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Journal articles on the topic 'Cartoon Series'
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1
Angı, Çiğdem Eda. "Examining the relation between form information and movement in music education: The skeleton dance." Cypriot Journal of Educational Sciences 16, no. 2 (2021): 641–58. http://dx.doi.org/10.18844/cjes.v16i2.5641.
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Providing examples suitable for the children's world in the music education given to younger age groups may reinforce the knowledge to be taught. For this reason, cartoons can be utilized for an engaging and fun lesson environment. One of the best examples of this situation is believed to be the short cartoon series Silly Symphony produced by Walt Disney. The most important feature of the cartoon that makes it significant to be used in music education is that the music was composed before the images, i.e., the images were drawn in accordance with the technical and structural characteristics of the music. The aim of the research is to examine the musical characteristics of The Skeleton Dance, the first cartoon of the series, and the relationship between form structure and movement. This is a descriptive research. After the evaluations conducted, it was concluded that the use of cartoon in children's music education in terms of listening, analysis / grouping and application dimensions would be positive and beneficial.
 
 Keywords: Music Education, Form Information, Cartoon, Silly Symphony, The Skeleton Dance, Movement.
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Villegas-Navas, Montero-Simo, and Araque-Padilla. "Investigating the Effects of Non-Branded Foods Placed in Cartoons on Children’s Food Choices through Type of Food, Modality and Age." International Journal of Environmental Research and Public Health 16, no. 24 (2019): 5032. http://dx.doi.org/10.3390/ijerph16245032.
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Cartoons are among the most consumed media products by children, especially those at a young age. While branded food placements are not allowed in animated series, non-branded food placements are prevalent. However, little is known about the effects that these food placements might have on children’s eating preferences. In an experimental study with 124 children (51.6% girls, age range: 7–11, Mage = 9.24, and SD = 1.19), 62 children in the experimental condition were exposed to 16 food placements in cartoons, whereas children in the control condition were exposed to cartoon scenes without foods. The healthiness of the placed foods (low nutritional value foods versus high nutritional value foods) as well as the modality of food placements (unimodal versus bimodal) were manipulated. After watching the cartoon scenes, children completed a choice task where each placed food appeared on a separate choice card. Our results indicate that non-branded low nutritional value foods placed in cartoons are an effective strategy in modifying children’s food choices when children are under age 9. We suggest that policy makers, particularly those involved in the content design of cartoons, take these results into account when placing low nutritional value foods in cartoons, especially for an animated series that targets young child audiences.
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Brassard, Jeffrey. "Cartoon Animals vs. Actual Russians." VIEW Journal of European Television History and Culture 10, no. 19 (2021): 4. http://dx.doi.org/10.18146/view.252.
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Despite continual improvements in production and writing quality, live-action Russian series have fared poorly in the global market. While many deals have been struck, Western remakes of Russian series have failed to appear, and live-action programs have failed to find mainstream audiences outside of Russia. Russian animated series, on the other hand, have enjoyed global success. The success and failure of different types of Russian series in the global media market suggests that many of the central problems of cultural exchange remain. Issues related to cost and risk continue to impede the global transfer of live-action series and formats from Russia even as animated series have become the most widely viewed Russian media products in history.
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Neupert, Richard. "Trouble in Watermelon Land: George Pal and the Little Jasper Cartoons." Film Quarterly 55, no. 1 (2001): 14–26. http://dx.doi.org/10.1525/fq.2001.55.1.14.
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What should film studies do with blatantly racist cartoons from Hollywood's past? This article investigates one test case, George Pal's Little Jasper cartoon series from the 1940s——which provides an array of offensive racist stereotypes——arguing that film historians must confront both its racist strategies and its fascinating mode of production. The cartoons were created from 3D models with exquisite depth and color at a time when cel animation was the norm. Pal's works are complex ideological and aesthetic products that deserve to be studied and debated within the animation canon.
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Tzoutzou, Milia, Eirini Bathrellou, and Antonia-Leda Matalas. "Cartoon Characters in Children’s Series: Gender Disparities in Body Weight and Food Consumption." Sexes 2, no. 1 (2021): 79–87. http://dx.doi.org/10.3390/sexes2010007.
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(1) Background: Media play a significant role in forming audience perceptions about physical external appearance and food consumption patterns. It has been reported that children’s cartoons project slimness, and concomitantly consumption of poor nutritional quality food. However, data on the role of gender in this respect are lacking; thus, this was the aim of the present study. (2) Methods: 100 episodes of the 10 most popular cartoon series were analyzed. Characters’ body weight status was classified into underweight, normal weight and overweight, and foods consumed as core (e.g., fruit, vegetables) and non-core (e.g., sweets, snacks). Messages about characters’ attractiveness were recorded and classified according to their body weight status and gender. (3) Results: Out of 37 protagonists, 12 were female figures (32%), while out of the 10 thin protagonists, 7 were females (70%) and only 3 males (30%). Thin heroines were the recipients of the majority of the messages connotative to physical attractiveness (36 out of 58 messages). However, consumption of core and non-core foods did not differ within genders (core: z = −1.526, p = 0.127, non-core: z = −0.417, p = 0.667). (4) Conclusions: Females seem to be underrepresented in cartoon series but receive the majority of the comments related to physical appearance, with most of them addressing the attractiveness of a thin figure.
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Merritt, Russell. "Lost on Pleasure Islands: Storytelling in Disney's Silly Symphonies." Film Quarterly 59, no. 1 (2005): 4–17. http://dx.doi.org/10.1525/fq.2005.59.1.4.
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ABSTRACT Disney broke away from gag-centered cartoons in favor of fantasy narrative in his Silly Symphony cartoon series, produced in the 1930s. In landmark Symphonies such as The Ugly Duckling, Babes in the Woods, Lullaby Land, Who Killed Cock Robin?, and Three Little Pigs he explores with remarkable potency the inner life of the child——dramatizing the child's issues of separation, sense of shame, struggle to control impulses, fear of annihilation, and love of adventure.
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Mardianto, Mardianto, and Baihaki Harahap. "ISLAMIC EDUCATION VALUES CONTAINED IN UPIN AND IPIN ANIMATION SERIES OF RAMADHAN EPISODE." Almufida: Jurnal Ilmu-Ilmu Keislaman 5, no. 1 (2020): 25–31. http://dx.doi.org/10.46576/almufida.v5i1.774.
