DOCSLIB.ORG

June 14, 2018, Vol. 60, No. 24

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
June 14, 2018, Vol. 60, No. 24 La epidemia de opiáceos 12 Workers and oppressed peoples of the world unite! workers.org Vol. 60, No. 24 June 14, 2018 $1 From G7 to Shanghai summit U.S. swagger falls flat By Sara Flounders The response to President Donald Trump’s arrogant A milestone for Korea withdrawal from the Iran nuclear deal and wild threats of tariffs on U.S. allies has exposed declining U.S. influ- The joint declaration signed on against the DPRK. The Korean peo- one should assume that this move ence on a global scale. June 12 by Kim Jong Un of the Dem- ple as a whole are celebrating this means President Trump is any less This became all too obvious at the gathering in Que- ocratic People’s Republic of Korea unprecedented event. racist, anti-worker, pro-big business bec, Canada, of the G7 summit of the seven major impe- and Donald Trump of the United Progressive forces in the U.S. and anti-immigrant than before. rialist powers — United States, Canada, Britain, France, States is a victory for the DPRK and must remain vigilant, however. The struggle continues to get the Germany, Italy and Japan. With the exception of Japan, for the progressive people of South First, there are no guarantees that U.S. to end its state of war with the the other six countries are also leading members of the Korea. Just holding such a meet- the political and military agents DPRK, sign a peace treaty, and bring U.S.-commanded NATO military alliance. ing is a sharp retreat from Trump’s of the U.S. ruling class won’t sabo- U.S. troops home from Korea. Trump’s insults and contradictory statements before threats last fall of nuclear war tage this process. And second, no — Workers World Editorial Board and after the G7 meeting, and his threats of new tariffs unleashing an unpredictable trade war, reinforced the disarray in the global capitalist order that U.S. imperi- alism has commanded for 70 years. Washington is increasingly unable to control the Solidarity with global agenda. U.S. corporate power finds it can no lon- ger order the nations of the world to isolate the People’s Democratic Republic of Korea or Iran. PALESTINE 6 The U.S. has less to offer except threats of military destruction, unpayable debt and broken agreements. This untenable situation is the cause of Trump’s rants, tweets and temper tantrums. In past years G7 summits were usually weekend pho- to ops, with a vague unity statement to paper over deep economic rivalries behind the scenes. The only agreement among these top officials, who represent the largest bankers and corporations, is about imperialist wars. They agree on the NATO bombing of Libya, the concerted regime change effort in Syria, the expansion of NATO to the borders of Russia, and the effort to pull Ukraine into the NATO military alliance. They agreed to impose harsh sanctions on Russia and expel Russia from what was then the G8 when Russia moved in 2014 to save its only naval port in Crimea Philadelphia from being captured by NATO. In past decades, the U.S. had great influence in es- tablishing, and steering for its benefit, this gathering of the world’s largest imperialist powers. In essence it is a gathering of thieves and robbers in an alliance to loot WW PHOTOS: JOE PIETTE the developing world through international banking agreements, utilizing the International Monetary Fund and World Bank, and imposing starvation sanctions on countries that have stepped out of line. But at the same time, these pirates are also ruthlessly competing with each other. A different alliance As one meeting of world leaders of the major imperi- alist countries ended in Canada, another very different 10, 11 No. CAROLINA meeting was opening in China. STOP ICE LGBTQ Pride 3 WORKERS Continued on page 8 Editorial Roxana win $15 4 Hernández Durham: Stop evictions 4 Subscribe to Workers World 4 weeks trial $4 1 year subscription $30 Poor People’s Campaign 5, 11 Sign me up for the WWP Supporter Program: workers.org/donate Name ________________________________________________ SOCIALIST FOR SENATE Email _______________________ Phone __________________ Reflections on the campaign 10 WW PHOTO: SCOTT SCHEFFER Street ________________ City / State / Zip __________________ Workers World Weekly Newspaper workers.org CHINA 9 PUERTO RICO 11 CUBA 11 147 W. 24th St., 2nd Fl, NY, NY 10011 212.627.2994 Page 2 June 14, 2018 workers.org Black anti-imperialist defended By Julie Varughese “Two organizations used Ajamu Baraka’s presence at the recent Left Forum in order to attack anti-imperialism In the U.S. The irony of the first full-blown demonstration against itself. They falsely accuse him of being a defender of geno- Black anti-imperialist defended..........................2 a speaker at the Left Forum in New York City being aimed cide and a Donald Trump supporter as a ruse to hide their North Carolina: State workers win $15 hour ............. 