A Qualitative Look at Middle SES Preschoolers: Media Consumption and Social Behaviors Jaime S
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Cartoon Animation Free
FREE CARTOON ANIMATION PDF Preston Blair | 224 pages | 25 Oct 1996 | Walter Foster Publishing | 9781560100843 | English | Laguna Hills, CA, United States ToonyPhotos - Turn Photos into Cartoons Animation is a method in which figures are manipulated to appear as moving images. In traditional animation Cartoon Animation, images are drawn or painted by hand on transparent celluloid sheets to Cartoon Animation photographed and exhibited on film. Today, most animations are made with computer-generated imagery CGI. Computer animation can be very detailed 3D animationwhile 2D computer animation can be used for stylistic reasons, low bandwidth or faster real-time renderings. Other common animation methods apply a stop motion technique to two and three-dimensional objects like paper cutoutspuppets or clay figures. Commonly the effect of animation is achieved by a rapid succession of sequential images that minimally Cartoon Animation from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon and beta movementbut the exact causes are still uncertain. Television and video are popular electronic animation media that originally were analog and now operate digitally. For display on the computer, techniques like animated GIF and Flash animation were developed. Animation is more pervasive than many people realize. Apart from short filmsfeature Cartoon Animationtelevision series, animated GIFs and other media dedicated to the display of moving images, animation is also prevalent in video gamesmotion graphicsuser interfaces and visual effects. The physical movement of image parts through simple mechanics—in for instance moving images in magic lantern shows—can also be considered animation. The mechanical manipulation of three-dimensional puppets and objects to emulate living beings has a very long history in automata. -
1 the Cool Japan Project and the Globalization of Anime
THE COOL JAPAN PROJECT AND THE GLOBALIZATION OF ANIME AND MANGA IN THE UNITED STATES by Joshua Michael Draper Honors Thesis Appalachian State University Submitted to the Department of Cultural, Gender, and Global Studies and The Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts May, 2015 Approved by: Wei Xie, Ph.D., Thesis Director Alexandra Sterling-Hellenbrand, Ph.D., Second Reader Jeanne Dubino, Ph.D., Department Honors Director Leslie Sargent Jones, Ph.D., Director, The Honors College 1 The Cool Japan Project and the Globalization of Anime and Manga in the United States Abstract: This research paper will primarily discuss the impact that Japanese animation and manga have had on American popular culture and the subsequent cult following they developed. It will discuss what distinguishes Japanese animation from Western animation, how Japanese animation initially gained popularity among American audiences, and how it has subsequently impacted American popular culture. This paper will also focus on the subculture of otaku, a group of people known for their devoted following to Japanese animation and comic books. The purpose of this paper is to discuss the relative popularity of Japanese animation and manga amongst American audiences as an example of globalization impacting the United States from another country. Keywords: anime, manga, soft power, Cool Japan, globalization 2 Introduction During the 1980s and 1990s, Japanese animation and comic books began coming overseas to the United States, where it soon gained popularity amongst a sizeable number of young Americans. Recognizing the economic potential of Japanese popular culture, in 2002, Douglas McGray, writing for Foreign Policy, wrote an article titled “Japan’s Gross National Cool”, highlighting Japan’s potential to be a global “soft power”, or a country that promotes itself through its cultural influence rather than by economic and military force. -
MAKING MACHINIMA: Animation, Games and Multimodal Participation in the Media Arts Andrew Burn ABSTRACT in the Project Discussed
MAKING MACHINIMA: animation, games and multimodal participation in the media arts Andrew Burn ABSTRACT In the project discussed in this article, 30 11-year-olds made an animated film in the machinima style, influenced by both film and game culture, and using a 3-D animation software tool, Moviestorm. The processes and products of the project will be analysed using a social semiotic/multimodal approach, exploring the social interests behind the integration of visual design, music, voice acting, story-writing and animation which characterise the project. The outcomes suggest a need to move beyond established thinking and practice in media literacy practice and research in three ways. First, we need to develop moving image education to recognise new genres and cultures. Second, we need to recognise that such productions are intensely multimodal, involving music, drama, story-writing and visual design. Third, such projects demand connected pedagogy across media, literacy, music, drama, computer science and art. INTRODUCTION Media literacy is a contested notion, in Europe, in the US, and globally. In my own context, it is closely allied with a model of media education built around a conceptual framework of media institutions, texts and audiences, a model best-known in David Buckingham’s version (2003). My own conception, while close to Buckingham’s (and indebted to his) is a little different. For one thing, it incorporates an emphasis on the poetics of the media as well as the rhetorics. For another, it incorporates a social semiotic-multimodal notion of media texts. It is elaborated fully in Burn and Durran (2007), along with a series of case studies exemplifying its various features. -