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This study aims to determine what Islamic educational values are contained in the Upin and Ipin cartoons during the Ramadan episode. This research is a library research (library research). The method used to collect data is the documentation method. Analysis of the data that researchers use is content analysis, namely research conducted on information, which is documented in recordings, both in pictures, sounds and writings. Then a descriptive interpretation is carried out by providing an overview and interpretation as well as a description of the data that has been collected . The results of this study indicate that Upin and Ipin cartoons on the episode of the Ramadan theme have educational values contained therein. The educational values contained in the Upin and Ipin cartoon episodes of the theme of Ramadan include: First, the values of religious education which include, mahdhah worship and the value of social worship education kemasarakatan. Second, universal education values include, peace, respect, love, tolerance, responsibility, happiness, cooperation, honesty, humility, freedom, simplicity, unity
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Wilson, Claire, Raymond Nairn, John Coverdale, and Aroha Panapa. "How mental illness is portrayed in children's television." British Journal of Psychiatry 176, no. 5 (2000): 440–43. http://dx.doi.org/10.1192/bjp.176.5.440.
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BackgroundThere are no published studies concerning the depiction of mental illness in children's television programmes.AimsTo determine whether mental illness was depicted in children's television.MethodSample of one complete week of children's television (57 hours, 50 minutes; 128 series episodes: 69 cartoon animations, 12 non-cartoon animations, 47 real life) provided for children under the age of 10 years. Disclosure analysis of portrayals of mental illness through repeated viewings identified patterns in the use of linguistic, semiotic and rhetorical resources.ResultsOf the 128 episodes, 59 (46%) contained one or more references to mental illness, predominantly in cartoons (n=47, 80%) compared with other episode types (χ2=17.1, d.f.=2, P<0.05). Commonly occurring terms such as ‘crazy’ (n=28), ‘mad’ (n=19) and ‘losing your mind’ (n=13) were employed to denote loss of control. The six consistently mentally ill characters were almost entirely devoid of admirable attributes.ConclusionYoung viewers are being socialised into stigmatising conceptions of mental illness.
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Lapteva, Yuliya A., and Mariya A. Kovrova. "Developing the Ability (of 3rd-Year School Children) to Retell a Work of Art when Creating Cartoons." Volga Region Pedagogical Search 2, no. 36 (2021): 74–81. http://dx.doi.org/10.33065/2307-1052-2021-2-36-74-81.
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The article deals with the problem of developing the ability of third-graders to retell a work of art in the process of creating a cartoon. The authors turn to the research of Russian scientists devoted to retelling as an interpretation of a literary text, reveal the concept, meaning, classification and stages of the retelling. The possibilities of the method of creating a cartoon in the development of children’s ability to retell a work of art are determined. This is possible under specially created conditions: compliance with all stages of work on a work of art, the inclusion of third-graders in joint creative activities to create a series of illustrations for the episodes of the work, conducting a clear and understandable instruction in the computer program for creating a cartoon from a series of illustrations, compliance with the stages of creating a cartoon based on the read work. The authors developed and experimentally tested a series of classes aimed at developing the ability to retell a work of art. Quantitative data on the evaluation of their effectiveness using a specially developed diagnostic technique are presented. The effectiveness of the tested classes in the development of the ability to retell a work of art through the creation of a cartoon is empirically proven. This article will be useful for primary school teachers.
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Shah, Syed Kazim, Aniqa Riaz, and Asim Aqeel. "The Politics of Innocence: A Semiotic Analysis of the Pakistani Animated Cartoon Series Burka Avenger." International Journal of Applied Linguistics and English Literature 9, no. 5 (2020): 40. http://dx.doi.org/10.7575/aiac.ijalel.v.9n.5p.40.
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The animated cartoons occupy a significant part of a child’s upbringing, but its contents can be considered debatable. Though parents prefer such animations which can protect their children from potentially harmful awkward images in the media, yet the examination of their content has so far been limited. The analysis of media texts is closely connected with the actual problem of demonstration in children’s animated cartoons and movies that not only contribute to the development of children’s imagination, the formation of the child’s ideas about moral values and the surrounding world, but also cause irreparable harm to the fragile child’s psyche. The purpose of this research is to investigate the manipulation of various concepts in the Pakistani animated cartoon series Burka Avenger. This study draws upon Roland Barthes’ (1957) semiotic theory for deeper understanding of the meanings, conveyed by the selected images. Moreover, Norman Fairclough’s (1989) three dimensional model of critical discourse analysis (CDA) is used for deeper understanding of the socio-cognitive effects of the concerned text (images). This research will help parents to be careful while choosing the media contents to be shown to their kids. It will also be a source of realization for the Pakistani producers and directors of kids’ contents, that they should play their role positively for nurturing our future generation instead of preferring their personal benefits only.
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Shikhavtsova, Paula. "Gender Regimes in Animation Movies or About What Modern Cinderella Should Be." Inter 12, no. 21 (2020): 65–80. http://dx.doi.org/10.19181/inter.2020.21.4.
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A good story is always in demand. But today the fairy tale is not only told in the mode of verbal translation in the family circle, it becomes the subject of repeated media transformations form, printed illustrated text, comic, film, TV series, cartoon, video game, etc. With the spread and development of media researchers began to pay more attention to the structure of the narrative, “worlds of history”, are still in demand, the various media platforms (transmedial), which combine a popular medium with a popular archetypical history. This is especially true of cartoons, as they are one of the most popular genres among children. Evidence suggests that children tend to imitate not only their parents and inner family circle behavior, but also cartoon characters, including their gender-specific behavior. Since most modern cartoons continue to borrow stories from classic fairy tales, they inevitably reproduce the gender-stereotypical behavior of the main characters of ancient times. Or, in response to social requests, the plot and character are repaired. In the article we describe the main findings of the study, where we studied folk stories, as well as the plots of modern cartoons. For the study we used a database of folk tales by Stith Thompson, as well as narrative functions in the concept of Vladimir Propp, adapting them to the aspect of female gender. The aim of the study is to reveal how gender socialization is constructed and mediated by media in popular fairy tales. For this purpose, in the study we use critical discourse analysis of modern cartoons.
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YENİÇERİ, Yunus. "Teaching in cartoon series: The case of Istanbul Guards." International Journal of Social Sciences and Education Research 6, no. 3 (2020): 388–95. http://dx.doi.org/10.24289/ijsser.733418.
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Dugalich, Natalia M. "Universal and Culturally Specific Features and Linguistic Peculiarities of the Political Cartoon in the Arabic and French Languages." RUDN Journal of Language Studies, Semiotics and Semantics 11, no. 3 (2020): 479–95. http://dx.doi.org/10.22363/2313-2299-2020-11-3-479-495.