4 at a Black anti-imperialist calls into question the motiva- support of imperialism as carried out not just in Syria but Encampment residents demand end to evictions....... 4 tions of supposedly anti-genocide protesters. around the world. An article being circulated throughout the conference “Ajamu Baraka’s history of activism and his role as Na- The 1941 Walt Disney cartoonists’ strike ................ 5 weekend on June 1-3, as well as a walkout protest during tional Organizer and National Spokesperson for the Black Jobs report confirms Poor People’s Campaign .......... 5 the closing plenary of the annual event, decried Black Alli- Alliance for Peace demonstrate a commitment to democ- U.S. actions show solidarity with Palestine.............. 6 ance for Peace national organizer Ajamu Baraka’s support racy, justice, and the rights of all people to self-determi- Protesters honor nurse slain in Gaza .................... 6 for the Syrian state. nation. Los Angeles: Call for a unified Korea .................... 7 Syria has been devastated by a seven-year, U.S.-led in- “United National Antiwar Coalition is a partner with Organizing workers to fight for solidarity ............... 8 tervention that has armed so-called rebels and created BAP on initiatives such as the Coalition Against U.S. For- millions of refugees. An international attempt to inves- eign Military Bases. BAP is also represented on the UNAC Fracked gas pipeline explodes in fireball .................9 tigate Syria for allegedly possessing chemical weapons, Coordinating Committee. The two groups work togeth- John Parker: ‘We’ll continue fighting in the streets’ ......10 used to allegedly commit genocide, was thwarted by an er because we share the same determination to end U.S. Philadelphia: Protests hit racist Rizzo statue .............11 April 13 attack by a U.S.-led coalition that included France state-sponsored violence wherever it is carried out. In just Baltimore activists target ICE............................11 and the United Kingdom. one year since its founding, the Black Alliance for Peace Albany, N.Y.: ‘We are a new unsettling force!’ ............11 Protesters at the Left Forum called Baraka an “Assa- has made great strides in reviving the black radical tradi- dist” and a Trump supporter, as well as a “genocide deni- tion of opposing ‘the greatest purveyor of violence in the June is PRIDE month alist.” world.’ Motor City Pride: ‘Keep bigotry out of our bakery!’...... 3 “This was not an attack against me personally, but “While the lies and vitriol directed at Ajamu Baraka Stonewall Warriors continue radical legacy . 3 against all of us who take an uncompromising stance on were not strictly personal, they were in essence attacks Alabama: 40 years of LGBTQ Pride ...................... 3 U.S. and European imperialism,” Baraka said. “The Black carried out against this black-led movement as well. Alliance for Peace will continue to call out the petty-bour- BAP’s success in a short period of time makes it a target of WWP San Diego honors trans struggle ................. 3 geois moralism that aligns itself with the humanitarian faux leftists, whose goal is to legitimize U.S. foreign poli- Around the world fiction of the ‘responsibility to protect’ — the 21st century cy while cynically appearing to oppose it. The attempt to U.S. swagger falls flat.....................................1 version of the ‘white man’s burden.’” silence a leading black anti-war organization is therefore The United National Antiwar Coalition issued the fol- racist and makes their actions all the more insidious. Global actions oppose Israeli violence . .6 lowing “Defense of Anti-Imperialism” on June 6: “These organizations reveal themselves to be support- The Arab world and the struggle against austerity .........7 ers of the U.S. hegemon, telling slanderous falsehoods in China #1 in renewable energy..............................9 order to hide their true political stance. They have a his- Cuba: We hear you and see you . 11 tory of disrupting anti-war actions and forums hosted by Puerto Rican resistance fierce! ......................... 11 UNAC and others whenever an anti-imperialist position WAR on Syria or other issues are being discussed. Editorial WITHOUT VICTORY “UNAC stands with everyone who is clear about the ne- LGBTQ Pride smashes white supremacy...................10 by Sara Flounders cessity of ending the U.S. goal of reaching full-spectrum “By revealing the underbelly of the empire, dominance in Syria and everywhere. As such, it is vital Noticias en Español Flounders sheds insight on how to stand up to for us to stand with Black Alliance for Peace and against El capitalismo causó epidemia de opiáceos ............12 the imperialist war machine and, in so doing, any effort to denounce its work and its leadership. We en- save ourselves and humanity.” courage other organizations to add their names to this – Miguel d’Escoto Brockmann, statement or to issue their own statements of support and President, U.N.
