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Books > Arts & Architecture > Performing arts > Films, cinema > Animation
From the iconic Snow White and the Seven Dwarfs (1937) to
Tangled, the 2010 retelling of Rapunzel, Handsome Heroes and Vile
Villains looks at the portrayal of male characters in Disney films
from the perspective of masculinity studies and feminist film
theory. This companion volume to Good Girls and Wicked Witches
places these depictions within the context of Hollywood and
American popular culture at the time of each film s release."
This book charts the complex history of the relationship between
the Disney fairy tale and the American Dream, demonstrating the
ways in which the Disney fairy tale has been reconstructed and
renegotiated alongside, and in response to important changes within
American society. In all of its fairy tales of the twentieth and
twenty-first centuries, the Walt Disney studios works to sell its
audiences the national myth of the United States at any one
historical moment. With analyses of films and television programmes
such as The Little Mermaid (1989), Frozen (2013), Beauty and the
Beast (2017) and Once Upon a Time (2011-2018), Mollet argues that
by giving its fairy tale protagonists characteristics associated
with 'good' Americans, and even by situating their fairy tales
within America itself, Disney constructs a vision of America as a
utopian space.
While previous work on the Star Wars universe charts the
Campbellian mythic arcs, political representations, and fan
reactions associated with the films, this volume takes a
transmedial approach to the material, recognizing that Star Wars TV
projects interact with and relate to other Star Wars texts. The
chapters in this volume take as a basic premise that the televisual
entrants into the Star Wars transmedia storyworld are both
important texts in the history of popular culture and also key to
understanding how the Star Wars franchise-and, thus, industry-wide
transmedia storytelling strategies-developed. The book expands
previous work to consider television studies and sharp cultural
criticism together in an effort to bring both long-running popular
series, long-ignored texts, and even toy commercials to bear on the
franchise's complex history.
This book describes the dubbing process of English-language
animated films produced by US companies in the 21st century,
exploring how linguistic variation and multilingualism are used to
create characters and identities and examining how Italian dubbing
professionals deal with this linguistic characterisation. The
analysis carried out relies on a diverse range of research tools:
text analysis, corpus study and personal communications with
dubbing practitioners. The book describes the dubbing workflow and
dubbing strategies in Italy and seeks to identify recurrent
patterns and therefore norms, as well as stereotypes or creativity
in the way multilingualism and linguistic variation are tackled. It
will be of interest to students and scholars of translation,
linguistic variation, film and media.
This book critically examines how Walt Disney Animation Studios has
depicted - and sometimes failed to depict - different forms of
harming and objectifying non-human animals in their films. Each
chapter addresses a different form of animal harm and
objectification through the theories of speciesism, romanticism,
and the 'collapse of compassion' effect, from farming, hunting and
fishing, to clothing, work, and entertainment. Stanton lucidly
presents the dichotomy between depictions of higher order,
anthropomorphised and neotonised animal characters and that of
lower-order species, showing furthermore how these depictions are
closely linked to changing social attitudes about acceptable forms
of animal harm. An engaging and novel contribution to the field of
Critical Animal Studies, this book explores the use of animals not
only in Disney's best known animated films such as 101 Dalmatians,
but also lesser known features including Home on the Range and Fun
and Fancy Free. A quantitative appendix supplying data on how often
each animal species appears and the amount of times animal harm or
objectification is depicted in over fifty films provides an
invaluable resource and addition to scholars working in both Disney
and animal studies.
Late for a meeting, lost your keys or having romance problems?
Sometimes we all need a little guidance, and this new series
pitches our favourite super-heroes against tricky situations we
will all recognise, from battles with body positivity to pacifying
office conflict - with often hilarious results. With official
Marvel comic-book artwork throughout, and a dynamic design, this is
the perfect book for Spider-Man fans who want to see the world
through the eyes of their hero.
Dealing with a dead phone, ordering a coffee or stuck with DIY
around the home? Sometimes we all need a little guidance, and this
new series pitches our favourite super-heroes against real-life
(and often tricky) situations we will all recognise, from pet
ownership to fashion tips - with often hilarious results. With
official Marvel comic-book artwork throughout, and a dynamic
design, this is the perfect gift book for Thor fans who want to see
the world through the eyes of their hero.
This book examines the role of memory in animation, as well as the
ways in which the medium of animation can function as a technology
of remembering and forgetting. By doing so, it establishes a
platform for the cross-fertilization between the burgeoning fields
of animation studies and memory studies. By analyzing a wide range
of different animation types, from stop motion to computer
animation, and from cell animated cartoons to painted animation,
this book explores the ways in which animation can function as a
representational medium. The five parts of the book discuss the
interrelation of animation and memory through the lens of
materiality, corporeality, animation techniques, the city, and
animated documentaries. These discussions raise a number of
questions: how do animation films bring forth personal and
collective pasts? What is the role of found footage, objects, and
sound in the material and affective dimensions of animation? How
does animation serve political ends? The essays in this volume
offer answers to these questions through a wide variety of case
studies and contexts. The book will appeal to both a broad academic
and a more general readership with an interest in animation
studies, memory studies, cultural studies, comparative visual arts,
and media studies. Chapter "Introduction" is available open access
under a Creative Commons Attribution 4.0 International License via
link.springer.com.