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The article discusses the universal and culturally-specific features and linguistic means of the political cartoon in the Arabic and French languages. Political cartoon is a universal tool for political dialogue between government and society, a reflection or reaction of society to a certain political event, series of events, or a person of national or world level. The goals and objectives of political cartoon, its mechanism of influence on the addressee, and its genre identity have a common tradition and common components. The study of the phenomenon of a political cartoon in various linguistic cultures is an area of relevant multidisciplinary research, primarily because the authors creative principle at the level of text and drawing interacts in the political cartoon with tradition and its genre framework, producing a capacious multilayer creolized text, the decoding of which requires from the addressee the presence of linguistic, logical and extralinguistic (primarily political and historical) presuppositions and the skills to analyze it. The object of the proposed work is a modern political cartoon in Arabic and French. The subject of the research is structural, lexical-semantic, pragmatic and cultural-specific characteristics of the creolized text of a political cartoon in the Arabic and French languages. The purpose of the work is to identify universal and culturally specific features of a cartoon on a political leader or an event at the iconic and verbal level in each of the languages under consideration. For the first time in Russian linguistics the presented study carries out a comparative analysis of the political cartoon in the Arabic and French languages and describes its universal features and cultural-specific peculiarities.
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Реброва, Александра Дмитриевна, and Наталья Сергеевна Гегелова. "FEATURES OF SPEECH OF CARTOON CHARACTERS IN RUSSIAN MODERN ANIMATED SERIES." Вестник Тверского государственного университета. Серия: Филология, no. 3(66) (November 6, 2020): 162–67. http://dx.doi.org/10.26456/vtfilol/2020.3.162.
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В статье исследуются вопросы, связанные с особенностями русской речи на детском телевидении в России. Рассматриваются примеры неграмотной речи героев мультипликационных сериалов отечественного производства, транслируемых на телеканале «Карусель». Выявляется ряд наиболее частых речевых и грамматических ошибок, которые допускают создатели детских мультипликационных фильмов. Анализируются примеры негативного воздействия лексики, употребляемой героями мультфильмов, на детскую аудиторию. This article examines the issues related to the peculiarities of the use of Russian speech in the most popular children’s animated series. The article discusses in detail the examples of illiterate speech of the cartoon characters and identifies a number of the most frequent speech and grammatical mistakes.
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Stout, Vanessa, Eric Earnhart, and Mariam Nagi. "Teaching Race and Ethnicity in the Age of Trump: Using Popular Culture in a Polarized Classroom." Teaching Sociology 48, no. 3 (2020): 220–30. http://dx.doi.org/10.1177/0092055x20928469.
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Teaching race and ethnicity in various sociology courses, we found students in our classes can be very reluctant to approach the subject of race, discrimination, and racism. Moreover, during class discussion, they often have a hard time defining and analyzing these concepts. In this study, we examine how popular culture can be a useful tool to teach difficult subjects, such as race and ethnicity. Instead of a traditional lecture, we had students watch the popular Cartoon Network series Teen Titans. Using the characters’ interactions from this series as examples, students constructed definitions of racism and discrimination. The result of this study demonstrates that students may be more comfortable recognizing and discussing fictional characters’ racist or discriminatory behavior as a way of entering the conversation. After discussing fictional examples, students effectively link events from the cartoon to the subsequent lecture about race and racism.
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Vidhiasi, Dhion Meitreya. "Appraisal System in GoGo Dino Indonesian Lyric." Jurnal Lingua Idea 12, no. 1 (2021): 110. http://dx.doi.org/10.20884/1.jli.2021.12.1.3443.
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Movies or stories with superheroes theme always give color to the hearts of the audience. GoGo Dino film, which is an animated cartoon series from South Korea, also provides an excellent color to the audience. This study aims to analyze the Appraisal System used in the opening song lyrics of the Indonesian version of the GoGo Dino cartoon series. The research data obtained were then analyzed using Martin and White’s Appraisal System theory. Researchers used qualitative descriptive methods in explaining the results of the study. It can be seen that in the lyrics of the song, the author of the lyrics implements less use of affect and uses more judgment. The Judgment implementation shows that a person, or in this case, a superhero, is valued by his behavior parameters. From the behavior parameters, it can bring up the effect of affect which is a person’s reaction to the behavior.
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kazanoğlu, nazlı. "REPRESENTATION OF THE AKP IDEOLOGY WITHIN TURKISH CHILDREN CARTOON SERIES: "PEPEE" CASE." INTERNATIONAL PEER-REVIEWED JOURNAL OF COMMUNICATION AND HUMANITIES RESEARCHES, no. 8 (September 30, 2015): 77. http://dx.doi.org/10.17361/uhive.2015813151.
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Ilmiani, Aulia Mustika, Hamidah Hamidah, Nurul Wahdah, and Mahfuz Rizqi Mubarak. "The Implementation of Semester Learning Plan (RPS) on Maharah Istima’ Course by Using Cartoon Story Maker." LISANIA: Journal of Arabic Education and Literature 4, no. 1 (2020): 1–22. http://dx.doi.org/10.18326/lisania.v4i1.1-22.
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This is a descriptive qualitative research which aims to describe the implementation of Semester Learning Plan (RPS) on Maharah Istima’ Course by Using Cartoon Story Maker and its distinct characteristics from the previous RPS. The subject of this research is the Arabic language lecturers of IAIN Palangka Raya who teach Maharah Istima’ course. It uses observations, interviews, and documentations for the data collection techniques, and is validated using triangulation method. The results showed that there were nine learning activities of the implementation of Cartoon Story Maker based semester learning plan, namely; (1) Providing information to the students about the course’s learning objectives. (2) Giving apperception about the learning material. (3) Preparing and displaying Cartoon Story Maker media. (4) Students listen and prepare their stationeries (5) Students mention the main and supporting ideas. (6) Providing responses and corrections (7) Reminding the students to write the new vocabulary obtained. (8) Students make conclusions (9) Providing an explanation or summary about the material. The specification of this RPS with the previous one is that it is designed and clearly described the assessment indicators which include a series of more innovative activities, where learning is more centred on students and lecturers only act as facilitators and monitor the learning objectives. Lecturers only provide learning resources by creating Cartoon Story Maker as an interesting and effective learning media.
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Rodríguez Valdunciel, Sergio. "La primavera de la animación en series 2D." Con A de animación, no. 8 (March 1, 2018): 38. http://dx.doi.org/10.4995/caa.2018.9638.
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<p>La animación 2D para televisión es uno de los contenidos que nos han acompañado a lo largo de los años. Los estudios Hanna-Barbera se encargaron de buscar un sistema de producción rentable para poder llevar a cabo más de 200 series diferentes. Lo que sucede a veces, con ciertos éxitos, es que se busca repetir fórmula, con el riesgo de caer en repetición, dejando de lado a la creatividad. Pero siempre hay personas que buscan un nuevo punto de vista, como Fred Seibert, el primer director de Cartoon Network, que puso en las pantallas una serie de nuevos personajes, que marcaron un antes y un después. En la actualidad, estamos disfrutando de unas series creativas, divertidas, diferentes, que entretienen a toda la familia.</p>
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Kazanoğlu, Nazli. "Representation of the Dominant Political Ideology within a Cartoon Series: A Turkish Case." European Journal of Social and Behavioural Sciences 17, no. 3 (2016): 2224–39. http://dx.doi.org/10.15405/ejsbs.198.