Load more

Recommended publications
  • UPA : Redesigning Animation
    This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously
    [Show full text]
  • Frame by Frame
    3 Pars Pro Toto Character Animation and the Work of the Anonymous Artist Everyone does his or her task on the conveyor belt, performing a partial function without grasping the totality. —Siegfried Kracauer1 The single frame is the basic unit of film just as bricks are the basic unit of brick houses. —Robert Breer2 DELIBERATE MISTAKES In late March 1937, in order to meet the booming demand for Popeye cartoons, the management at Fleischer Studios called for the production process to be sped up. In-betweeners, the animators tasked with drawing the stages of movement that come in between key poses, were expected to double their daily output, from twenty sketches per day to forty.3 But tensions between management and labor at the studio were running high, and the in-betweeners did not comply. Instead, they countered with a “slowdown” strike, which meant, effectively, continuing to produce drawings at the regular rate.4 In the month that followed, fifteen anima- tors were fired for participating in the slowdown, and on May 6 the Commercial Artists and Designers Union authorized a full walkout of the studio. The story of what happened next has already been told, as have the stories of other labor conflicts in the US animation industry—most notably, the 1941 strike at Walt Disney Studios.5 But I want to focus on what didn’t happen. By this I do not mean a counterfactual history, at least not in the traditional sense of the term. Rather, I wish to imagine what is left unsaid in these narratives, which tell us only what went on behind the scenes.
    [Show full text]
  • The Animated Movie Guide
    THE ANIMATED MOVIE GUIDE Jerry Beck Contributing Writers Martin Goodman Andrew Leal W. R. Miller Fred Patten An A Cappella Book Library of Congress Cataloging-in-Publication Data Beck, Jerry. The animated movie guide / Jerry Beck.— 1st ed. p. cm. “An A Cappella book.” Includes index. ISBN 1-55652-591-5 1. Animated films—Catalogs. I. Title. NC1765.B367 2005 016.79143’75—dc22 2005008629 Front cover design: Leslie Cabarga Interior design: Rattray Design All images courtesy of Cartoon Research Inc. Front cover images (clockwise from top left): Photograph from the motion picture Shrek ™ & © 2001 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Photograph from the motion picture Ghost in the Shell 2 ™ & © 2004 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Mutant Aliens © Bill Plympton; Gulliver’s Travels. Back cover images (left to right): Johnny the Giant Killer, Gulliver’s Travels, The Snow Queen © 2005 by Jerry Beck All rights reserved First edition Published by A Cappella Books An Imprint of Chicago Review Press, Incorporated 814 North Franklin Street Chicago, Illinois 60610 ISBN 1-55652-591-5 Printed in the United States of America 5 4 3 2 1 For Marea Contents Acknowledgments vii Introduction ix About the Author and Contributors’ Biographies xiii Chronological List of Animated Features xv Alphabetical Entries 1 Appendix 1: Limited Release Animated Features 325 Appendix 2: Top 60 Animated Features Never Theatrically Released in the United States 327 Appendix 3: Top 20 Live-Action Films Featuring Great Animation 333 Index 335 Acknowledgments his book would not be as complete, as accurate, or as fun without the help of my ded- icated friends and enthusiastic colleagues.
    [Show full text]
  • ABSTRACT Title of Dissertation: SONIC MOVIE MEMORIES: SOUND, CHILDHOOD, and AMERICAN CINEMA Paul James Cote, Doctor of Philosoph
    ABSTRACT Title of Dissertation: SONIC MOVIE MEMORIES: SOUND, CHILDHOOD, AND AMERICAN CINEMA Paul James Cote, Doctor of Philosophy, 2016 Dissertation directed by: Professor Jonathan Auerbach, Department of English Literature Though the trend rarely receives attention, since the 1970s many American filmmakers have been taking sound and music tropes from children’s films, television shows, and other forms of media and incorporating those sounds into films intended for adult audiences. Initially, these references might seem like regressive attempts at targeting some nostalgic desire to relive childhood. However, this dissertation asserts that these children’s sounds are instead designed to reconnect audience members with the multi-faceted fantasies and coping mechanisms that once, through children’s media, helped these audience members manage life’s anxieties. Because sound is the sense that Western audiences most associate with emotion and memory, it offers audiences immediate connection with these barely conscious longings. The first chapter turns to children’s media itself and analyzes Disney’s 1950s forays into television. The chapter argues that by selectively repurposing the gentlest sonic devices from the studio’s films, television shows like Disneyland created the studio’s signature sentimental “Disney sound.” As a result, a generation of baby boomers like Steven Spielberg comes of age and longs to recreate that comforting sound world. The second chapter thus focuses on Spielberg, who incorporates Disney music in films like Close Encounters of the Third Kind (1977). Rather than recreate Disney’s sound world, Spielberg uses this music as a springboard into a new realm I refer to as “sublime refuge” - an acoustic haven that combines overpowering sublimity and soothing comfort into one fantastical experience.
