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Relevant bibliographies by topics / African-Americans in animated films

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Academic literature on the topic 'African-Americans in animated films'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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Journal articles on the topic "African-Americans in animated films"

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Uzuegbunam, Chikezie, and Chinedu Richard Ononiwu. "Highlighting Racial Demonization in 3D Animated Films and Its Implications: A Semiotic Analysis of Frankenweenie." Romanian Journal of Communication and Public Relations 20, no. 2 (2018): 5. http://dx.doi.org/10.21018/rjcpr.2018.2.256.

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This article focuses on a semiotic analysis of Frankenweenie, one of Disney Picture’s 3D animated films. Anchored within the psychoanalytic film theory, the aim was to highlight how animated films, as colorful and comic as they are, can demonize a certain group of people. Studying how animated films can do this can lead to an important understanding because children’s exposure to modelled behavior on television and in movies has the potential to influence a wide range of attitudes and behaviors, cause victimization, alter their perceptions of reality, reinforce stereotypes and make them acquir

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Danert, Kerstin, Dotun Adekile, and Jose Gesti Canuto. "Striving for Borehole Drilling Professionalism in Africa: A Review of a 16-Year Initiative through the Rural Water Supply Network from 2004 to 2020." Water 12, no. 12 (2020): 3305. http://dx.doi.org/10.3390/w12123305.

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Drilled boreholes are vital to achieving universal, safe drinking water and meeting Sustainable Development Goal (SDG) 6.1, particularly in Africa. Poor quality siting, borehole design, drilling and completion lead to premature failure of the water supply. From 2004 to 2020, a multi-stakeholder initiative through the Rural Water Supply Network (RWSN) has endeavored to raise the professionalism of borehole drilling and its management in Africa. The initiative comprised in-country and desk studies, training, and the development of guidelines, manuals, training materials, short animated films for

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VINSON, ROBERT TRENT. "Up from Slavery and Down with Apartheid! African Americans and Black South Africans against the Global Color Line." Journal of American Studies 52, no. 2 (2018): 297–329. http://dx.doi.org/10.1017/s0021875817001943.

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Across the twentieth century, black South Africans often drew inspiration from African American progress. This transatlantic history informed the global antiapartheid struggle, animated by international human rights norms, of Martin Luther King Jr., his fellow Nobel Peace Prize winner the South African leader Albert Luthuli, and the African American tennis star Arthur Ashe. While tracing the travels of African Americans and Africans “going South,” this article centers Africa and Africans, thereby redressing gaps in black Atlantic and African diaspora scholarship.

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Hacker, Robyn L., Amanda O. Hardy, Jacqueline Webster, et al. "The Impact of Ethnically Matched Animated Agents (Avatars) in the Cognitive Restructuring of Irrational Career Beliefs Held by Young Women." International Journal of Cyber Behavior, Psychology and Learning 5, no. 3 (2015): 1–12. http://dx.doi.org/10.4018/ijcbpl.2015070101.

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The Believe It! program developed and evaluated by was the first interactive, multimedia, psychological-education intervention deployed on the Internet. In a controlled study, the authors reported that the ethnically diverse cartoon models were partially successful in using cognitive restructuring to promote more reasonable career beliefs among Caucasian middle-school young women. It was not clear if the program's lack of efficacy among minority young women was due to computer literacy factors affected by SES. Subsequently, four studies explored the role of matching or mismatching the ethnicit

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Rucker-Chang, Sunnie. "African-American and Romani Filmic Representation and the ‘Posts’ of Post-Civil Rights and Post-EU Expansion." Critical Romani Studies 1, no. 1 (2018): 132–48. http://dx.doi.org/10.29098/crs.v1i1.8.

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In this article I explore linkages between the evolution of African-American filmic representation and the patterns of Romani representation in films from Central and Southeast Europe (CSEE). More specifically, I use the 1970s Blaxploitation movement and subsequent shift of African-American representation into films reliant on a realist aesthetic to contextualize analysis of the shortcomings of the Civil Rights Movement to provide broad integration for African-Americans. Given other similarities between the racialized positionalities of African-Americans and Roma, I argue that Blaxploitation c

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LEE, KUN JONG. "Towards Interracial Understanding and Identification: Spike Lee's Do the Right Thing and Chang-rae Lee's Native Speaker." Journal of American Studies 44, no. 4 (2010): 741–57. http://dx.doi.org/10.1017/s0021875810000022.

