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Batman As a Cultural Artefact
Batman as a Cultural Artefact Kapetanović, Andrija Undergraduate thesis / Završni rad 2016 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Zadar / Sveučilište u Zadru Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:162:723448 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-27 Repository / Repozitorij: University of Zadar Institutional Repository of evaluation works Sveučilište u Zadru Odjel za anglistiku Preddiplomski sveučilišni studij engleskog jezika i književnosti (dvopredmetni) Andrija Kapetanović Batman as a Cultural Artefact Završni rad Zadar, 2016. Sveučilište u Zadru Odjel za anglistiku Preddiplomski sveučilišni studij engleskog jezika i književnosti (dvopredmetni) Batman as a Cultural Artefact Završni rad Student/ica: Mentor/ica: Andrija Kapetanović Doc. dr. Marko Lukić Zadar, 2016. Izjava o akademskoj čestitosti Ja, Andrija Kapetanović, ovime izjavljujem da je moj završni rad pod naslovom Batman as a Cultural Artefact rezultat mojega vlastitog rada, da se temelji na mojim istraživanjima te da se oslanja na izvore i radove navedene u bilješkama i popisu literature. Ni jedan dio mojega rada nije napisan na nedopušten način, odnosno nije prepisan iz necitiranih radova i ne krši bilo čija autorska prava. Izjavljujem da ni jedan dio ovoga rada nije iskorišten u kojem drugom radu pri bilo kojoj drugoj visokoškolskoj, znanstvenoj, obrazovnoj ili inoj ustanovi. Sadržaj mojega rada u potpunosti odgovara sadržaju obranjenoga i nakon obrane uređenoga rada. -
XU Mandates Vaccines for Spring As COVID-19 Cases Spike,Task Force Discusses Further Restrictions Bor Day Weekend Coming Up,” Es To,” He Said
Volume CVIII Issue 3 August 26, 2021 xaviernewswire.com Published since 1915 Fiat justitia, ruat caelum @xavier.newswire XU mandates vaccines for spring As COVID-19 cases spike,Task Force discusses further restrictions bor Day weekend coming up,” es to,” he said. BY ALEX BUDZYNSKI AND Coleman stated. In general, students were HUNTER ELLIS Additionally, the university not surprised by the recent Editor-in-Chief and Multi- will likely refine its Zoom pol- surge. media Managing Editor icy, reintroducing hybrid and “I wish it wasn’t that way, online options. but we’re now in this situation Xavier is now requiring all “I received a proposal this where off campus students students to be fully vaccinat- evening for how we’re going are having a COVID-19 spike ed against COVID-19 prior to pivot to potentially offer- and we need to be aware of to the Spring semester as an- ing a Zoom option as we did our actions,” Kirby said. nounced in yesterday’s cam- last semester, but only for stu- “We’re seeing no indica- pus-wide message from Dr. dents that are in quarantine tion of spread in classrooms Colleen Hanycz, president. or isolation due to COVID… on campus or in other facili- This update comes as Xavi- that’s going to be the number ties on campus so that’s really er is experiencing a surge in one item on the Task Force’s good news,” Coleman elabo- positive cases, consistent with agenda (this) morning when rated. national trends. we meet.” Following guidance from According to the email Newswire photo by Desmond Fischer Coleman noted that stu- the Centers for Disease Con- message, this protocol follows think it’s important that they tract the virus,” Coleman said. -
Cons & Confusion
Cons & Confusion The almost accurate convention listing of the B.T.C.! We try to list every WHO event, and any SF event near Buffalo. updated: June 11, 2019 to add an SF/DW/Trek/Anime/etc. event; send information to: [email protected] 2019 DATE local EVENT NAME WHERE TYPE WEBSITE LINK JUNE 12-16 OH ORIGINS GAME FAIR Columbus Conv Ctr, Columbus, OH gaming, anime, media https://www.originsgamefair.com/ FRAZIER HINES, WENDY PADBURY, Mecedes Lackey, Larry Dixon, Charisma Carpenter, Amber Benson, Nicholas Brendon, Juliet Landau, Elisa Teague, Lisa Sell, JUNE 13-16 Phil WIZARD WORLD Philadelphia, PA comics & media con wizardworld.com Lana Parrilla, Ben McKenzie, Morena Baccarin, Ian Somerhalder, Rebecca Mader, Jared Gilmore, Mehcad Brooks, Jeremy Jordan, Hale Appleman, Dean Cain, Holly Marie Combs, Brian Krause, Drew Fuller, Sean Maher, Kenvin Conroy, Lindsay jones, Kara Eberle, Arryb Zech, Barbara Dunkelman, Edward Furlong, Adam Baldwin, Jewel Staite, Thomas Ian Nicholas, Chris Owen, Ted Danson, Cary Elwes, Tony Danza, George Wendt, OUT: Stella Maeve JUNE 14-16 ONT YETI CON Blue Mountain Resort, Blue Mtn, Ont (near Georgian Bay) https://www.yeticon.org/ Kamui Cosplay, Nipah Dubs, James Landino, Dr Terra Watt, cosplayers get-away weekend JUNE 14-16 TX CELEBRITY FAN FEST Freeman Coliseum, San Antonio, TX media & comics https://pmxevents.com Jeremy Renner, Paul Bettany, Benedict Wong, Jason Momoa, Amber Heard, Dolph Lundgren, Walter Koenig, Joe Flannagan, Butch Patrick, Robert Picardo JUNE 15 FLA TIME LORD FEST U of North Florida, Jacksonville, -