    [Show full text]
  • Celebrations-Issue-29-DV74852.Pdf
    Enjoy the magic of Walt Disney World all year long with Celebrations magazine! Receive 6 issues for $29.99* (save more than 15% off the cover price!) *U.S. residents only. To order outside the United States, please visit www.celebrationspress.com. To subscribe to Celebrations magazine, clip or copy the coupon below. Send check or money order for $29.99 to: YES! Celebrations Press Please send me 6 issues of PO Box 584 Celebrations magazine Uwchland, PA 19480 Name Confirmation email address Address City State Zip You can also subscribe online at www.celebrationspress.com. On the Cover: “Live It Up”, photo © Disney/Cirque du Soleil Issue 29 Live It Up! 42 Contents The Magic and Letters ..........................................................................................6 Mystique of La Nouba Calendar of Events ............................................................ 8 Disney News & Updates................................................10 MOUSE VIEWS ......................................................... 15 Guide to the Magic by Tim Foster............................................................................16 The Grand Floridian Explorer Emporium by Lou Mongello .....................................................................18 Society Orchestra: 50 Hidden Mickeys by Steve Barrett .....................................................................20 As Time Goes By Photography Tips & Tricks by Tim Devine .........................................................................22 Disney Legends by Jamie Hecker ....................................................................24
    [Show full text]
  • Animációs Mozgóképtörténet I
    Animációs mozgóképtörténet I. Animációs mozgóképtörténet I. M Tóth , Éva Kiss , Melinda Created by XMLmind XSL-FO Converter. Animációs mozgóképtörténet I.: Animációs mozgóképtörténet I. M Tóth , Éva Kiss , Melinda Szerzői jog © 2014-2019 M Tóth Éva DLA, Kiss Melinda DLA, Budapesti Kommunikációs és Üzleti Főiskola Created by XMLmind XSL-FO Converter. Tartalom Animációs mozgóképtörténet I. ........................................................................................................ vii Megjegyzés ...................................................................................................................................... viii 1. Az animáció műfajáról általában .................................................................................................... 1 1. 1.1. Animációs technikai műfajok ......................................................................................... 2 2. 1.2. Az animációs tervezés fázisai ........................................................................................ 5 2. A mozgókép kialakulásának előzményei ........................................................................................ 7 1. 2.1. Képtörténet ..................................................................................................................... 9 1.1. 2.1.1. Képmutogatók .............................................................................................. 10 1.2. 2.1.2. A panoráma és cikloráma ............................................................................. 11 1.3.
    [Show full text]
  • “Épocas De Cartoon Network. Estilo Y Evolución”
    UNIVERSIDAD POLITECNICA DE VALENCIA ESCUEL A POL I TECN I C A SUPER I O R D E GAND I A GRADO EN COMUNICACIÓN AUDIOVISUAL “Épocas de Cartoon Network. Estilo y evolución” TRABAJO FINAL DE GRADO Autor/a: Cèlia Pons Castelló Tutor/a: Raúl González Monaj Gandía, 2016 RESUMEN: La cadena de televisión Cartoon Network dirigida a los más jóvenes que ha sabido despuntar en el mercado de las series de animación por su singular estilo narrativo y visual, especialmente en las producciones localizadas en Estados Unidos, Canadá y Reino Unido. Líder de los índices de audiencia junto con otras productoras de similar o mayor tamaño como Disney o Nickelodeon, Cartoon Network presenta una serie de características que lo distinguen de otras compañías. Éste estudio se centra pues en el análisis de los aspectos distintivos de Cartoon Network a lo largo de las diferentes épocas desde su origen en 1992. Mediante un estudio comparativo de tres de sus series pertenecientes a distintos estilos y épocas trataremos de evidenciar cuales han sido los puntos fuertes que la han convertido en la cadena animada por definición. Palabras clave: 2D, serie, target, animación limitada, televisión. ABSTRACT: Cartoon Network is a television channel aimed at the youngest viewers that has managed to stand out in the market of animated cartoons for its particular narrative and visual style, specifically in the productions located in the United States, Canada and United Kingdom. Leading the audience ratings with other producers of similar or bigger size like Disney or Nickelodeon, Cartoon Network contains a range of features that make it unique in comparison with other companies.