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African Americans and Korean Americans have addressed Black–Korean encounters and responded to each other predominantly in their favorite genres: in films and rap music for African Americans and in novels and poems for Korean Americans. A case in point is the intertextuality between Spike Lee's Do the Right Thing and Chang-rae Lee's Native Speaker. A comparative study of the two demonstrates that they are seminal texts of African American–Korean American dialogue and discourse for mutual understanding and harmonious relationships between the two races in the USA. This paper reads the African A

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Bobo, Lawrence D. "CLAIMING HUMAN DIGNITY." Du Bois Review: Social Science Research on Race 7, no. 2 (2010): 253–55. http://dx.doi.org/10.1017/s1742058x10000317.

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In the concluding line of his opening note to Black Reconstruction in America, W. E. B. Du Bois, wrote “I am going to tell this story as though Negroes were ordinary human beings, realizing that this attitude will from the first seriously curtail my audience” (1934[2007], p. xliii). Doing so was an intellectually courageous step at the time Du Bois wrote. Jim Crow strictures, after all, were almost fully institutionalized across the South by that time and larger cultural motifs stressing redemption and reconciliation were steadily undoing the meager steps toward uplift and equality for African

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Leach, Colin Wayne, and Aerielle M. Allen. "The Social Psychology of the Black Lives Matter Meme and Movement." Current Directions in Psychological Science 26, no. 6 (2017): 543–47. http://dx.doi.org/10.1177/0963721417719319.

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Since the 2012 killing of 17-year-old Trayvon Martin, a string of publicized police killings of unarmed Black men and women has brought sustained attention to the issue of racial bias in the United States. Recent Department of Justice investigations and an expanding set of social science research have added to the empirical evidence that these publicized incidents are emblematic of systemic racism in the application of the law. The Black Lives Matter meme and movement are prominent responses to racism that have animated intense interest and support, especially among African Americans. We summa

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Aprilia, G. A. "THE REPRESENTATION OF AFRICAN AMERICANS IN FILMS «I AM LEGEND» AND «WORLD WAR Z»." Russian Journal of Agricultural and Socio-Economic Sciences 85, no. 1 (2019): 69–78. http://dx.doi.org/10.18551/rjoas.2019-01.08.

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GOERG, ODILE. "VISIBILIDADE E INVISIBILIDADE DOS CINEMAS NA áFRICA COLONIAL: revivendo as primeiras cenas." Outros Tempos: Pesquisa em Foco - História 13, no. 22 (2016): 89–102. http://dx.doi.org/10.18817/ot.v13i22.548.

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O cinema tem o seu apogeu nos anos 1950-1970, mas o que nós sabemos sobre as modalidades de sua difusão a partir do inácio do século XX? Este artigo discute o sucesso precoce do cinema, vindo na bagagem de conquista colonial, por meio dos vestágios deixados pelos relatos de viajantes, pela imprensa ou pelas memórias de espectadores. Empresários, africanos ou europeus, desempenharam um importante papel de intermediários da modernidade para garantir o fluxo de imagens em movimento. Eles são fotógrafos, engenheiros, comerciantes. Inicialmente, eventos efêmeros que ocorrem no interior de concess

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Dissertations / Theses on the topic "African-Americans in animated films"

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Legwaila, Karabo. "Thokolosi /." Online version of thesis, 2008. http://hdl.handle.net/1850/8015.

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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.

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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these tex

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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the Twenty-First Century American Musical." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1404583/.

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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these tex

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Cras, Pierre. "Archétypes, caricatures et stéréotypes noirs du cinéma d'animation américain du XXe siècle (1907-1975)." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA153.