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Ferguson, Shelagh, Jack Smith, and Janet Hoek. "An Analysis of Tobacco Placement in YouTube Cartoon Series The Big Lez Show." Nicotine & Tobacco Research 22, no. 4 (2019): 580–82. http://dx.doi.org/10.1093/ntr/ntz051.
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Abstract Introduction Social media platforms such as YouTube provide largely unregulated opportunities for covert tobacco product placement that immerse viewers in evolving narratives and surrounding fan-created material. A Winfield Blues product placement appeared in series 3 of The Big Lez Show, a “crude comedy,” DIY animation web series that has garnered more than 70 million views. Methods We used a netnographic approach that adapts the traditional, in-person participant observation techniques of ethnography to investigate this online fan and associated paratexts, and conducted a frame-by-frame analysis of the most pertinent 12 minutes and 5 seconds of animation, and 250 pages of paratexts. Results The Big Lez show links “Winnie Blues” to seemingly authentic virtual content, including memes, merchandise, discussion groups, and even smartphone apps. These para, or secondary texts, surround the original content, provide opportunities for brand co-creation in online fan forums, and integrate tobacco brands in everyday life. Conclusions The Big Lez Show integrates Winnie Blues with popular culture and raises important questions about how social media facilitates tobacco product placement. Policy responses include encouraging social media platforms to include tobacco within webmaster guidelines and requiring site owners to demonstrate their content reaches only those legally able to purchase tobacco. Implications Contemporary entertainment using social media platforms can create immersive contexts that present an elusive and ongoing challenge to tobacco control policies. The Big Lez Show’s use of the Winnie Blues brand imagery spawned memes, merchandise, and smartphone apps that amplified the brand’s reach and connection with young people. Policy responses include stronger requirements that webmasters include tobacco product placement within their guidelines or requirements that site owners featuring tobacco imagery demonstrate their sites do not reach those aged below the age at which tobacco may be legally purchased.
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Tzoutzou, Milia, Eirini Bathrellou, and Antonia-Leda Matalas. "Food consumption and related messages in animated comic series addressed to children and adolescents." Public Health Nutrition 22, no. 8 (2019): 1367–75. http://dx.doi.org/10.1017/s1368980019000338.
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AbstractObjectiveTo analyse the food content in animated comic series addressed to young audiences both in terms of the kinds of foods presented and the cues accompanying them.DesignOne hundred episodes of ten animated cartoon series with high television audience viewing (based on Average Minute Rating %) were reviewed and food items were classified into ten categories. In each episode, food cues (i.e. every mention of food, visual, oral or referring to foods consumed) was noted down and characterized as positive, negative or neutral. The rate of overall consumption and the food categories shown to be consumed were also recorded.SettingGreece.ResultsIn ninety-four episodes one or more food cues were recorded; the total number of cues was 361, of which 209 referred to cues where food was shown or discussed and 152 referred to food items consumed. Out of the positive cues measured, almost half referred to sweets and snacks (sixty-one out of 125). Nevertheless, the majority of cues were of neutral character (n 213). Snacks, sweets and soft drinks were seen to be consumed in more episodes compared with other food categories. Moreover, in episodes where a higher frequency of food consumption was recorded, then consumption of sweets, snacks and soft drinks was significantly higher, with consumption of soft drinks often occurring in conjunction with that of snacks.ConclusionsFood cues are present in children’s series, with an emphasis on sweets and snacks, which are projected in an attractive way, whether depicted, discussed or consumed, between cartoon characters.
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Islam, Nujhat Nuari, and Tuhin Biswas. "Influence of Doraemon on Bangladeshi Children: A CDA perspective." Stamford Journal of English 7 (April 7, 2013): 204–17. http://dx.doi.org/10.3329/sje.v7i0.14474.
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Cartoon series are basically for the childrens entertainment. Sometimes not only the children but also the adults enjoy cartoon series. According to Waiming (2002), Doraemon is now a popular culture in Japan. It is so much popular that Disney channel is telecasting this series in Hindi language. This paper is a critical discourse analysis of how a Japanese anime of Hindi language is embedding Hindi language into the Bangladeshi children of age 3 to 8 years. This paper discusses the reasons for the exercise of Hindi language by the Bangladeshi children and the use of Hindi language instead of English after watching Doraemon. These little children are using Hindi words with Bangla language. This sort of use of Hindi language is actually a way of dominating Bangla language, and a reason for linguistic imperialism. This paper also discusses how Doraemon has cultural effects in Bangladesh. For data collection, 500 children and 100 families were interviewed from the urban area of Bangladesh. Theoretical framework is done on Saussures Semiotics theory, and Phillipsons (1992) language and cultural imperialism theory. From this data, it is found out that the children of Bangladesh are using Hindi Language mostly. They prefer to talk in Hindi than English language. Parents are facing social problems also DOI: http://dx.doi.org/10.3329/sje.v7i0.14474 Stamford Journal of English; Volume 7; Page 204-217
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Koenderink, Jan J., Andrea J. van Doorn, Chris Christou, and Joseph S. Lappin. "Shape Constancy in Pictorial Relief." Perception 25, no. 2 (1996): 155–64. http://dx.doi.org/10.1068/p250155.
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Pictorial relief was measured for a series of pictures of a smooth solid object. The scene was geometrically identical (ie the perspective of the three-dimensional scene remained the same) for all pictures, the rendering different. Some of the pictures were monochrome full-scale photographs taken under different illumination of the scene. Also included were a silhouette (uniform black on uniform white) and a ‘cartoon’-style rendering (visual contour and key linear features rendered in thin black line on a uniform white ground). Two subjects were naive and started with the silhouette, saw the cartoon next, and finally the full-scale photographs. Another subject had seen the object and did the experiment in the opposite sequence. The silhouette rendering is impoverished, but has considerable relief with much of the basic shape. The cartoon rendering yields well-developed pictorial relief, even for the naive subjects. Shading adds only small local details, but different illumination produces significant alterations of relief. It is concluded that shape constancy under changes in illumination is dominant throughout, but that the (small) deviations from true constancy reveal the effect of cues such as shading in a natural setting. Such a ‘perturbation analysis’ appears more promising than either stimulus-reduction or cue-conflict paradigms.