Spatial Design Principles in Digital Animation
Copyright by Laura Beth Albright 2009 ABSTRACT The visual design phase in computer-animated film production includes all decisions that affect the visual look and emotional tone of the film. Within this domain is a set of choices that must be made by the designer which influence the viewer's perception of the film’s space, defined in this paper as “spatial design.” The concept of spatial design is particularly relevant in digital animation (also known as 3D or CG animation), as its production process relies on a virtual 3D environment during the generative phase but renders 2D images as a final product. Reference for spatial design decisions is found in principles of various visual arts disciplines, and this thesis seeks to organize and apply these principles specifically to digital animation production. This paper establishes a context for this study by first analyzing several short animated films that draw attention to spatial design principles by presenting the film space non-traditionally. A literature search of graphic design and cinematography principles yields a proposed toolbox of spatial design principles. Two short animated films are produced in which the story and style objectives of each film are examined, and a custom subset of tools is selected and applied based on those objectives. Finally, the use of these principles is evaluated within the context of the films produced. The two films produced have opposite stylistic objectives, and thus show two different viewpoints of applying the toolbox. Taken ii together, the two films demonstrate application and analysis of the toolbox principles, approached from opposing sides of the same system. -
Council File No. /J- /':35 ~ Council District No
COUNCIL FILE NO. /J- /':35 ~ COUNCIL DISTRICT NO. t3 APPROVAL FOR ACCELERATED PROCESSING DIRECT TO CITY COUNCIL The attached Council File may be processed directly to Council pursuant to the procedure approved June 26, 1990, (CF 83-1075-S1) without being referred to the Public Works Committee because the action on the file checked below is deemed to be routine and/or administrative in nature: _} A Future Street Acceptance. _} B. Quitclaim of Easement(s). _} C. Dedication of Easement(s). _ } D. Release of Restriction(s). 2.] E. Request for Star in Hollywood Walk of Fame. _} F. Brass Plaque(s) in San Pedro Sport Walk. _} G. Resolution to Vacate or Ordinance submitted in response to Council action. _} H. Approval of plans/specifications submitted by Los Angeles County Flood Control District. APPROVAL/DISAPPROVAL FOR ACCELERATED PROCESSING: / APPROVED DISAPPROVED* 1, 1. Council Office of the District V2. Public Works Committee Chairperson *DISAPPROVED FILES WILL BE REFERRED TO THE PUBLIC WORKS COMMITTEE. Please return to Council Index Section, Room 615 City Hall City Clerk Processing: Date ____ notice and report copy mailed to interested parties advising of Council date for this item. Date ____ scheduled in Council. AFTER COUNCIL ACTION: Send copy of adopted report to the Real Estate Section, Development Services Division, Bureau of Eng ineering (Mail Stop No. 515) for further processing. ____} Other: PLEASE DO NOT DETACH THIS APPROVAL SHEET FROM THE COUNCIL FILE ACCELERATED REVIEW PROCESS - E Office of the City Engineer Los Angeles California To the Honorable Council AUG 2 3 2012 Of the City of Los Angeles Honorable Members: C. -
Animated Stereotypes –
Animated Stereotypes – An Analysis of Disney’s Contemporary Portrayals of Race and Ethnicity Alexander Lindgren, 36761 Pro gradu-avhandling i engelska språket och litteraturen Handledare: Jason Finch Fakulteten för humaniora, psykologi och teologi Åbo Akademi 2020 ÅBO AKADEMI – FACULTY OF ARTS, PSYCHOLOGY AND THEOLOGY Abstract for Master’s Thesis Subject: English Language and Literature Author: Alexander Lindgren Title: Animated Stereotypes – An Analysis of Disney’s Contemporary Portrayals of Race and Ethnicity Supervisor: Jason Finch Abstract: Walt Disney Animation Studios is currently one of the world’s largest producers of animated content aimed at children. However, while Disney often has been associated with themes such as childhood, magic, and innocence, many of the company’s animated films have simultaneously been criticized