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Avatar the Last Air Bender Powerpoint
Ashley Williams, Ginny Nordeng, and Mayela Milian-Hernandez Overview of Presentation ● Anthropology ○ Confucius ○ Filial Piety ● Psychodynamic Theory ○ The younger years of Katara/Sokka, Aang, and Zuko/Azul ● Social Learning Theory ○ The Journey of Sokka, Zuko/Azula and Aang Anthropology is how different cultures view gender(Wood & Fixmer-Oraiz, 2017) https://www.biography.com/scholar/confucius Four nations: Earth, Fire, Water, and Air http://avatar-the-last-airbender-online.blogspot.com/2010/08/avatar-last-airbender-airbender-world.html Filial Piety is the confucius belief of respecting one’s parents, elders and ancestors.(Bedford et al 2019) https://www.bookofdaystales.com/confucius/ https://www.pinterest.com/pin/346495765052132139/ https://avatar.fandom.com/wiki/Iroh https://avatar.fandom.com/wiki/Oza Filial Piety Favoring the intimate, the people closest to you and Respecting the superior; the people with higher authority to you. (Bedford et al 2019) Men and Women represent Yin and Yang In order to keep balance men and women must have separate roles. Men Lead, Women Follow…(Ebry 2019) https://www.deviantart.com/karinart8/art/Ying-and-Yang-283381659 Yin and Yang In the Northern Tribe, the master/teacher refuses to teach women how to bend. It is not their place.. In the southern tribe, All the Men left to fight a war with the fire nation. Women only allowance of leadership Psychodynamic is the first relationship one has to define their gender identity (Wood & Fixmer-Oraiz, 2017) http://thatanimatedotaku. blogspot.com/2013/07/a nimated-role-models-girl s.html http://audreymgonzalez.com/2012/book-three-fire-chapter-twelve-the-w estern-air-temple/ Katara and Sokka Katara has a close relationship with her grandmother. -
Masaaki Hatsumi and Togakure Ryu
How Ninja Conquered the World THE TIMELINE OF SHINOBI POP CULTURE’S WORLDWIDE EXPLOSION Version 1.3 ©Keith J. Rainville, 2020 How did insular Japan’s homegrown hooded set go from local legend to the most marketable character archetype in the world by the mid-1980s? VN connects the dots below, but before diving in, please keep a few things in mind: • This timeline is a ‘warts and all’ look at a massive pop-culture phenomenon — meaning there are good movies and bad, legit masters and total frauds, excellence and exploitation. It ALL has to be recognized to get a complete picture of why the craze caught fire and how it engineered its own glass ceiling. Nothing is being ranked, no one is being endorsed, no one is being attacked. • This is NOT TO SCALE, the space between months and years isn’t literal, it’s a more anecdotal portrait of an evolving phenomenon. • It’s USA-centric, as that’s where VN originates and where I lived the craze myself. And what happened here informed the similar eruptions all over Europe, Latin America etc. Also, this isn’t a history of the Japanese booms that predated ours, that’s someone else’s epic to outline. • Much of what you see spotlighted here has been covered in more depth on VintageNinja.net over the past decade, so check it out... • IF I MISSED SOMETHING, TELL ME! I’ll be updating the timeline from time to time, so if you have a gap to fill or correction to offer drop me a line! Pinholes of the 1960s In Japan, from the 1600s to the 1960s, a series of booms and crazes brought the ninja from shadowy history to popular media. -
What Is the Link Between Religion, Myth and Plot in Any 2 Films of the Science Fiction Genre
Danielle Raffaele Robert A Dallen Prize Topic: A study of the influence of the Bible on the two contemporary science fiction films, The Matrix and Avatar, with a focus on the link between religion, myth and plot. The two films The Matrix (1999, the Wachowski brothers) and Avatar (2009, James Cameron)1 belong to the science fiction genre2 of the contemporary film world and each evoke a diverse set of religiosity and myth within their respective plots. The two films are rich with both overt and subvert religious imagery of motifs and symbolism which one can interpret as belonging to many diverse streams of religious thought and practice across the globe.3 For the purpose of this essay I will be focussing specifically on one religious mode of thought being a Judeo-Christian look at the role of the Messiah and its relation to the hero myth. I will develop this by exploring the archetype of the hero with the two different roles of the biblical Messiah (one being conqueror, and the other of 1 In this essay I presume the reader is familiar with the two films as I do not provide an extensive synopsis or summary of them. I recommend going to the Internet Movie Database (http://imdb.com) and searching for ‘The Matrix’ and ‘Avatar’ for a generous reading of the two plots. 2 Science fiction as a genre will not be discussed in this essay but a definition that struck me as useful for the purpose here is, “My own definition is that science fiction is literature about something that hasn’t happened yet, but might be possible some day. -
Century Cinema?