Cartoons Are No Laughing Matter
SPECIAL REPORT July 2011 Cartoons Are No Laughing Matter Sex, Drugs and Profanity on Primetime Animated Programs Cartoons Are No Laughing Matter: Sex, Drugs and Profanity on Primetime Animated Programs July 2011 Our work is often inspired by the passion and compassion of others. A special thank you to the following individuals and foundations for their generous support. Donald and Michele D’Amour William E. Simon Foundation Mathile Family Foundation Stuart Family Foundation Mr. & Mrs. T. Bondurant French 2 Cartoons Are No Laughing Matter: Sex, Drugs and Profanity on Primetime Animated Programs July 2011 FOR MEDIA INQUIRIES PLEASE CONTACT Megan Franko CRC Public Relations (703) 859-5054 or Liz Krieger CRC Public Relations (703) 683-5004, ext. 120 www.ParentsTV.org 3 Cartoons Are No Laughing Matter: Sex, Drugs and Profanity on Primetime Animated Programs July 2011 CONTENTS I. Executive Summary 5 II. Network Report Card 9 III. Introduction 10 IV. About the Networks 11 V. Methodology 12 VI. A Description of the TV Rating System 13 VII. Study Findings 13 VIII. Conclusion 17 IX. Content Examples 19 X. Data Tables 26 XI. References 4 Cartoons Are No Laughing Matter: Sex, Drugs and Profanity on Primetime Animated Programs July 2011 C artoons Are No Laughing Matter Sex, Drugs and Profanity on Primetime Animated Programs The present study not only reveals what kids are seeing on cartoons today, it also reveals what networks and advertisers are marketing to children and teens while they are watching. Executive Summary The television industry is often criticized for the amount of sex, violence and profanity it airs. -
Animation Fandom in North America and East Asia from 1906–2010 By
Animating Transcultural Communities: Animation Fandom in North America and East Asia from 1906–2010 By Sandra Annett A thesis submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of English, Film, and Theatre University of Manitoba Winnipeg © 2011 Sandra Annett Abstract This dissertation examines the role that animation plays in the formation of transcultural fan communities. A ―transcultural fan community‖ is defined as a group in which members from many national, cultural, and ethnic backgrounds find a sense of connection across difference, engaging with each other through a mutual interest in animation while negotiating the frictions that result from their differing social and historical contexts. The transcultural model acts as an intervention into polarized academic discourses on media globalization which frame animation as either structural neo-imperial domination or as a wellspring of active, resistant readings. Rather than focusing on top-down oppression or bottom-up resistance, this dissertation demonstrates that it is in the intersections and conflicts between different uses of texts that transcultural fan communities are born. The methodologies of this dissertations are drawn from film/media studies, cultural studies, and ethnography. The first two parts employ textual close reading and historical research to show how film animation in the early twentieth century (mainly works by the Fleischer Brothers, Ōfuji Noburō, Walt Disney, and Seo Mitsuyo) and television animation in the late twentieth century (such as The Jetsons, Astro Boy and Cowboy Bebop) depicted and generated nationally and ethnically diverse audiences. -
An Investigation of the Impact of Animated Cartoons on Children in Nairobi
An Investigation of the Impact of Animated Cartoons on Children in Nairobi By Mary Claire Akinyi Kidenda B50/7630/2006 A thesis submitted in partial fulfilment for the degree of Master of Arts in Design School of the Arts and Design, University of Nairobi May 2010 Ubiaty Declaration I declare that this thesis entitled "Ah tmiti&dHtH t)H the ImpHtt #/ Animated CdfHtHi t)H Children in Nteirtihi ” is my own work and to the best of my knowledge has not been presented to any other university for a degree or any other certificate Candidate: Mary Clare Akinyi Kidenda School of the Arts and Design, University of Nairobi Supervisor: Dr. J.P Odoch Pido School of the Arts and Design, University of Nairobi Signature: Date: Table of Contents Declaration.................................................................................................................................................................................... 1 Table of Contents.......................................................................................................................................................................ii List of Illustrations.................................................................................................................................................................... iv List of Figures.............................................................................................................................................................................vi List of Tables.............................................................................................................................................................................vii -