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Muzdalifah, Indah, Elvira Asril, and Susi Handayani. "Moral value in serial cartoon Upin and Ipin English version." ELT-Lectura 7, no. 2 (2020): 85–93. http://dx.doi.org/10.31849/elt-lectura.v7i2.3819.
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There are many technology-based media that can use in learning English. One of them is the English version of Upin Ipin which can download from YouTube. The purpose of this study is to describe the ability of students to study, analyze and translate moral values contained in each episode of the Upin Ipin cartoon series. The research method taken is a qualitative method in which the ability of students to describe the value of moral tests using tests and ruptures. The results of this study were the first of 31 students 22 people were able to explain moral values well, and 3 people were excellent
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Honsa, Thomas. "Dr. Benson's Cold War Prescription: How a Cartoon Series Presaged America's Cold War Lifestyle." Journal of Popular Film and Television 40, no. 4 (2012): 202–11. http://dx.doi.org/10.1080/01956051.2011.653419.
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Studeny, Christopher, and Ulrike Zartler. "Die animierte Familie. Darstellungen von Familien in Zeichentrickserien." Zeitschrift für Familienforschung 30, no. 2-2018 (2018): 176–93. http://dx.doi.org/10.3224/zff.v30i2.03.
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Das Angebot an Zeichentrickserien im Fernsehen und damit deren Bedeutung für die Sozialisation von Kindern hat in den letzten Jahrzehnten stark zugenommen. Die Frage, welches Familienbild in diesen Serien im Zeitverlauf transportiert wird, wurde bislang aber nur unzureichend beantwortet. Dieser Beitrag untersucht mittels hermeneutischwissenssoziologischer Videoanalyse, ob sich die Darstellung von Familienbild, Familienleben und elterlichen Rollen in Zeichentrickserien seit den 1980er Jahren verändert hat. Grundlage der Analyse sind jeweils drei Serien aus den 1980er Jahren und drei aktuelle Zeichentrickserien (ab 2000), welche nach den Kriterien Beliebtheit, Laufzeit und Anzahl ausgestrahlter Sendungen ausgewählt wurden. Die Ergebnisse zeigen, dass zwar im Zeitverlauf eine Pluralisierung von Familienformen ersichtlich wird, die Darstellung der Eltern in beiden Untersuchungszeiträumen aber überwiegend an traditionellen Rollenmustern orientiert ist und das Idealbild der Kernfamilie transportiert wird. Bezüglich der Herstellung des Familienlebens rücken in der zweiten Untersuchungsdekade Aspekte der Entgrenzung von Arbeit und Familie in den Vordergrund.
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O'Donnell, Patricia, and Amanda Frick. "Math by the Month: Speedy Gonzales." Teaching Children Mathematics 16, no. 8 (2010): 456–57. http://dx.doi.org/10.5951/tcm.16.8.0456.
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Do you remember clever, energetic Speedy Gonzales, “the fastest mouse in all Mexico,” one of the animated characters in the Warner Brothers Looney Tunes cartoon series? This month our “math by the month” activities, reminiscent of the spirited Speedy, will have your students calling ¡Ándale! ¡Ándale! ¡Arriba! ¡Arriba! (colloquial Spanish for “Come on! Hurry up!”) as they ask for more problem-solving scenarios based on this month's racing theme.
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Cornelio-Marí, Elia-Margarita. "Mexican children and American cartoons: Foreign references in animation." Comunicar 23, no. 45 (2015): 125–32. http://dx.doi.org/10.3916/c45-2015-13.
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This audience study explores how a group of children from Southeast Mexico, perceive the animated cartoon «Dexter’s Laboratory». The objective is to observe the ways in which a young local audience, still in the process of building its cultural identity, perceives an American television program. A qualitative approach was applied: 44 children between 8 and 11 years old participated in a series of semi-structured interviews and focus groups, which took place in a provincial city in Mexico (Villahermosa, Tabasco). In each session, the participants watched an episode of the cartoon dubbed into Latin Spanish. Afterwards, it was assessed if they were able to notice cultural elements present in the series (texts in English, traditions, ways of life, symbols, etc.), which are different from their own culture. It was also observed if age, gender and social background had any impact on the degree of awareness. The results showed that most of the participants were aware of beingthat they were watching a foreign program, that they could recognize elements of American culture and that they applied diverse strategies to make sense of these foreign narratives. Older children, and those studying English as a second language, were able to make more sophisticated comparisons between the cultures of Mexico and the United States.Este estudio sobre audiencias explora cómo un grupo de niños del sureste de México perciben los dibujos animados de «El laboratorio de Dexter». El objetivo primordial es conocer la manera en que un programa norteamericano distribuido internacionalmente es entendido por una audiencia local, especialmente por una conformada por individuos que aún están construyendo su identidad cultural. Se utilizó un enfoque cualitativo: un total de 44 niños en edades entre los 8 y 11 años participaron en una serie de entrevistas semi-estructuradas y grupos de discusión, que se llevaron a cabo en una ciudad de la provincia mexicana (Villahermosa, Tabasco). En cada sesión se observó un episodio de la serie animada doblada al español latino. Posteriormente, se evaluó si los participantes sabían que los dibujos animados eran norteamericanos y si notaban la presencia de elementos culturales diferentes respecto a su propia cultura (textos escritos en inglés, referencias a tradiciones, estilo de vida, símbolos, etc.). Asimismo, se indagó si la edad, el género y estrato social de proveniencia influían en esta percepción. Los resultados muestran que la mayoría de los participantes eran conscientes de estar viendo un programa extranjero, reconocían elementos de la cultura norteamericana y aplicaban diversas estrategias para crear sentido a estas narrativas. Niños mayores, y aquellos que estudian el idioma inglés, fueron capaces de realizar comparaciones más sofisticadas entre las culturas de México y Estados Unidos.
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Santos, Gustavo, Camila Peres Mancio, and Elisa Maranho. "Queer Representation Incorporated at “Him”, Character of “The Powerpuff Girls”." Journal of Science and Technology of the Arts 11, no. 1 (2019): 11–22. http://dx.doi.org/10.7559/citarj.v11i1.588.
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In audiovisual's history, minorities as LGBTQ+ people had been excluded or stereotyped, thus, this study has as a guiding question understanding “Him”, character of the classic cartoon series “The Powerpuff Girls”, produced between 1998 and 2005 by Cartoon Network - by the bias of the Queer Theory, which address the questions about non-heteronormative bodies that belong to marginalized groups whose rights are denied and their lives taken. For this, a documentary and exploratory methodology was used, based on the authors researches like: Guacira Louro, Judith Butler, Edgar Morin, besides the analysis of two episodes: Octil Evil and Bash Birthday. Thus, the problematizations arised here refer to: a) How the Queer is related to Him and its possible problems and b) The dialectic between the bodies discourses accepted and excluded from the heteronormative society. The argumentation of this research is sustained by homophobia and transphobia brazilian datas, which reveals the urge to approach matters about gender and sexuality representations.