chapter 11 Cosmopolitan Pleasures and Affects; or Why Are We Still Talking about Yellowface in Twenty- First- Century Cinema? Felicia Chan Introduction1 Yellowface and cinema share their roots in the theatre. Writing about yellow- face performance in the 19th century, Sean Metzger (2004: 628) argues that the ‘Chinaman’ fetish ‘substitutes for and conceals the dominant anxieties about Chinese immigrants among the white majority in the late 1800s [in America]’, and the ‘Chinaman character serves as a vessel, encapsulating a range of anx- ieties produced by white concerns over the presence of Chinese people in the United States social and economic order’ (ibid.: 643). Indeed, yellowface per- formed as camp and comic representation via the racial impersonation of East Asian peoples (not only Chinese) by way of caricature extended well into the 20th century – Mickey Rooney’s short- tempered, buck- toothed and heavily be- spectacled Mr Yunioshi in Breakfast at Tiffany’s (Blake Edwards, 1961) still jars (Ito 2014) – and also as figures of fear, such as the Fu Manchu figure in numer- ous books, films, television programs, comics and radio. Jill Lane (2008: 1730) suggests that ‘racial impersonation – acting in the name and place of the other through such practices as blackface, redface, yellowface, cross- dressing, and drag – has played a particularly important role in the imagination and aesthet- ic articulation of national communities across the Americas’. Yellowface is now, by and large, perceived as an offensive and unacceptable practice, yet it persists, even in films as recent as Cloud Atlas (Lana Wachowski 2012), in which actors Hugo Weaving and Jim Sturgess have their facial features altered with prosthetics to appear ‘Asian’ in the film’s fictional ‘neo- Seoul’ city (Le 2012). -
Bhagavata Purana
Bhagavata Purana The Bh āgavata Pur āṇa (Devanagari : भागवतपुराण ; also Śrīmad Bh āgavata Mah ā Pur āṇa, Śrīmad Bh āgavatam or Bh āgavata ) is one of Hinduism 's eighteen great Puranas (Mahapuranas , great histories).[1][2] Composed in Sanskrit and available in almost all Indian languages,[3] it promotes bhakti (devotion) to Krishna [4][5][6] integrating themes from the Advaita (monism) philosophy of Adi Shankara .[5][7][8] The Bhagavata Purana , like other puranas, discusses a wide range of topics including cosmology, genealogy, geography, mythology, legend, music, dance, yoga and culture.[5][9] As it begins, the forces of evil have won a war between the benevolent devas (deities) and evil asuras (demons) and now rule the universe. Truth re-emerges as Krishna, (called " Hari " and " Vasudeva " in the text) – first makes peace with the demons, understands them and then creatively defeats them, bringing back hope, justice, freedom and good – a cyclic theme that appears in many legends.[10] The Bhagavata Purana is a revered text in Vaishnavism , a Hindu tradition that reveres Vishnu.[11] The text presents a form of religion ( dharma ) that competes with that of the Vedas , wherein bhakti ultimately leads to self-knowledge, liberation ( moksha ) and bliss.[12] However the Bhagavata Purana asserts that the inner nature and outer form of Krishna is identical to the Vedas and that this is what rescues the world from the forces of evil.[13] An oft-quoted verse is used by some Krishna sects to assert that the text itself is Krishna in literary -
Davis Model United Nations Conference Xvii Crisis: Avatar
Crisis: Avatar Davis Model United Nations Conference XVII May 18-19, 2019 University of California, Davis DAVIS MODEL UNITED NATIONS CONFERENCE XVII CRISIS: AVATAR The following content was developed by members of the Davis Model United Nations conference planning team for the sole purpose of framing delegate discussions and debate at the conference and does not represent any official position of the University or anyone engaged in preparing the materials. Delegates should use this information to guide their research and preparation for the conference but should not assume that it represents a complete analysis of the issues under discussion. The materials should not be reproduced, circulated or distributed for any purpose other than as may be required in order to prepare for the conference. MAY 18-19, 2019 1 DAVIS MODEL UNITED NATIONS CONFERENCE XVII CRISIS: AVATAR Letter from the Chair and Crisis Director Esteemed Delegates, Welcome to the 2019 Davis Model United Conference (DMUNC)! We have the pleasure to introduce you to the Avatar the Last Airbender Crisis Committee. My name is Aislinn Matagulay and I will be your Head Chair for this year’s DMUNC. I am a freshman here at UC Davis. I have found a great sense of community in Davis’ MUN club. I was the Chief of Staff at AggieMUN, our collegiate conference and had a wonderful time working with the staff and competitors to make it a fun conference. I am looking forward to the rest of the year to compete in conferences across California and to host you all at DMUNC in May! My name is Thais Terrien and I will be your Crisis Director for this year’s DMUNC. -