Adapting Anime: Transnational Media Between Japan and the United States
ADAPTING ANIME: TRANSNATIONAL MEDIA BETWEEN JAPAN AND THE UNITED STATES Brian Ruh Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of Communication and Culture, Indiana University May 2012 Acceptance page Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee ____________________________________ Barbara Klinger, Ph.D. ____________________________________ Gregory Waller, Ph.D. ____________________________________ Yeidy Rivero, Ph.D. ____________________________________ Scott O’Bryan, Ph.D. April 9, 2012 ii Acknowledgements I am very grateful to my Ph.D. committee – Barbara Klinger, Gregory Waller, Yeidy Rivero, and Scott O’Bryan – for supporting me (and putting up with me) for these last few years. My parents, Richard and Christine, and parents in law, Dan and Barbara Skinner, have been positive influences throughout this entire process, and I’m sure they’re all glad to see me finish. However, the person who may have borne the most stress through the entire process has been my loving wife Sarah. I’m so thankful to have her. I also need to acknowledge my two beautiful daughters Charlotte and Abby, the sources of both great joy and great delays in the writing process. And finally, hello to Jason Isaacs. iii Abstract Brian Ruh ADAPTING ANIME: TRANSNATIONAL MEDIA BETWEEN JAPAN AND THE UNITED STATES This dissertation examines Japanese animation, or anime, as an example of how a contemporary media product crosses national and cultural borders and becomes globalized. Bringing together the theories of Hiroki Azuma and Susan J. -
Cartoons and Their Effect on Youth
0 Syrian Arab Republic The ministry of education The national center for the distinguished CARTOONS AND THEIR EFFECT ON YOUTH Seminar made for English Under the Supervision of: M.s Souhair kharma Prepared by: Aveen Hussien Tenth grade 2015_2016 0 cover page…………………………………………………………………..…1 Introduction……………………………………………………………….….2 Table of contents……………………………………………………………3 1 -First chapter: cartoon and the time: 1.1-definition of cartoon…………………………………………………4 1.2 beginning of the cartoon……………………………………….….4 1.2.1-early cartoons……………………………………………………….5 1.2.2-early creators…………………………………………………………6 1.3-The development of the cartoon……………………..……….7 1.4-The future of the cartoon……………….………………………..8 Second chapter: 2-cartoons effect on youth 2.1-cartoon's positive effects on youth……………………………9 2.1.1-entrtainment education………………………………….….…9 2.1.2 -relaxation values…………………………………………………10 2.1.3-The development of parent-children relationship..10 2.1.4-The educational benefits of cartoon……………….….11 2.2-cartoon's negative effects on youth…………………….…11 2.2.1-Violent elements in cartoons…………………………..…11 2.2.2-Cartoons messages to kids……………………………….…12 Conclusion……………………………………………………………….….12 Figures Figure 1 Sequence show cartoons………………………………………5 Figure 2 Slightly varying drawings………………………………..…… 5 Figure 3 Zoetrope…………………………………………………………….. 6 Figure 4 phenakistoscope…………………..……………………………. 6 Figure 5 Bugs bunny with many other warner brothers..……8 Figure 6 Tom and Jerry………………………………..……………….…. 11 1 Cartoon is an entertainment tool which attracts a very precious audience …kids! It was made for centuries and developed by brilliant creators. And because the forces that shape children’s impressionable minds are found mostly in the environment where they grow up. Such things include the things they are exposed to on a Daily basis. -
UNIVERSITY of CALIFORNIA, IRVINE the Adolescent In
UNIVERSITY OF CALIFORNIA, IRVINE The Adolescent in American Print and Comics DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in Visual Studies by Christine Elizabeth Mugnolo Dissertation Committee: Professor Cécile Whiting, Chair Professor Kristen Hatch Professor Lyle Massey 2021 © 2021 Christine Elizabeth Mugnolo TABLE OF CONTENTS Page LIST OF FIGURES iv ACKNOWLEDGEMENTS x VITA xii ABSTRACT OF THE DISSERTATION xiii CHAPTER 1: INTRODUCTION 1 CHAPTER 2: THE IMMIGRANT JUVENILE AS URBAN AVATAR: 30 SUNDAY COMICS AND THE YELLOW KID The Sunday Supplement vs. the Comic Weekly 32 Bad Boy Comic Strips 50 The Yellow Kid and the Residents of Hogan’s Alley 56 The Return Gaze and a New Form of Political Humor 65 The Yellow Kid as Mask and Mirror 79 CHAPTER 3: THE MIDDLE-CLASS JUVENILE AS CULTURAL IDIOT: BUSTER BROWN 95 Reform in Comics and Buster Brown 96 Buster Brown Breaks the Comic Strip Formula 99 Buster and Middle-Class Child Rearing 109 “Resolved!” 115 Spank as Shock 121 CHAPTER 4: THE ADOLESCENT BODY IN THE AMERICAN IMAGINATION, 130 PAINTING, AND PRINT Formulating the Adolescent as a Visual Type 132 The Adolescent Body and the Masculine Ideal 138 Adolescence in the Comics 155 George Bellows: Merging Painting and Cartooning Traditions 162 in the Youthful Body ii Bellows and the College Adolescent 175 CHAPTER 5: THE UNDERGRADUATE: AN AMERICAN PROBLEM 191 College Students as a Modern Crisis: The College Adolescent as a Social Cause 192 Visualizing the Modern College Adolescent in Popular -