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Cette thèse porte sur les notions d'archétypes, caricatures et stéréotypes et leurs applications aux personnages noirs dans le film d'animation américain du XXe siècle. C'est en 1907 qu'est diffusé aux Etats-Unis le tout premier film d'animation mettant en scène un personnage noir. Ce dernier, appelé coon, était l'héritier d'une longue tradition de représentations péjoratives qui visaient à maintenir les Noirs dans une position d'altérité et d'infériorité face aux Blancs. Les premiers exemples de ces représentations se retrouvent notamment dans le comic strip américain dont les artistes ont d'

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Ndounou, Monica White. "The color of Hollywood the cultural politics controlling the production of African American original screenplays, stage plays and novels adapted into films from 1980 to 2000 /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180535612.

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Bonaparte, Rachel. "REPRESENTATION OF AFRICAN AMERICAN YOUTH IN MENACE II SOCIETY." Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1294519752.

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Prince, Rob. "Say Hello to My Little Friend: De Palma's Scarface, Cinema Spectatorship, and the Hip Hop Gangsta as Urban Superhero." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1256860175.

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Mays, Nicholas S. "`WHAT WE GOT TO SAY:’ RAP AND HIP HOP’S SOCIAL MOVEMENT AGAINST THE CARCERAL STATE & CRIME POLITICS IN THE AGE OF RONALD REAGAN’S WAR ON DRUGS." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1627656723125548.

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Penn, Richard. "Metamorphosis as a narrative strategy in selected South African animated films." Thesis, 2009. http://hdl.handle.net/10539/7364.

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Abstract This study examines the notion as well as the use of metamorphosis in the animated films of selected South African artists. The analysis demonstrates how metamorphosis, as a narrative strategy, is wholly appropriate to South African animation artists whose works engage with issues which tend to surface in a country in constant flux and in which the word ‘transformation’ is part of its everyday vocabulary and collective consciousness. I bring together ideas around metamorphosis from various animation writers and link these to an eclectic selection of writers in other fields. I

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Lehman, Christopher Paul. "Black representation in American animated short films, 1928–1954." 2002. https://scholarworks.umass.edu/dissertations/AAI3056252.

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Black representation in American animated short films circularly evolved between 1928 and 1954. Blackface minstrelsy at first figured heavily in black representation. The increasing prominence of African-American movie stars and technological improvements in animation led to extremely diverse animated black images in the late 1930s and early 1940s. With the decline of African-American film roles in the 1950s, however, animators fell back to minstrelsy-derived black images. Animated black characterization emerged as blackface changed in the first sound cartoons from a generic cartoon design to

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Books on the topic "African-Americans in animated films"

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Sampson, Henry T. That's enough, folks: Black images in animated cartoons, 1900-1960. Scarecrow Press, 1998.

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Carey, Peter. Wrong about Japan: A father's journey with his son. Faber & Faber, 2005.

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Wrong about Japan: A father's journey with his son. Knopf, 2005.

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Montgomery, Elizabeth Rider. Los soñadores. Houghton Mifflin, 1993.

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Hollywood's African American films: The transition to sound. Rutgers University Press, 2011.

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Blaxploitation films. Kamera, 2010.

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African American films through 1959: A comprehensive, illustrated filmography. McFarland, 1998.

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Berry, Torriano. The fifty most influential Black films: Movies that changed the way we see America. Citadel Press/Carol Pub. Group, 1999.

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Terry, McMillan, and Lee Spike, eds. Five for five: The films of Spike Lee. Stewart, Tabori & Chang, 1991.

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Presenting Oprah Winfrey, her films, and African American literature. Palgrave Macmillan, 2012.

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Book chapters on the topic "African-Americans in animated films"

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Minutella, Vincenza. "Americans, Brits, Aussies, Etc.: Native Varieties of English in Italian Dubbing." In (Re)Creating Language Identities in Animated Films. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-56638-8_5.

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Boukary, Sawadogo. "The African animated film." In African Film Studies. Routledge, 2018. http://dx.doi.org/10.4324/9780429508066-6.

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Kraaikamp, Nanette. "Drawings to Remember." In Drawn from Life. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748694112.003.0008.