    [Show full text]
  • JURIED AWARDS June Foray I Winsor Mccay I Ub Iwerks I Special Achievement I Certificate of Merit
    JURIED AWARDS June Foray I Winsor McCay I Ub Iwerks I Special Achievement I Certificate of Merit Named in honor of animator Winsor McCay, best known as a prolific artist and pioneer in the art of comic strips and animation, the Winsor McCay Award stands as one of the highest honors given to an individual in the animation industry in recognition for career contributions to the art of animation. The following is a list of all past and present Winsor McCay recipients: 1972 Max Fleischer, Dave Fleischer 1973 Walter Lantz 1974 Tex Avery, Friz Freleng, Chuck Jones, Art Babbit, Winsor McCay 1975 Walt Disney, John Hubley, Faith Hubley, Norman McLaren 1976 Robert Cannon, Hugh Harman, Rudolph Ising, Mike Maltese, George Pal, Ward Kimball 1977 Bill Hanna, Joe Barbera, Mel Blanc, Oskar Fischinger, Bill Scott, Milt Kahl 1978 Jay Ward, Ub Iwerks, Dick Huemer, Carl Stalling, Hans Conreid 1979 Clyde Geronomi, Bill Melendez, Mae Questel, Otto Messmer 1980 Ollie Johnston, Frank Thomas, Cal Howard, Paul Julien, La Verne Harding 1981 T. Hee, Bill Peet, Bill Tytla, John Whitney, Ken Harris 1982 Ken Anderson, Bruno Bozzetto, June Foray, Don Graham, Marc Davis 1983 Eric Larson, Fred Moore, Clarence Nash, Wolfgang Reitherman, Leo Salkin, Steven Bosustow, Wilfred Jackson 1984 Daws Butler, David Hand, Jack Kinney, Michael Lah, Robert McKimson, Richard Williams, Hamilton S. Luske 1985 Robert Abel, Preston Blair, Joe Grant, John Halas, Sterling Holloway, Jim McDonald, Phil Monroe, Ben Washam 1986 Frederic Back, Shamis Culhane, William T, Hurtz, Irven Spence, Emery Hawkins, John Lounsbery 1987 Paul Dressien, Jack Hannah, Bill Littlejohn, Maurice Noble, Ken O'Connor 1988 Ralph Bakshi, Bob Clampett, Tissa David, Kihachiro Kawamoto, Virgil Ross 1989-90 Art Clokey, Hicks Lokey, Don Messick, Osamu Tezuka, Lester Novros 1991 Ray Harryhausen, Herb Klynn, Bob Kurtz, Yuri Norstein, Joe Siracusa, Ruth Kissane 1992 Les Clark, Stan Freberg, David Hilberman 1993 George Dunning, Roy E.
    [Show full text]
  • Analyzing the Generative Mechanisms That Provoked the Disney
    Simpson 1 Melissa Simpson MDST 3301 Marker 10 November 2015 The Disney Animators’ Strike of 1941 and the Formation of the UPA Redescribing the Formation of United Productions of America United Productions of America, also known as UPA, was an animation studio established in the wake of the Disney animators' strike of 1941. Due to the Great Depression in the 1930s, many labor unions were formed, including the 1933 formation of the Screen Actors Guild. In 1937, animators from Fleischer Studios went on strike due to the firing of 15 American Art-Union employees. The strike led to the 1938 creation of the Screen Cartoonists' Guild headed by Herbert Sorrell. Although Disney’s animators were some of the best paid workers in the industry, toward the late 1930s, discontentment began to rise. In 1936, Walt Disney halted his practice of giving his employees bonuses of 20 percent of the profits due to the increase in staff size (Robb, "Chapter 5 - Walt in Wartime"). This came after many employees dedicated free overtime to complete production of Snow White and the Seven Dwarfs. Instead of giving bonuses, Disney switched to a system of giving out salary adjustments, or raises, to the animators that he thought were giving outstanding work. The promise of salary adjustments were used almost as dangling carrots to encourage his employees to continue to push and work harder. During the late 1930s and early 1940s, the rise of World War II began to affect the foreign markets causing Disney to lose 40 percent of profits from foreign releases. This led to less successful releases with both Pinocchio and Fantasia (Robb, "Chapter 5 - Walt in Wartime").