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Makita, Jun. "Democracy Education for Children using a Cartoon Video and Mock Voting." International Journal of Asian Education 2, no. 2 (2021): 129–40. http://dx.doi.org/10.46966/ijae.v2i2.169.
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In democracy education, determining how best to teach young children about democracy and how to measure the effectiveness of such learning is difficult, as "democracy" is a subjective and intangible concept. Given the challenge that this presents to educational planners, the author has created a cartoon video about democracy accompanied by an opportunity for children who watch the video to "mock vote." The author used the video in a series of elementary school visits to teach the children the meaning of democracy. The effects of the video learning were assessed by analyzing the children's questionnaire responses before and after the class using text data mining. It was found that the children were able to assimilate the contents of the video and the themes behind the story; that is, they understood the meaning of democracy and democratic elections.
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Rodríguez Martín, Gustavo A. "The Simpsons." Babel. Revue internationale de la traduction / International Journal of Translation 61, no. 1 (2015): 1–21. http://dx.doi.org/10.1075/babel.61.1.01rod.
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Phraseological Units rank high among the most complex linguistic segments for translators, whether because of their figurative nature, their culturally specific meaning or their pragmatic peculiarities. Such difficulties increase exponentially when PUs are expressed in a multimodal fictional environment, especially if the situated meaning of the unit relies on visual elements for its correct interpretation: the so-called visual phraseological units (PUs). In these cases, the literal wording of a PU is portrayed physically, thus making both the phraseological and literal meanings overlap. These visual PUs have progressively become a common device in TV programs such as sitcoms and cartoon series — this paper, in particular, uses the case-study of the well-known American cartoon series The Simpsons. However, their ubiquity has not triggered a comparable scholarly response, either from the field of phraseology or from that of translation studies, with some notable exceptions. The combination of a limited theoretical framework and the inherent traductological obstacles these units pose accounts for the poor or, at times, non-existent solutions when it comes to rendering them in other languages. The purpose of this paper is to analyse the felicity of the Spanish translations of visual PUs appearing in The Simpsons. Some tentative traductological solutions will also be provided alongside the inevitable shortcomings of the target language versions, in an attempt to provide practical ground with which to foster further research on the question.
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Busto Algarín, Antonio Jesús. "La experiencia de animadores españoles creando anime en Japón. Entrevista con Abel Góngora." Con A de animación, no. 9 (March 14, 2019): 58. http://dx.doi.org/10.4995/caa.2019.11332.
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<p>Abel Góngora (Barcelona, 1983) estudió en la Facultad de Bellas Artes de la Universitat Politècnica de València y se especializó en animación. Ha trabajado para prestigiosos estudios de animación de todo el mundo: su primer año laboral lo desarrolla en Irlanda, en Cartoon Saloon; durante cinco años en Francia trabaja para el famoso estudio de coproducción franco-japonesa Ankama, concretamente para la serie Wakfu (2008-); desde entonces, los últimos cinco años hasta la actualidad ha continuado su carrera como supervisor de animación y animador Flash en Science Saru, el estudio del famoso director japonés Masaaki Yuasa, participando en las famosas series anime como Shin Chan (Yoshito Usui, 1992-) y Devilman: Crybaby (Masaaki Yuasa, 2018-), aunque también películas anime como Lu over the Wall (Masaaki Yuasa, 2017) y Night Is Short, Walk on Girl (Masaaki Yuasa, 2017); además de proyectos de Cartoon Network como OK K.O.! Let’s Be Heroes (Ian Jones-Quartey, 2017-), diversos episodios de Hora de Aventuras (Adventure Time, Pendleton Ward, 2010-2018) e incluso otro tipo de encargos para anuncios publicitarios de Disney Channel. En esta entrevista Abel Góngora nos cuenta su apasionante experiencia profesional.</p>
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Sokolova, M. V., and M. V. Mazurova. "Characters of Modern Animated Series in Games and Toys of Preschool Children." Cultural-Historical Psychology 11, no. 2 (2015): 80–85. http://dx.doi.org/10.17759/chp.2015110208.
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The paper presents a comparative research on how preschool children play with various modern cartoon character toys. Three popular animated series were used in the research: "Winx", "Spider-Man" and "Pettson and Findus". One series of each was previously analysed in terms of micro-plots, descriptions of the main char¬acters and their actions etc. The children watched the series, one at a time, and were then invited to play with its character toys. The outcomes of the research indicate that the series with plots and characters appropriate for preschool age (such as "Pettson and Findus") promote longer and richer periods of play activity as compared to the series addressed to children of older age. Children tend to take the role of the main character more frequently if s/he is of about the same age (irrespective of sex); they reproduce familiar and clear plots and engage themselves in longer periods of meaningful play. The outcomes also show that the effect of the animat¬ed series on the children's play depends on the quality and content of the animations, on their correspondence with the specifics of preschool age as well as on the quality of the character toys.
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Lloyd, Mike, and Paul Jewell. "‘Where Did That Fokker Come From?’ The Age's Adventures of Naked Man Cartoon Caption Competition." Media International Australia 133, no. 1 (2009): 56–67. http://dx.doi.org/10.1177/1329878x0913300110.
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The Adventures of Naked Man is a cartoon series that features one naked man in a drawn setting where, because of some convenient object or body position, his penis is obscured from sight. Entrants to the competition submit a caption to complete the drawn setting and, with the obscured penis as their implicit focus, many entrants construct a penis joke. In this article, we show that the apparently simple humour of Naked Man disguises considerable complexity. As well as the traditional gender and power analysis, we note some interesting aspects of contemporary newspaper media, including the appeal of reader engagement in the construction of humorous word play and the incorporation of mildly sexual content.
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Pędzich, Angelika, and Joanna Łukasiewicz-Wieleba. "Forming of children's creative imagination by animated cartoons and fairy tale books." Problemy Opiekuńczo-Wychowawcze 589, no. 4 (2020): 45–58. http://dx.doi.org/10.5604/01.3001.0014.0911.