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South African Artist William Kentridge’s Drawings for Projection films animate his charcoal drawings. This chapter analyses Kendridge’s animated film Felix in Exile (1994), for which forty charcoal drawings were amended and filmed during each step of the work’s stop-motion animation process. Felix in Exile addresses the traumatic history of South Africa during apartheid and provides a good meta-level insight into the process of drawing. This chapter explores how Kentridge’s drawing mechanisms and the representation of history, time and memory are interrelated. Questions examined include: How are mechanisms of drawing and animation related to history? How does Felix in Exile mediate time and memory? What is it exactly that causes this film’s affect? This chapter reflects on these questions by using Walter Benjamin’s philosophical texts, On the Concept of History (1942) and On the Mimetic Faculty (1933) in conjunction with theoretical literature on drawing in order to analyse Kentridge’s work.

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Tucker, Terrence T. "Hollywood Shuffle and Bamboozled." In Furiously Funny. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813054360.003.0006.

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On the heels of the expansion of comic rage into art forms beyond literature and stand-up, this chapter examines the presence of comic rage in films directed by African Americans. After the Blaxploitation Era and the surge of black films and television shows in the 1990s, these films critiqued the problematic representations of blackness that have been imbedded in two of the most popular mediums of the second half of the twentieth century. While Hollywood Shuffle castigates the limited roles African Americans are given in film, Bamboozled exposes the virtual return to blackface minstrelsy that black actors are expected to accept in an allegedly more diverse TV landscape. Both works wrestle with questions of authenticity that are imposed by mainstream society or blindly adopted by African Americans responding with simplistic “real” yet destructive counter-representations.

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Gabbard, Krin. "“They Always Get the Best of You Somehow”: Preston Sturges in Black and White." In Refocus: the Films of Preston Sturges. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9781474406550.003.0007.

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There is no question that the films of Preston Sturges present racist stereotypes. But we must remember the profound racism in America when Sturges was working. There is even evidence that Sturges respected his African American actors, making sure that they were treated as professionals. Several blacks even became members of his repertory company, working alongside a group of actors who often embodied a range of ethnic stereotypes. And in many of his films, Sturges’s blacks actually express a wry suspicion of white Americans, thus advancing the satiric projects of his films. Rather than concentrate on Sturges’s habit of presenting racist images of black people, we should be attentive to what his African American characters actually say and do.

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Pinho, Patricia de Santana. "The Way We Were." In Mapping Diaspora. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469645322.003.0003.

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This chapter examines the dominant African American roots tourist gaze on Brazil. Contrasting the discourse of the tourists, as expressed in ethnographic interviews, with the representations found in various textual and audiovisual sources, such as documentary films, books, newspaper articles, and tourism promotional materials, the chapter examines the three major intersecting tropes that inform and sustain this gaze: the trope of Bahia as a “closer Africa” and a place where African Americans can find their past; the trope of the “happy native,” or the perception that, because Afro-Brazilians supposedly inhabit the African American past, they are imagined to be essentially more culturally fulfilled than African Americans; and the trope of “black evolution,” which defines the “Africanness” of Afro-Brazilians as an earlier stage in the unidirectional path toward a modern form of blackness, one supposedly already reached by African Americans. In this view, Afro-Brazilians enjoy abundant African tradition, but have yet to achieve black modernity, and should therefore look up to African Americans for guidance.

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Glick, Joshua. "Numbering Our Days in Los Angeles, USA." In Los Angeles Documentary and the Production of Public History, 1958-1977. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520293700.003.0008.

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This chapter considers more resistant forms of national remembrance than those created for the bicentennial celebrations. As Hollywood docudrama incorporated minorities into a streamlined vision of the American social fabric, alternative films depicted a more contentious relationship between a historic present and past. This chapter argues for the persistence of filmmakers’ interest in documentary, even as they experimented with other media or blended fiction and nonfiction. Long-form films and photo-books by the collective Visual Communications (Wataridori: Birds of Passage [1974] and In Movement: A Pictorial History of Asian America [1977]), documentaries made from the collaboration between anthropologist Barbara Myerhoff and director Lynne Littman (Number Our Days [1976]), and the artisanal filmmaking of Charles Burnett (Killer of Sheep [1977]) presented more nuanced stories about the resilience of the city’s marginalized communities. Their work on Asian Americans in Little Tokyo, elderly Jews in Venice, and African Americans in Watts denounced national myths of bootstrap individualism and upward mobility, as well as industrial decentralization and uneven downtown redevelopment under the Bradley administration.

