Clothing in Disney Cartoons
"I Might be a Duck, but I'm Human": An Analysis of Clothing in Disney Cartoons Luke Baldwin Dubin JAMES A GIBSON LIBRARY BROCK UNIVERSiTY , r'"i I~" YES' < ' ¥-"'J; ''<'11 r ST.• CJ\THAR,.. ...... ..!. v ,t_#.", ~ Thesis completed in partial fulfillment of the requirements of the Interdisciplinary MA Program in Popular Culture Brock University © 2008 Dubin i Abstract Mickey Mouse, one of the world's most recognizable cartoon characters, did not wear a shirt in his earliest incarnation in theatrical shorts and, for many years, Donald Duck did not wear pants and still rarely does so. Especially when one considers the era in which these figures were first created by the Walt Disney Studio, in the 1920s and 1930s, why are they portrayed without full clothing? The obvious answer, of course, is that they are animals, and animals do not wear clothes. But these are no ordinary animals: in most cases, they do wear clothing - some clothing, at least - and they walk on two legs, talk in a more or less intelligible fashion, and display a number of other anthropomorphic traits. If they are essentially animals, why do they wear clothing at all? On the other hand, if these characters are more human than animal, as suggested by other behavioral traits - they walk, talk, work, read, and so on - why are they not more often fully clothed? To answer these questions I undertook three major research strategies used to gather evidence: interpretive textual analysis of 321 cartoons; secondary analysis of interviews conducted with the animators who created the Disney characters; and historical and archival research on the Disney Company and on the times and context in which it functioned. -
Chapter 2 Literature Review
CHAPTER 2 LITERATURE REVIEW The literature review provides details about the previous studies relevant to this research and the synopsis of the films Khan Kluay I and II. 2.1 Previous studies For decades, there have been many studies conducted about nationalism and racism in movies. Many of these studies focused on Walt Disney’s animations, especially his famous cartoon characters. As example, Rami Yashruti analyzed the filmic version of The Jungle Book (1967), and concluded that the racist undertones in the film are often exaggerated and overstated. King Louie’s speech “I Wanna Be Like You” has often been seen as highly racist. The jive accent of King Louie with the song and dance can be viewed as a mockery of African-American culture. The film seeks to show that they strive to be white, but they always appear like “monkeys”. Louie thinks that if he has the secret of fire, he will be human, but in truth he will always be a monkey. Another interesting point made in this study is about the voice of Baloo the Bear in The Jungle Book, who seems to represent immigrants. His characterization and New Jersey working class accent are suggestive of racist views of immigrants. Of note is that all the authority figures in the film have British noble accents, while the slang, jive, and working-class accents are reserved for vultures who speak in a working-class 7 Liverpool accents, and uneducated kingpins represented by King Louie and his monkey delinquents. At the same time, Bagheera, Col. Hardy, Shere Khan, and the wolf pack, all speak in distinguished British accents. -
Wave 1 December 4, 2001 - 150,000 Tins Produced
Wave 1 December 4, 2001 - 150,000 tins produced Mickey Mouse Davy Crockett: in Living Color Silly Symphonies Disneyland USA The Complete (Volume 1) Buy Buy Televised Series Buy Review Review Buy Review Review Celebrate Mickey Mouse's This groundbreaking series Celebrating Walt Disney's Experience the hit television career in color cartoons of 31 uncensored cartoons, pioneering efforts in the show that became a national with 26 original shorts released between 1929 and medium of television, sensation and made released between 1935 and 1939, includes six Academy DISNEYLAND USA features coonskin caps a staple for a 1938 -- a timeless Award(R) winners and four vintage episodes of generation of American collection chronicling provides an astonishing Walt's beloved prime-time youngsters. With a rifle Mickey's first steps out of look inside the evolution of program. Take a wonderful named Old Betsy, Davy the world of black and animation. Each boasting a look back at the origins of Crockett fought for justice white, ushering in a new unique cast of characters, the park, beginning with with his own brand of era of animation. This these musical shorts served the very first episode of the homespun ingenuity. Enjoy classic uncensored as Walt Disney's proving DISNEYLAND TV series, as every episode of the popular compilation includes a wide ground for emerging Walt Disney leads a tour of Disney television series, array of special features, technology, new musical the studio and lifts the presented as originally including an inside look at styles, and experimental curtain on a model of the broadcast, complete with the creation of selected forms. -
Chapter 1 Introduction
CHAPTER 1 INTRODUCTION 1.1 Rationale Animations are generally considered a harmless form of entertainment for children, but a number of people argue that animations have also been produced for political propaganda, which sometimes involves nationalist sentiments and racist representations of the others (Ívansson 2). Propagandists tend to regard movies and animations as highly useful for disseminating nationalist ideologies to young people. In the United States after World War II, some animated films with nationalist propagandas, such as The Spirit of 43’ Donald Duck cartoon, were banned as they conveyed explicitly racist perceptions and attitudes. Those who were against this kind of movies contended that the ideologies embedded in these movies would make children misunderstand, stereotype, and generalize people from other societies as they could have been influenced by the bias and prejudice of those who produced the films (Sullivan, “Cartooning the Nation”). Significantly, there have been many discussions and studies about nationalism and racism in animations. Firstly, however, it is important to provide some background knowledge about nationalism and racism and their intimate relationship. According to Stanford Encyclopedia of Philosophy, nationalism can be briefly defined as the attitude that members of a nation have about national identity, which often involves common origin, ethnicity, or cultural ties. Nationalism can also refer to actions 1 taken by members of a nation when trying to achieve self-determination. Another meaning of nationalism is that it is a belief, or ideology that makes an individual become attached to one’s nation or country of origin <http://plato.stanford.edu/archives/sum2010/entries/nationalism/>. -