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Currently, there has been a big change in the form of spending free time because a large part of the average person's life is occupied by the Internet. Every day we browse pages, watch programs, movies and series. Activities involving children have also changed. Today, full playgrounds or libraries are a rare picture. The youngest generations absorb visual content much more often - various types of animated cartoons, which they often watch several hours a day. Sometimes cartoons are also used by parents as a form of bribery or as a kind of seizing the child's attention for some time. The purpose of this article is to find the answer to the question of how the form of content (text, movie), inspiring the creation of artistic products, affects the creative imagination of a child. At the beginning we present the scientific position in this matter, and then the results of our own research. As a tool in the research, the Kate Franck Drawing Completion Test was used, which measures the imagination of the examined person, and then the method of product analysis was used, , referring to the category of creative imagination. Two groups of children from the second grade of primary school took part in the study and were asked to create drawings after learning the presented content. For one group a fairy tale was presented in the text form, but for the second group: in the form of the animated cartoon. Students from the group listening to the story read from the book, on the created drawings added a lot of original ideas, variously presented the reality of the fairy tale heard, in contrast to the second group, in which the drawings of all students were very similar to each other. The results of the study indicate that cartoons in a form of the movie much less stimulate children to use their creative imagination, than fairy tales in a text form, which allows them to activate their creative potential.
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Pereira, Giovanni Tavares. "Séries de animação, indústria criativa e consumo de bens culturais." Diálogo com a Economia Criativa 1, no. 2 (2016): 42. http://dx.doi.org/10.22398/2525-2828.1242-55.
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Este artigo é um breve estudo do processo de produção de bens culturais nas Indústrias Criativas a partir da análise da produção de séries de animação e da identificação do público espectador com a série, a qual acaba sendo determinante para o consumo de produtos relacionados a esta, mostrando o quanto o público é decisor do sucesso de uma série e afastando os estudos no campo da indústria criativa da análise crítica e pessimista que fora proposta pela Escola de Frankfurt, mostrando assim, a importância da produção de bens culturais para o desenvolvimento social e econômico do país.Cartoon series, creative industry and consumption of cultural goodsAbstractThis article is a brief study of cultural goods production process in the Creative Industries from the analysis of the cartoon series production and identification of the viewing public with the series, which ends up being decisive for the consumer products related to this, showing how the audience is decision-maker of the success of series and away the studies in the field of Creative Industry from critical and pessimistic analysis that was proposed by the Frankfurt School, showing the importance of the production of cultural goods for social and economic development of Brazil.
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JACK, CAROLINE. "Fun and Facts about American Business: Economic Education and Business Propaganda in an Early Cold War Cartoon Series." Enterprise & Society 16, no. 3 (2015): 491–520. http://dx.doi.org/10.1017/eso.2014.37.
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In the late 1940s and early 1950s, millions of theatergoers, students, and industrial workers saw one or more animated short films, shot in Technicolor and running eight to nine minutes, that were designed to build public support for the principles and practices of free enterprise. The Alfred P. Sloan Foundation quietly funded the production of this series of cartoons, titledFun and Facts about American Business, through multiple grants to industrial animation house John Sutherland Productions via Harding College, an evangelical college in rural Arkansas that would become known nationally for its anti-communist and conservative political activism. This article examines the creation and distribution of theFun and Factsfilms in the years 1946 through 1952 as a notable case of ephemeral film and as an example of the Cold War public relations movement known as “economic education.” Further, the article examines the consequences of economic education as a conceptual category on the production and distribution of Cold War industrial propaganda.
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Jack, Caroline. "Fun and Facts about American Business: Economic Education and Business Propaganda in an Early Cold War Cartoon Series." Enterprise & Society 16, no. 3 (2015): 491–520. http://dx.doi.org/10.1353/ens.2015.0036.
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Heba, A., Abdel Meniam,, Abdel Messeh , A. S., and Shaheen, Heba, A. "THE ROLE OF EGYPTIAN AND FOREIGN CARTOON SERIES WITH SOME EGYPTIAN CHANNELS IN DEVELOPING ENVIRONMENTAL AWARENESS AMONG CHILDREN." Journal of Environmental Science 43, no. 2 (2018): 439–72. http://dx.doi.org/10.21608/jes.2018.23221.
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Tzoutzou, Milia, Eirini Bathrellou, and Antonia-Leda Matalas. "Body Weight of Cartoon Characters in Children Series Is Associated to Food Consumption, Attractiveness, and Physical Activity Engagement." International Journal of Behavioral Medicine 27, no. 6 (2020): 707–16. http://dx.doi.org/10.1007/s12529-020-09911-7.
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Stańczyk, Ewa. "Cartoon characters, equality nurseries and children’s ‘best interests’: On childhood and sexuality in Poland." Sexualities 21, no. 5-6 (2017): 809–24. http://dx.doi.org/10.1177/1363460717699781.
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The aim of this article is to explore the intersections of childhood and sexuality as they come to light in a variety of public arenas. Looking at three case studies from Poland, I explore how spaces culturally assigned to childhood become symbolically ‘invaded’ by contexts that are stereotypically associated with adulthood. In particular, I analyse the debate about the popular children’s television series Teletubbies that raged in Poland in 2007 and the more recent discussions surrounding the opposition to the naming of a playground in the provincial town of Tuszyn after Winnie-the-Pooh. Moreover, I look at the educational programme on gender equality that has been implemented in some Polish nurseries since 2011 and the anxiety it generated at both political and social levels. I place these debates in the political context of Poland, pointing to the continued supremacy of the conservative right as one of the defining factors in these contentious debates.
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Husna, Fathayatul. "RIKO THE SERIES: KOMBINASI MEDIA PEMBELAJARAN ISLAM, NEGOSIASI IDENTITAS MUSLIM DAN PRAKTIK DAKWAH KEKINIAN." Jurnal Sosiologi Reflektif 15, no. 2 (2021): 360. http://dx.doi.org/10.14421/jsr.v15i2.2131.
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This article examined an Islamic cartoon film represennted by a popular title of Riko The Series movie. The basic question raised in this paper is how Riko The Series is utilized as a media for teaching Islam to society? This article employs a qualitative research method, using virtual ethnography and combined with literature study. The results show that Riko the Series is not only functioning as a media of teaching Islam, but also become a way to express Islamic identity, especially through clothes wearing by the family members of Riko the Series. Besides, Riko the Series also confirm how negotiation, as well as combination, between Islamic teachings and sciences is practiced. It can be concluded that this article shows how Riko the Series has a significant contribution in developing learning media of Islam, negotiating identity, and practicing a contemporary dakwah.Tulisan ini mengkaji kartun Islami, dengan studi kasus pada kartun Riko The Series. Dasar utama dalam tulisan ini adalah menjawab bagaimana kartun Riko The Series dijadikan sebagai media pembelajaran Islami bagi masyarakat? Untuk menjawab pertanyaan mendasar ini, penulis melakukan penelitian dengan menggunakan pendekatan kualitatif dan dianalisis dengan teori The Comunication Theory of Identity. Data dikumpulkan melalui virtual etnografi dan dikombinasikan dengan studi pustaka. Hasil penelitian menunjukkan bahwa kartun Riko The Series tidak hanya menjadi media pembelajaran islami, tetapi juga menjadi cara mengekspresikan identitas muslim. Muslim memiliki banyak cara untuk mengekspresikan identitasnya, salah satunya melalui busana yang dikenakan oleh anggota keluarga Riko The Series. Selain itu, melalui studi kasus Riko The Series juga menunjukkan adanya praktik negosiasi dan kombinasi antara ajaran Islam dan ilmu sains. Oleh karena itu, tulisan ini berkontribusi memperkaya wacana akademik terkait media dan totonan pembelajaran Islam, negosiasi identitas dan praktik dakwah kekinian.