Anime: from Cult Following to Pop Culture Phenomenon
94 — The Elon Journal of Undergraduate Research in Communications • Vol. 3, No. 2 • Fall 2012 Anime: From Cult Following to Pop Culture Phenomenon Samantha Nicole Inëz Chambers* Media Arts & Entertainment - Cinema Elon University Abstract This study examined the scope of influence that Japanese anime had onAmerican people born in the ‘80s and ‘90s. Relying on secondary research and a survey using a convenience sample of 107 students and young adults, this study found that anime conveys a negative image associated with violence and fringe culture, but people see anime as more of an art form than tasteless violent film. The study also found that piracy, though not overly common, was still practiced in the case of Japanese media, but some major studios are not impeding these fansubbing (fan-made subtitles) movements. They believe that fansubbing promotes their brand and that merchandising can help recover the profits lost on film sales. I. Introduction One of the biggest movies to hit the box office this decade was Toy Story 3. Its Oscar-winning ani- mation along with its Pixar title made it a huge hit among cinema lovers. Something that makes Pixar films so lovable to audiences is the meticulous animation. Pixar is known for leaving “Easter Eggs,” or references to past and future movies, in its films for guests to find. For example, people will notice that the Pizza Planet truck from the original Toy Story is in every Pixar film at least once. While watching Toy Story 3 and care- fully scanning every scene for the “Easter Eggs,” people may be shocked to see a plush Totoro doll. -
Download Full Program (PDF-8Mb)
— 1 — The 25th Annual Society for Animation Studies Conference USC School of Cinematic Arts John C. Hench Division of Animation and Digital Arts Los Angeles, California, USA The SAS conference REDEFINING ANIMATION Keynote talks are proudly sponsored by June 23-27 2013 DreamWorks Animation http://anim.usc.edu/sas2013.html Got a smart phone? Scan the QR codes throughout this Program to view the content online. — 2 — — 3 — The John C. Hench Division of Animation & Digital Arts (Hench-DADA) is proud to host REDEFINING ANIMATION the 25th Annual Society for Animation Studies (SAS) Conference 2013. Honoring the tradition of classical animation while also addressing the convergent aspect of the art form across new media formats and technologies, this year’s conference focuses on bringing together scholars, artists and practitioners at the intersection of industry, academia and the arts. USC’s School of Cinematic Arts (SCA) has a long tradition of animation practice and theory starting in 1941 with the first class taught in animation at the school by artist and large format film pioneer Les Novros entitled Filmic Expressions. Today SCA houses seven divisions dedicated to the cinematic arts. Besides Hench-DADA, the school includes the prestigious Bryan Singer Critical Studies Division, Interactive Media & Games Division, Production for Film & Television, Writing, Peter Stark Producing and the new- est division Media Arts and Practice. Keynotes, faculty, students and staff from all of these programs will be participating at the con- ference alongside our special guest keynote speakers Geena Davis (Actor and gender equality advocate), David Hanson (Robotics Artist/Engineer) and Davide Quayola (Artist Italy). -
Censorship and Moral Standards of Decency in By
Protecting Young Eyes: Censorship and Moral Standards of Decency in Japan and the United States as Reflected in Children's Media by Dorothy Ann Phoenix Submitted to the Department of Foreign Languages and Literature On Partial Fulfillment of the Requirements for the Degree of BACHELOR OF SCIENCE In HUMANITIES AND ENGINEERING ARCHIVES at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY June 1, 2006. [The author hereby grants to M.I.T. Permission to reproduce and to distribute copies of this thesis in whole or in part.] Signature of Author: Department of Humanities, June 1 2006. Certified by: Assi-itProfess~ of Japanese Cultural Studies Accepted by: S.C. Fang/rofessor of ehinese Language and Culture Section Head MASSACHUSETTSINSTrTE OF TECHNOLOGY JUN 8 2006 LIBRARIES 1 Table of Contents I. Introduction 3 II. Manga's Artistic Heritage 10 III. American Cartoons and the Controversial Past 12 IV. Comics, Manga and Censorship 15 v. Violence 20 Vi. Sexuality 26 VII. Racism 35 VIII.Conclusion 48 IX. Works Cited 50 2 Protecting Young Eyes: Censorship and Moral Standards of Decency in Japan and the United States as Reflected in Children's Media I. Introduction Anime (Japanese animation) and manga (Japanese comic books) are extremely popular in Japan amongst consumers of all ages. In America and other non-Japanese countries, the international anime and manga fanbase is rapidly expanding. Yet, in some Western countries such as the United States, comic books and cartoons have traditionally been relegated to the realm of childhood, while in Japan, some anime and manga are targeted at child and adult audiences. Of course, these titles usually deal with issues that are not generally considered (in Japan and elsewhere) appropriate for children.