Academic literature on the topic 'Political aspects of Animated films'
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Journal articles on the topic "Political aspects of Animated films"
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Шульман, Екатерина Михайловна, and Анастасия Александровна Кутузова. "THE POLITICAL REALITY OF MODERN CARTOONS: REGIME TRANSFORMATIONS AND SOCIAL CONTRADICTIONS." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 2(28) (April 20, 2021): 81–95. http://dx.doi.org/10.23951/2312-7899-2021-2-81-95.
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В статье рассмотрены новые направления социально-политической трансформации современного общества и их отражение в мультипликации. Показана взаимосвязь изменения социальных норм и базовых сюжетных линий мультипликационных фильмов. Особое внимание уделяется возрастающей роли горизонтальных социальных связей и повышению ценности институтов семьи и репутации, вызванному высочайшей степенью транспарентности информационного общества. При этом ценность индивидуализма отходит на второй план, уступая место взаимопомощи для достижения общего блага. Кроме того, отмечено изменение представлений о романтической любви и отношениях поколений. Проведен анализ иллюстраций создания и разрушения авторитарных политических моделей в современных мультфильмах. Показана актуальность в мультипликационных фильмах тем борьбы с тиранией и гражданской самоорганизации. Popular culture reflects not only events, but also the nature of the modern era and problematic aspects that require the attention of the state and society. The article examines new vectors of socio-political transformation of modern society and their reflection in animation. The study of modern cartoons shows that they have replaced traditional myths and began to broadcast social norms and their transformation. Special attention is paid to the growing role of horizontal ties and the increase in the value of the family and the institution of reputation, caused by the highest degree of transparency of the modern information society. This is clearly emphasized in the plots of such cartoons as Frozen, Moana, Brave, Inside Out, Finding Nemo, and Coco. All cartoons show the hero’s rebellion, which results in an understanding of family ties’ value. In addition, the article notes a change in ideas about romantic love. At the same time, the value of individualism fades into the background, giving way to mutual assistance to achieve the common good. The article emphasizes that atomization and individualism were characteristic of human culture for a fairly short period of time. They appeared after the collapse of traditional society, urbanization and the next industrial revolution. However, later urbanization was replaced by hypeurbanization along with information transparency, which, relying on new technical means, revived many features of the traditional society. Moana’s plot demonstrates the reduction of the atomization of modern society, the negative side of the high level of individualism, which is increasingly difficult to demonstrate today due to the rapidly increasing role of social connections. The conflict of civilizations described by Huntington is not reflected in modern multiplication. Anyone who seemed to be the enemy and the embodiment of evil, upon closer examination, turns out to be either a victim in need of help, or a potential ally. In this specific, often repeated plot, it is not difficult to see the influence of postcolonialism as a direction of modern thought and public discourse. Illustrations of the formation, functioning and destruction of authoritarian political models in modern cartoons are analyzed. The relevance of the theme of the fight against tyranny in animated films is shown. Examples include Toy Story 3, A Bug’s Life and the animated series Watership Down. In the first case, the dictator imposes on society the ideology of a hostile external world, which forms the authoritarian political model’s ideological basis. Its organizational basis is represented by a repressive mechanism consisting of security, surveillance and a closed perimeter. This brings the presented model closer to totalitarian political regimes, because modern autocracies do not hinder the intention of those who disagree with leaving the country. This helps them maintain their power for as long as possible. In order to maintain this regime, a privileged caste is created, represented by the power apparatus (guards who are allowed gambling and additional consumption). In addition, the security apparatus has the right to carry out violence against all other members of society. The plot of A Bug’s Life also shows society’s struggle against tyranny, which is carried out through a combination of the direct threat of violence and propaganda. The method of intimidating the tyrant Hopper shows that he does not perceive himself as a legitimate bearer of power and recipient of resources. Internal recognition of its own illegitimacy provokes a reluctance to make concessions, reach a mutually acceptable compromise and negotiate, as the legitimate government usually does. Direct political content is also found in Watership Down. Within the framework of the narrative for children, the main attributes of the classic fascist dictatorship are politically realistic. The authors draw attention to the fact that the basis for the alternative to dictatorship is not atomization and chaotic violence, but civic organization and mutual assistance.