for their offensive and quite problematic take on race and ethnicity, as well their heavy reliance on cultural stereotypes. This study aims to evaluate Disney’s portrayals of racial and ethnic minorities, as well as determine whether or not the nature of the company’s portrayals have become more culturally sensitive with time. To accomplish this, seven animated feature films produced by Disney were analyzed. These analyses are of a qualitative nature, with a focus on imagology and postcolonial literary theory, and the results have simultaneously been compared to corresponding criticism and analyses by other authors and scholars. Based on the overall results of the analyses, it does seem as if Disney is becoming more progressive and culturally sensitive with time. However, while most of the recent films are free from the clearly racist elements found in the company’s earlier productions, it is quite evident that Disney still tends to rely heavily on certain cultural stereotypes. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
When the Pot Plays Potter: •Œisaiah╊, Toy Story And
Journal of Religion & Film Volume 14 Issue 2 October 2010 Article 10 October 2010 When the Pot Plays Potter: “Isaiah”, Toy Story and Religious Socialization Paul Tremblay Long Island University, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Tremblay, Paul (2010) "When the Pot Plays Potter: “Isaiah”, Toy Story and Religious Socialization," Journal of Religion & Film: Vol. 14 : Iss. 2 , Article 10. Available at: https://digitalcommons.unomaha.edu/jrf/vol14/iss2/10 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. When the Pot Plays Potter: “Isaiah”, Toy Story and Religious Socialization Abstract Biblical verses mentioning the “pot and the potter” entail a God/creation relationship in which the creation is warned not to turn against, or even criticize, the Creator; humankind is advised humility for fear of Yahweh’s punishment. This is a comparative study of three films with a strong emphasis on a children’s film, Toy Story (1995); the movies to be examined are treated as allegories of the concept of potter/pot lesson with a twist as the humans are playing God/potter. The movies geared more to an adult or mature audience (The Matrix [1999] and Terminator [1986]) feature the creation (robots) turned against the creator (humankind) with deadly consequences for humans. In Toy Story, an animated film, the creators (humans) are not threatened and the “pots” even agree to their condition.The film, I suggest, is an excellent example of the process of religious socialization as played out in a modern fairy tale. -
Pixar Plot and Characterization Activity
Pixar Plot and Characterization Activity 1. Identify and label the following points on the plot diagram: • Intro/Somebody • Conflict/Wanted • Climax/But • Resolution/So 2. “Small Fry” plot • First viewing- no writing! • Note: There is one major plot and a subplot. Focus ONLY on the major plot! • Three minutes to fill out the plot chart INDEPENDENTLY with the basic plot information for all four points • Second viewing- add in any details you may have missed 3. “La Luna” characterization Complete the chart based on the three main characters in the video. We will be watching the video TWICE so that you may accurately gather evidence. Character Character Evidence Inference ©2014 by thehouseofroush, Teachers Pay Teachers 1 “La Luna” characterization comprehension check! Circle which type of characterization is used to create the character and then complete the following sentence frames: Direct/Indirect The boy is ______________ because he ______________________ ____________________________________________________________________ Direct/Indirect The dad is ______________ because he ______________________ ____________________________________________________________________ Direct/Indirect The grandpa is ______________ because he ___________________ ____________________________________________________________________ 4. “Partly Cloudy” characterization Complete the chart based on the three main characters in the video. We will be watching the video TWICE so that you may accurately gather evidence. Character Character Evidence Inference “Partly -
An Analysis of Moral Values in Zootopia Movie