Avatar: the Last Airbender
S H U M U N X X I I / / A P R I L 1 0 - 1 1 , 2 0 2 1 AVATAR: THE LAST AIRBENDER B A C K G R O U N D G U I D E D I R E C T E D B Y T I M D Z I E K A N A N D G E O R G E S C H M I D T Avatar: The Last Airbender 1 LETTER FROM THE CHAIR, KACIE Hello Delegates, Welcome to SHUMUN XXI! My name is Kacie Wright (She/Her/Hers), and I will be your chair for the Avatar: The Last Airbender committee. I am currently a sophomore at Seton Hall University, majoring in both Diplomacy and Italian Studies. I am originally from San Diego, California. In high school, I studied Italian for four years and I was able to participate in my high school’s exchange program twice. Here at Seton Hall, I am a part of Seton Hall United Nations Association (SHUNA), our Model United Nations team, I am a member of the Alpha Omicron Pi fraternity, and I am part of the Italian Student Union. I plan to finish my degree at Seton Hall, join the Peace Corps after graduation, and then work for a non-profit organization abroad. Eventually, I want to start my own non-profit organization abroad that helps with community development in communities that are often devastated by conflict and destruction. This committee takes place in the Avatar: The Last Airbender universe, one month after the end of the Hundred Year War. -
The Legend of Korra: Book Five — Part One
Table of Contents TENZIN’S LETTER 1 THE DELIVERY �������������������������������������������������������������������������������3 THE ALL IS AFLAME 10 TALES OF ZAOFU ������������������������������������������������������������������������� 19 THE AVADHOOT ��������������������������������������������������������������������������� 34 THE LIVES OF THE AIRBENDERS ��������������������������������������������������� 45 HARMONIC TRINE 61 i The Legend of Korra: Book Five — Part One The following book is a fan-based derivative work (fan fiction). This book may be copied or reprinted for free distribution without permission from the author. Otherwise all rights reserved. The Legend of Korra and Avatar: The Last Airbender are all owned by Nickelodeon Animation Studios, Michael Dante DiMartino, Bryan Konietzko, and all pertinent parties. Please support the official release. ii ACKNOWLEDGEMENTS I would like to extend my thanks to: My family, for providing me the imaginative support I needed growing up. The numerous editing volunteers, who provided initial critiques, corrections, and feedback. Michael Dante DiMartino and Bryan Konietzko for creating the Avatar universe in the first place. Venerable Ajaan Geoff, whose translations and teachings appear throughout this text and have changed my life for the better. Colleen, for providing the creative spark needed for the reinvention of this endeavour. Makanidotdot, whose illustrations inspired this fanfiction in the first place. And PipReyes, who provided the illustrations and was an excellent partner in this project. May this work both captivate your imagination and be a cause for goodness and creativity. iii Tenzin’s Letter PROLOGUE TENZIN’S LETTER Rohan, I know you have a long journey in front of you as you travel to the Eastern Air Temple. This is an important mark of passage: turning fifteen was the typical age when airbenders undertook this pilgrimage into adulthood. -
Voting for Love & Justice
VOTING FOR LOVE & JUSTICE WITH WONDER WOMAN FORWARD BY LYNDA CARTER Forty-five years ago, I was asked to bring one of my childhood heroes to life on screen. As a little girl growing up in Phoenix, Arizona, I would flip through the pages of Wonder Woman comics and find myself immersed in Diana Prince’s extraordinary adventures. For women and girls of my generation, Diana Prince was THE media representation we had in the world of fantasy and comics. It’s now hard to imagine a world without Dana Scully, Hermione Granger, or Princess Shuri, yet even in 1975, studio executives had little faith that a Wonder Woman TV show would attract an audience. Of course, they were proven wrong! I have been asked many times over the years why I think the character of Wonder Woman is such an enduring icon. While her superhuman strength, agility, and lasso of truth come to mind, I believe that the wisdom and humanity behind the character is why she will remain beloved for the ages. Diana Prince is an Amazonian princess, but in my portrayal I focused on everything that connected her to humanity. Diana’s love and empathy for the people around her empowers her to fight for love and justice at every turn. With kindness, she sets examples that change minds and hearts when you least expect it. Diana also brings intellect and wisdom to the table, reminding us that there’s nothing you can’t do with both a kind heart and a brilliant mind. Throughout her story, she is more than just a superhero in satin tights: she is everything from a devoted civil servant to a savvy businesswoman. -