    [Show full text]
  • "In-Betweening" Disney: an Animated History of Hollywood Labor and Ideological Imagineering, 1935-1947
    Old Dominion University ODU Digital Commons History Theses & Dissertations History Spring 2020 "In-Betweening" Disney: An Animated History of Hollywood Labor and Ideological Imagineering, 1935-1947 Bradley Edward Moore Old Dominion University, [email protected] Follow this and additional works at: https://digitalcommons.odu.edu/history_etds Part of the Labor History Commons, Social History Commons, and the United States History Commons Recommended Citation Moore, Bradley E.. ""In-Betweening" Disney: An Animated History of Hollywood Labor and Ideological Imagineering, 1935-1947" (2020). Master of Arts (MA), Thesis, History, Old Dominion University, DOI: 10.25777/wdw1-yk94 https://digitalcommons.odu.edu/history_etds/42 This Thesis is brought to you for free and open access by the History at ODU Digital Commons. It has been accepted for inclusion in History Theses & Dissertations by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. “IN-BETWEENING” DISNEY: AN ANIMATED HISTORY OF HOLLYWOOD LABOR AND IDEOLOGICAL IMAGINEERING, 1935-1947 by Bradley Edward Moore B.A. May 2017, Old Dominion University A Thesis Submitted to the Faculty of Old Dominion University in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS HISTORY OLD DOMINION UNIVERSITY May 2020 Approved by: John Weber, Director Elizabeth Zanoni, Member Brett Bebber, Member ABSTRACT “IN-BETWEENING” DISNEY: AN ANIMATED HISTORY OF HOLLYWOOD LABOR AND IDEOLOGICAL IMAGINEERING, 1935-1947 Bradley Edward Moore Old Dominion University, 2020 Director: Dr. John Weber The Walt Disney Company’s meticulously-crafted corporate mythos, as it developed in the mid-twentieth century, hid a conflicted history of anti-New Deal, nationalist ideology that was popularized during the clashes of the Hollywood labor movement in the 1930s and 1940s.
    [Show full text]
  • Animation and the National Ethos: the American Dream, Socialist Realism, and Russian Émigrés in France
    Animation and the National Ethos: the American Dream, Socialist Realism, and Russian émigrés in France by Jennifer Boivin A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy Department of Modern Languages and Cultural Studies University of Alberta © Jennifer Boivin, 2017 ii Abstract Animation is seen as the innocent child of contemporary media and is often considered innocuous and juvenile in general popular culture. This might explain why it is still a marginal field. Perhaps this perception is influenced by the mass media of animation being mostly aimed at children, or at least perceived as such. This thesis specifically focuses on animated films’ aesthetic and content in relation to their particular cultural context and ethos, or national ideology. I investigate the American Dream, Soviet Socialism, and a Russian émigré ethos in France to show how seemingly similar content can carry unique ideological messages in different cultural contexts. Therefore, my film analyses examine the way animation is used as a medium to carry specific meaning on the screen, expressing this ethos. The national ethos is manifest in beliefs and aspirations of a community, culture, and era, and it promotes a certain cultural unity and order. It is a form of nationalism oriented towards utopian values rather than clear civic or political engagement. It can be politicised as well as individualised. This idealised ethos remains a largely constructed paradigm on which the regular citizen (and the audience) should model his behaviour. In this thesis, I propose that animation is not only a form of entertainment, but also a possible mechanism of social control through national ideas, responding to prevailing cultural and social conditions.
    [Show full text]
  • Frame by Frame
    Luminos is the Open Access monograph publishing program from UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org Frame by Frame The publisher and the University of California Press Foundation gratefully acknowledge the generous support of the Ahmanson • Murphy Imprint in Fine Arts. The publisher also gratefully acknowledges the generous support of the Department of Film Studies at the University of North Carolina Wilmington and, at the University of Chicago, the Department of Cinema and Media Studies, the Division of the Humanities, and Yuri Tsivian. Frame by Frame A Materialist Aesthetics of Animated Cartoons Hannah Frank Edited and with an introduction by Daniel Morgan Foreword by Tom Gunning UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2019 by Hannah Frank Suggested citation: Frank, H. Frame by Frame: A Materialist Aesthetics of Animated Cartoons. Oakland: University of California Press, 2019. DOI: https://doi.org/10.1525/luminos.65 This work is licensed under a Creative Commons CC BY-NC-SA license.
    [Show full text]