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Кулібаба, А. І. "A series of exercises for building first-year university students’ vocabulary skills in the Modern Greek language using a cartoon." Scientific and methodological journal "Foreign Languages", no. 4 (November 19, 2018): 52–53. http://dx.doi.org/10.32589/im.v0i4.149892.
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Delamorclaz Ruiz, Carolina. "LGBTI y feminismo en animación televisiva: una reinterpretación de Steven Universe y Sailor Moon." Con A de animación, no. 8 (March 1, 2018): 164. http://dx.doi.org/10.4995/caa.2018.9655.
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<p>En esta ocasión se realiza una investigación de una de las series que posiblemente más ha conseguido visibilizar temas como el feminismo, problemáticas y cuestiones de género o la homosexualidad: Steven Universe, creado por Rebecca Sugar para Cartoon Network en 2013. A partir del análisis de esta obra y los referentes que han ayudado a su creación, se puede entender el panorama del LGBTI en animación televisiva durante las últimas décadas. Para ello, también es necesario incluir en este texto el estudio detallado de otra obra, la japonesa Sailor Moon, creada en 1992 por Naoko Takeuchi, pues es, a su vez, una de las influencias más importantes en la serie de Sugar, pero también la serie de la cual se debe partir para realizar una cronología del LGBTI en animación televisiva.</p>
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Jiang, Dong Sheng, and Chun Ying Fu. "Research on Different Structures of Folding Carton and Loading Weight." Applied Mechanics and Materials 200 (October 2012): 571–74. http://dx.doi.org/10.4028/www.scientific.net/amm.200.571.
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This paper studies a relationship of different structures of folding carton and the weight of contents. It can analyze the relationship of structures and weight by studying the difference from package design. By dropping a series of cartons at different heights and pressing a series of cartons at different pressure, this experiment can gain some important data of destroying these cartons. These data from the experiment can provide a reference for transport package, and more economical and more reliable of folding cartons can be choose by package designers.
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Mandala, Susan. "Solidarity and the Scoobies: an analysis of the -y suffix in the television series Buffy the Vampire Slayer." Language and Literature: International Journal of Stylistics 16, no. 1 (2007): 53–73. http://dx.doi.org/10.1177/0963947007072845.
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This article offers a sociolinguistic analysis of selected dialogue from 66 episodes of the television series Buffy the Vampire Slayer ( BTVS). While the research record reveals an interest in the use of language on the show, it is argued here that the issue of language in relation to friendship bonds has thus far received insufficient treatment. In response, this study asks if Buffy and her friends (the Scoobies, as they call themselves after the ghost-busting teens in the cartoon Scooby-Doo) are represented as using vernacular variants to demonstrate in-group identity. Marked - y suffix adjectives (e.g. Heart-of-Darkness-y) are adopted as the linguistic variable, and the data are interpreted with reference to Lesley Milroy’s social network theory and Mick Short’s concept of embedded levels of discourse in drama dialogue. The findings demonstrate that marked -y reveals shifting alliances within the Scooby gang, as it characterizes not the gang as a whole, but only certain members. The findings also suggest that knowledge of how language is used in the formation of friendship groups may be part of sociolinguistic competence (as theorized by Michael Canale and Merrill Swain). Further investigation into whether this is accomplished above or below the writer’s level of conscious awareness is offered as a suggestion for future research.
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Butakova, L. О. "COGNITIVE NATURE OF THE POLYMODAL TEXT PERCEPTION AND ITS PSYCHOLINGUISTIC MODELING (based on the reception of Russian and American cartoon series)." Voprosy Kognitivnoy Lingvistiki, no. 4 (2016): 21–32. http://dx.doi.org/10.20916/1812-3228-2016-4-21-32.
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Mandic-Gajic, Gordana. "Bridging psychological barriers between the child and the father after his returning from the war: Could group art therapy help?" Vojnosanitetski pregled 73, no. 7 (2016): 686–89. http://dx.doi.org/10.2298/vsp150429082m.
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Introduction. War veterans with chronic post-traumatic stress disorder (PTSD) have poorer family and parenting functioning, but little research has focused on these impairments. Case re-port. This paper presented how the series of drawings and the group art therapy process enhanced bridging the psychological barriers of a 33-year-old male PTSD war veteran to engagement with the child. After two years of deployment he returned home and suffered mostly from PTSD numbness and avoidance symptoms. The veteran had the family readjustment difficulties and felt guilty for being detached from his 3-year-old son. He under-went integrative treatment in the Day Unit Program. The drawings series were made by free associations. Clinical observations and group discussions were recorded in the group art therapy protocols. The presented patient got gratifications and support from the group members for his illustration of popular cartoon heroes, and decided to draw Mickey Mouse at home. On the next session he shared his satisfaction for bridging the gap between him and his son, having done the same drawings with his son at home. Beck's depression inventory (BDI) was used for self-rating of depression and a reduction of BDI score from 18 to 6 during the treatment course was recorded. Conclusions. Series of drawings illustrated shift from war related past toward current family life of the war veteran. Group art therapy gave him gratification and support with hope and a sense of belonging, thus facilitated his parenting readjustment.
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VanCour, Shawn, and Chloe Patton. "From Songfilms to Telecomics: Vallée Video and the New Market for Postwar Animation." Animation 15, no. 3 (2020): 207–28. http://dx.doi.org/10.1177/1746847720964886.
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From 1948–1952, Rudy Vallée, a successful performer whose career spanned radio, film, recorded music and stage entertainment, expanded his operations into the burgeoning US television market with the launch of his independent production company, Vallée Video. One of hundreds of forgotten companies that arose during this period to meet growing demand for programming content, Vallée Video offers an important case study for understanding animation workers’ role in postwar television production. Drawing on corporate records and films preserved in the Rudy Vallée Papers at California’s Thousand Oaks Library and the UCLA Film and Television Archive, the authors’ analysis documents Vallée’s use of freelance artists and external animation houses for work ranging from camera effects for illustrated musical shorts to animated commercials and original cartoon series. These productions demonstrate the fluid movement of animation labor from theatrical film to small screen markets and participated in larger aesthetic shifts toward minimalist drawing styles and limited character animation that would soon dominate mid-20th century US television.