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Garrett, Greg. "Best Supporting Actors." In A Long, Long Way. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190906252.003.0003.

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After many years of racial derogation or absence, Casablanca and Gone with the Wind are films that offered larger and more representative roles for black actors, in line with the greater involvement African Americans experienced in American culture with the coming of World War II. While Sam (Dooley Wilson) is not the focus of Casablanca, his role in the film goes far beyond earlier roles for black people, and his friendship is essential in shaping Rick (Humphrey Bogart), the film’s hero. While he disappears in the last part of the film, Sam is a character who makes Rick’s transformation possible, and points to the coming awareness of America’s multicultural reality.

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Ellenberger, Allan R. "The Final Years." In Miriam Hopkins. University Press of Kentucky, 2018. http://dx.doi.org/10.5810/kentucky/9780813174310.003.0021.

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Hopkins loses money on an investment and is forced to sell her art collection and her Sutton Place townhouse. Her friend Ward Morehouse dies and, from that, Hopkins is reacquainted with his wife, Becky, and they become best friends. Morehouse recounts her first visit to Hollywood, going to parties and Hopkins’s denial of having a Southern accent. Michael is transferred to March Air Force (now Reserve) Base, sixty miles from Los Angeles. Michael’s regrets, Hopkins’s sometimes stormy relationship with her daughter-in-law, and her affection for her grandson, Tom, are explored. Hopkins’s famous parties, as well as her obsession with psychics, her views on African Americans, and her fear of being forgotten are discussed. Hopkins appears on television and in films, including The Savage Intruder, playing a drunken, aging movie star. With her health waning, she’s given up on love and confines herself to her West Hollywood apartment, drinking champagne and calling friends in the middle of the night.

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"century was followed by the arrival and prosperity of Methodism, particu-larly on the western frontier, and the appearance of a less dramatic form of evangelical religion in the eastern states. As the evangelical movement devel-oped and changed from 1730 to 1850 the leadership of women changed as well. In the earlier decades women led small prayer groups and, in some com-munities, served on lay committees directing congregational affairs. During the early decades of the nineteenth century a few women, including several especially gifted African-Americans, followed the Spirit’s call and built repu-tations as lay preachers and exhorters. Although socially and politically subordinate, they experienced the immediate power of the Holy Spirit and discovered in it their own charismatic authority. Beginning in the 1720s and continuing until interrupted by Revolutionary fervour in the 1760s, a Great Awakening swept British America. The first stir-rings appeared in the mid-Atlantic colonies with the new immigrants and itinerant preachers. From there the spiritual vitality spread north and south. Communal rituals of intense, emotional revivalism, with their animated, frightening preachers and shrieking, weeping, fainting participants appeared everywhere. Throughout the colonies clergymen took sides for or against the Awakening. Its supporters, the New Lights, saw the essence of true faith as holy love – a religion of the heart. They believed the revivals to be the work of the Holy Spirit and understood the extreme physical manifestations as nat-ural outcomes of an enlightened soul responding to the real threat of damnation. The culture of the Great Awakening represented the first appearance of the evangelicalism that came to shape Protestantism in the United States. This culture grew out of two roots, blossoming into a single harvest. From the puritan and Congregationalist side came the emphasis upon the spiritual journey and conversion of the individual and the deeply emotional, some-times passionate, but always personal, connection with God. Through the Scots-Irish Presbyterians were added communal rituals, understandings and language that facilitated those individual journeys. The intensity of the believer’s personal relationship with God was acted out at a group level so that all could witness and appreciate (or decry) the excessive tribulations and joy experienced by the truly saved." In The Rise of the Laity in Evangelical Protestantism. Routledge, 2003. http://dx.doi.org/10.4324/9780203166505-54.

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