Nickelodeon Masters the Elements with the Legend of Korra
For Immediate Release NICKELODEON MASTERS THE ELEMENTS WITH THE LEGEND OF KORRA London, UK – 29th April, 2013 – From the creators of the Hit Series Avatar: The Last Airbender, The Legend of Korra is set to premiere on Nickelodeon on Sunday, 7th July at 9:00am. The mythology from the critically acclaimed Avatar series continues in the new animation which follows a new Avatar named Korra, a 17-year-old headstrong and rebellious girl who continually challenges tradition on her quest to become a fully realized Avatar. New episodes of The Legend of Korra will premiere each Sunday at 9:00am. The Legend of Korra takes place 70 years after the events of Avatar: The Last Airbender and follows the next Avatar after Aang – a girl named Korra (Janet Varney) who is from the Southern Water Tribe. With three of the four elements under her belt (Earth, Water and Fire), Korra seeks to master Air. Her quest leads her to Republic City, the modern “Avatar” world that is a virtual melting pot where individuals from all nations live and thrive. Korra quickly discovers that the metropolis is plagued by crime as well as a revolution that threatens to rip the city apart. Under the tutelage of Aang’s son, Tenzin (J.K. Simmons), Korra begins her airbending training while dealing with the dangers at large. In the premiere episode, “Welcome to Republic City,” Korra leaves the safety of her home and travels to bustling Republic City to begin her airbending training. Once there, she is shocked to find a big city full of dangers. -
Harry Potter Racebending
Petersen-Reed: Fanfiction as Performative Criticism Fanfiction as Performative Criticism: Harry Potter Racebending Khaliah Peterson-Reed University of Southern California [email protected] Abstract Fanfiction anatomizes a text and in this textual nakedness fanfiction writers recognize gaps in their chosen source texts and seek to supplement these deficiencies through literary disrup- tion. This essay focuses on the kind of fanfiction that critically disrupts through artistic cultural production—a practice that I am labeling performative criticism. I look at Racebending fanfiction that intervenes in the gaps of the Harry Potter series—specifically the gaps related to race. Using fanfiction produced by Harry Potter fans, I will show that by reading and writing fanfiction these writers are blurring demarcation between creative writing and literary criticism. Essay I suspect that Jo Rowling probably imagines James [Potter] and Harry [Potter] as white too, I don’t mind that, that’s her business ...In absence of a specified race I choose to imagine the one that makes the story most compelling to me. My James is black because that creates the most personally compelling racial background for my Harry. It is informed by interpretation of the canon interactions between the Potters and the Evans/Durselys , [...] It is informed by my expe- rience as the black mixed-race child ... [and] by my personal desire for a black mixed-race hero story. It’s not arbitrary and it doesn’t come from nowhere [...] All my interpretations are based squarely in canon. But if they weren’t, that would be damn well acceptable. Squeeze representa- tion out of anywhere you can feel it and fabricate the rest. -
Animating Race the Production and Ascription of Asian-Ness in the Animation of Avatar: the Last Airbender and the Legend of Korra
Animating Race The Production and Ascription of Asian-ness in the Animation of Avatar: The Last Airbender and The Legend of Korra Francis M. Agnoli Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Art, Media and American Studies April 2020 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 2 Abstract How and by what means is race ascribed to an animated body? My thesis addresses this question by reconstructing the production narratives around the Nickelodeon television series Avatar: The Last Airbender (2005-08) and its sequel The Legend of Korra (2012-14). Through original and preexisting interviews, I determine how the ascription of race occurs at every stage of production. To do so, I triangulate theories related to race as a social construct, using a definition composed by sociologists Matthew Desmond and Mustafa Emirbayer; re-presentations of the body in animation, drawing upon art historian Nicholas Mirzoeff’s concept of the bodyscape; and the cinematic voice as described by film scholars Rick Altman, Mary Ann Doane, Michel Chion, and Gianluca Sergi. Even production processes not directly related to character design, animation, or performance contribute to the ascription of race. Therefore, this thesis also references writings on culture, such as those on cultural appropriation, cultural flow/traffic, and transculturation; fantasy, an impulse to break away from mimesis; and realist animation conventions, which relates to Paul Wells’ concept of hyper-realism.