This book assembles ten scholarly examinations of the politics of
representation in the groundbreaking animated children's television
series Steven Universe. These analyses address a range of
representational sites and subjects, including queerness, race,
fandom, colonialism, and the environment, and provide an accessible
foundation for further scholarship. The introduction contextualizes
Steven Universe in the children's science-fiction and anime
traditions and discusses the series' crucial mechanic of fusion.
Subsequent chapters probe the fandom's expressions of queer
identity, approach the series' queer force through the political
potential of the animated body, consider the unequal privilege of
different female characters, and trace the influence of anime
director Kunihiko Ikuhara. Further chapters argue that Ronaldo
allows satire of multiple media forms, focus on Onion as a
surrealist trickster, and contemplate cross-species hybridity and
consent. The final chapters concentrate on background art in
connection with ecological and geological narratives, adopt a
decolonial perspective on the Gems' legacy, and interrogate how the
tension between personal and cultural narratives constantly
recreates memory.
Uncanny computer-generated animations of splashing waves, billowing
smoke clouds, and characters' flowing hair have become a ubiquitous
presence on screens of all types since the 1980s. This Open Access
book charts the history of these digital moving images and the
software tools that make them. Unpredictable Visual Effects
uncovers an institutional and industrial history that saw media
industries conducting more private R&D as Cold War federal
funding began to wane in the late 1980s. In this context studios
and media software companies took concepts used for studying and
managing unpredictable systems like markets, weather, and fluids
and turned them into tools for animation. Unpredictable Visual
Effects theorizes how these animations are part of a paradigm of
control evident across society, while at the same time exploring
what they can teach us about the relationship between making and
knowing.
With careers spanning eight decades, William Hanna and Joseph
Barbera were two of the most prolific animation producers in
American history. In 1940, the two met at MGM and created Tom and
Jerry, who would earn 14 Academy Award nominations and seven wins.
The growth of television led to the founding of Hanna-Barbera's
legendary studio that produced countless hours of cartoons, with
beloved characters from Fred Flintstone, George Jetson and
Scooby-Doo to the Super Friends and the Smurfs. Prime-time animated
sitcoms, Saturday morning cartoons, and Cartoon Network's cable
animation are some of the many areas of television revolutionized
by the team. Their productions are critical to our cultural
history, reflecting ideologies and trends in both media and
society. This book offers a complete company history and examines
its productions' influences, changing technologies, and enduring
cultural legacy, with careful attention to Hanna-Barbera's
problematic record of racial and gender representation.
Uncanny computer-generated animations of splashing waves, billowing
smoke clouds, and characters' flowing hair have become a ubiquitous
presence on screens of all types since the 1980s. This Open Access
book charts the history of these digital moving images and the
software tools that make them. Unpredictable Visual Effects
uncovers an institutional and industrial history that saw media
industries conducting more private R&D as Cold War federal
funding began to wane in the late 1980s. In this context studios
and media software companies took concepts used for studying and
managing unpredictable systems like markets, weather, and fluids
and turned them into tools for animation. Unpredictable Visual
Effects theorizes how these animations are part of a paradigm of
control evident across society, while at the same time exploring
what they can teach us about the relationship between making and
knowing.
Despite the longevity of animation and its significance within
the history of cinema, film theorists have focused on live-action
motion pictures and largely ignored hand-drawn and
computer-generated movies. Thomas Lamarre contends that the
history, techniques, and complex visual language of animation,
particularly Japanese animation, demands serious and sustained
engagement, and in "The Anime Machine" he lays the foundation for a
new critical theory for reading Japanese animation, showing how
anime fundamentally differs from other visual media.
"The Anime Machine" defines the visual characteristics of anime
and the meanings generated by those specifically "animetic"
effects-the multiplanar image, the distributive field of vision,
exploded projection, modulation, and other techniques of character
animation-through close analysis of major films and television
series, studios, animators, and directors, as well as Japanese
theories of animation. Lamarre first addresses the technology of
anime: the cells on which the images are drawn, the animation stand
at which the animator works, the layers of drawings in a frame, the
techniques of drawing and blurring lines, how characters are made
to move. He then examines foundational works of anime, including
the films and television series of Miyazaki Hayao and Anno Hideaki,
the multimedia art of Murakami Takashi, and CLAMP's manga and anime
adaptations, to illuminate the profound connections between
animators, characters, spectators, and technology.
Working at the intersection of the philosophy of technology and
the history of thought, Lamarre explores how anime and its related
media entail material orientations and demonstrates concretely how
the "animetic machine" encourages a specific approach to thinking
about technology and opens new ways for understanding our place in
the technologized world around us.
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