Walt Disney Treasures - the Chronological Donald Vol
Walt Disney Treasures - The Chronological Donald Vol. 2 (1942- 1946) [2 DVD] Walt Disney Treasures - The Chronological Donald Vol. 2 (1942-1946) [2 DVD] Andre verdenskrig har innhentet Disney og det gjør seg utslag i kortfilmene fra perioden 1942-46. Selv ikke Donald slipper unna militærtjeneste. Walt Disney Treasures - The Chronological Donald Vol. 2 (1942-1946) Jack King, Jack Hannah, Dick Lundy, Jack Kinney Walt Disney Productions 1942-1946 Walt Disney Studios Home Entertainment 4:3 Fullskjerm Dolby Digital 2.0 225 min. 2 5 Officer Donald Disney fortsetter sin imponerende utgivelsesrekke i Treasures-serien ? klassiske tegnefilmer fra Disney-hvelvet. Denne gang er det fortsettelsen av The Chronological Donald fra perioden 1942-1946. I denne perioden var den hissige Donald Duck Disneys sterkeste skinnende stjerne og hadde tatt over rampelyset fra Mikke Mus som i stadig større grad ble en nedprioritert karakter. Donald bød på større muligheter for å gjøre morsomme gags og dessuten hadde han en personlighet som bød på uante muligheter for trøbbel og morsomheter. Mikke på sin side var redusert til en grå mus. Denne utgivelsen dokumenterer Disneys produksjon av Donald-kortfilmer under annen verdenskrig og byr slik sett på et interessant innblikk i propagandamaskineriet hvor Disney inngikk. I krigsårene skiftet Disney fokuset fra de påkostede langfilmene til et hjemlig og vestlig marked, til å produsere langfilmer myntet på det latin-amerikanske kontinentet og oppdrag på vegne av amerikanske militærinteresser. Donald er blant karakterene som gjorde militærtjeneste i filmer som Donald Gets Drafted, eZ Publish PDF-eksport 1 av 4 The Vanishing Private og Sky Trooper. Dessverre er en av de beste og mest legendariske kortfilmene fra denne perioden, Der Fuhrer?s Face, utelatt fra denne samlingen. -
Wartime Art: a Study of Political Propaganda and Individual Expression in American Commercial and Combat Art During World War II
State University of New York College at Buffalo - Buffalo State College Digital Commons at Buffalo State History Theses History and Social Studies Education 5-2013 Wartime Art: A Study of Political Propaganda and Individual Expression in American Commercial and Combat Art during World War II Jennifer M. Wilcott State University of New York, Buffalo State College, [email protected] Advisor Nancy Weekly, M.A., Lecturer of History and Museum Studies First Reader Cynthia A. Conides, Ph.D., Associate Professor of History and Museum Studies Department Chair Andrew D. Nicholls, Ph.D., Professor of History To learn more about the History and Social Studies Education Department and its educational programs, research, and resources, go to http://history.buffalostate.edu/. Recommended Citation Wilcott, Jennifer M., "Wartime Art: A Study of Political Propaganda and Individual Expression in American Commercial and Combat Art during World War II" (2013). History Theses. 17. https://digitalcommons.buffalostate.edu/history_theses/17 Follow this and additional works at: https://digitalcommons.buffalostate.edu/history_theses Part of the United States History Commons i ABSTRACT OF THESIS Wartime Art: A Study of Political Propaganda and Individual Expression in American Commercial and Combat Art during World War II This thesis will explore the mediums and functions of American art during World War II. The purpose of exploring art during World War II is not simply to provide an overview of the multiple media of art produced during the war, but to investigate the role that commercial artwork and combat soldiers’ artwork had on the lasting interpretation of the war. Themes addressed are propaganda, the role of posters, comic books, and cartoons along with their influence on American society at the time. -
Wartime Art: a Study of Political Propaganda and Individual Expression in American Commercial and Combat Art During World War II Jennifer M
State University of New York College at Buffalo - Buffalo State College Digital Commons at Buffalo State History Theses History and Social Studies Education 5-2013 Wartime Art: A Study of Political Propaganda and Individual Expression in American Commercial and Combat Art during World War II Jennifer M. Wilcott [email protected] Advisor Nancy Weekly, M.A., Lecturer of History and Museum Studies First Reader Cynthia A. Conides, Ph.D., Associate Professor of History and Museum Studies Department Chair Andrew D. Nicholls, Ph.D., Chair and Professor of History To learn more about the History and Social Studies Education Department and its educational programs, research, and resources, go to http://history.buffalostate.edu/. Recommended Citation Wilcott, Jennifer M., "Wartime Art: A Study of Political Propaganda and Individual Expression in American Commercial and Combat Art during World War II" (2013). History Theses. Paper 17. Follow this and additional works at: http://digitalcommons.buffalostate.edu/history_theses Part of the United States History Commons i ABSTRACT OF THESIS Wartime Art: A Study of Political Propaganda and Individual Expression in American Commercial and Combat Art during World War II This thesis will explore the mediums and functions of American art during World War II. The purpose of exploring art during World War II is not simply to provide an overview of the multiple media of art produced during the war, but to investigate the role that commercial artwork and combat soldiers’ artwork had on the lasting interpretation of the war. Themes addressed are propaganda, the role of posters, comic books, and cartoons along with their influence on American society at the time.