AN ANALYSIS OF MORAL VALUES IN ZOOTOPIA MOVIE THESIS Submitted by: MAULIDIA HUMAIRA Student of Department of English Language Education Faculty of Education and Teacher Training Reg. No: 231324225 FACULTY OF EDUCATION AND TEACHER TRAINING AR-RANIRY STATE ISLAMIC UNIVERSITY DARUSSALAM-BANDA ACEH 2018/1439 H ACKNOWLEDGEMENT Alhamdulillah, All praises be to Allah ‘azzawajalla, the most gracious, the most merciful, andthe most beneficent who has given me love and blessing that made me able to finish this research and writing this thesis. Peace and salutation be upon our beloved prophet Muhammad SAW, his family and companions has struggled whole heartedly to guide ummah to the right path. On this occasion with great humility, I would like to thank to all of those who help me and guidance, so that this thesis can be finished in time. Completion of writing this thesis, I would like to thanks Dr. Muhammad Nasir, M.Hum and Mr. T. Murdani, S.Ag, M.IntlDev as my supervisor forgiving the useful supervision, guidance and constructive ideas during the process of completing this thesis. Also I would like to express my gratitude and high appreciation to my beloved father Burhanuddin, and my lovely mother Rasunah for their wisdom, patience, love, attention, support and care. I also bestow my thankfulness to my beloved sisters Puspitasari and Safrida , my brothers Hafidh Kurniawan and Muhammad Irfan, and my cousins Putri Nabila Ulfa and Maulizahra, for their endless love who inspired and motivated me all along accomplishing this thesis. My special thanks to my academic advisor Mr. Dr.Syarwan, M.LIS, who has supervised me since I was first semester until now. -
Pixar's 22 Rules of Story Analyzed
PIXAR’S 22 RULES OF STORY (that aren’t really Pixar’s) ANALYZED By Stephan Vladimir Bugaj www.bugaj.com Twitter: @stephanbugaj © 2013 Stephan Vladimir Bugaj This free eBook is not a Pixar product, nor is it endorsed by the studio or its parent company. Introduction. In 2011 a former Pixar colleague, Emma Coats, Tweeted a series of storytelling aphorisms that were then compiled into a list and circulated as “Pixar’s 22 Rules Of Storytelling”. She clearly stated in her compilation blog post that the Tweets were “a mix of things learned from directors & coworkers at Pixar, listening to writers & directors talk about their craft, and via trial and error in the making of my own films.” We all learn from each other at Pixar, and it’s the most amazing “film school” you could possibly have. Everybody at the company is constantly striving to learn new things, and push the envelope in their own core areas of expertise. Sharing ideas is encouraged, and it is in that spirit that the original 22 Tweets were posted. However, a number of other people have taken the list as a Pixar formula, a set of hard and fast rules that we follow and are “the right way” to approach story. But that is not the spirit in which they were intended. They were posted in order to get people thinking about each topic, as the beginning of a conversation, not the last word. After all, a hundred forty characters is far from enough to serve as an “end all and be all” summary of a subject as complex and important as storytelling. -
2017 Annual Report
Annual 2017 Report Our ongoing investment into increasing services for the senior In 2017, The Actors Fund Dear Friends, members of our creative community has resulted in 1,474 senior and helped 13,571 people in It was a challenging year in many ways for our nation, but thanks retired performing arts and entertainment professionals served in to your generous support, The Actors Fund continues, stronger 2017, and we’re likely to see that number increase in years to come. 48 states nationally. than ever. Our increased activities programming extends to Los Angeles, too. Our programs and services With the support of The Elizabeth Taylor AIDS Foundation, The Actors Whether it’s our quick and compassionate response to disasters offer social and health services, Fund started an activities program at our Palm View residence in West ANNUAL REPORT like the hurricanes and California wildfires, or new beginnings, employment and training like the openings of The Shubert Pavilion at The Actors Fund Hollywood that has helped build community and provide creative outlets for residents and our larger HIV/AIDS caseload. And the programs, emergency financial Home (see cover photo), a facility that provides world class assistance, affordable housing 2017 rehabilitative care, and The Friedman Health Center for the Hollywood Arts Collective, a new affordable housing complex and more. Performing Arts, our brand new primary care facility in the heart aimed at the performing arts community, is of Times Square, The Actors Fund continues to anticipate and in the development phase. provide for our community’s most urgent needs. Mission Our work would not be possible without an engaged Board as well as the efforts of our top notch staff and volunteers.