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Kirsh, Steven J. "Using Animated Films to Teach Social and Personality Development." Teaching of Psychology 25, no. 1 (1998): 49–51. http://dx.doi.org/10.1207/s15328023top2501_17.
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Students in a course on Social and Personality Development wrote term papers about 10 aspects of child and adolescent development depicted in an animated film of their choice. Film analysis required using theory and research from the course. The assignment received favorable ratings. The animated film assignment appears to improve students' understanding of course material and helps students evaluate the types of films that children frequently see.
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VEREȘ, SANDA, and IOANA MAGDAȘ. "The Use of the Educational Animated Film in Primary Education in Romania." Romanian Review of Geographical Education 9, no. 2 (2020): 67–86. http://dx.doi.org/10.23741/rrge220204.
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This study aims to review, analyse and synthesize the literature, which refers to the use of educational film in education in Romania and which deepens aspects related to the use of animated film in primary education. The aim was to review the literature on: classification of animated films in the category of educational means; the functions of animated films; types and sources of animated films; teacher preparation for the use of film for educational purposes; integrating the film into the lesson; how to use animated films in primary education and the results of their use. Existing information in papers in the field of education sciences from the last three decades was analysed. Regarding the use of animation films in primary education, five studies were analysed in depth
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Robinson, Tom, Mark Callister, Dawn Magoffin, and Jennifer Moore. "The portrayal of older characters in Disney animated films." Journal of Aging Studies 21, no. 3 (2007): 203–13. http://dx.doi.org/10.1016/j.jaging.2006.10.001.
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Ilyina, E. N., and V. S. Tivo. "Onomastic Space of Animated Films about Russian Heroes by the Studio of Animation Cinema “Mill”." Nauchnyi dialog 1, no. 8 (2020): 84–96. http://dx.doi.org/10.24224/2227-1295-2020-8-84-96.
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The article is devoted to the study of the system of proper names in the texts of animated films with a folklore precedent basis. The relevance of the research is due to the need to study media texts that translate folklore imagery in linguocognitive and linguostylistic aspects. The material for the research is character and voice-over texts of animated films about Russian heroes: “Alyosha Popovich i Tugarin Zmey” (2004), “Dobrynya Nikitich i The Zmey Gorynych” (2006), “Ilya Muromets I Solovey Razboynik” (2007). The complex of names of geographical objects, the naming system of anthropo- and zoomorphic characters is considered, the precedent base for the formation of the onomastic space of animated films is determined, and the ways of introducing new components to the proper names system of this content are characterized. Special attention is paid to the description of intertextual links of the polycode content under study with works of epic genres of Russian folklore and with other sources. The scientific novelty of the work is seen in the fact that the verbal component of the studied animated films is currently insufficiently studied, and their proper names system becomes the subject of linguistic analysis for the first time.
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Hubka, David, Wendy Hovdestad, and Lil Tonmyr. "Child maltreatment in Disney animated feature films: 1937–2006." Social Science Journal 46, no. 3 (2009): 427–41. http://dx.doi.org/10.1016/j.soscij.2009.03.001.
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Mulder, Catherine P. "It's the Time of Your Life: Marxism in Animated Films." Rethinking Marxism 25, no. 2 (2013): 284–92. http://dx.doi.org/10.1080/08935696.2012.696806.
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Dolgova, Yulia, and Cao Yu. "Pedagogic and Educational Function of China's TV for Children and Peculiarities of Its Implementation." Theoretical and Practical Issues of Journalism 9, no. 3 (2020): 543–53. http://dx.doi.org/10.17150/2308-6203.2020.9(3).543-553.
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The article deals with functions of China’s TV programs for children and forms in which they are implemented. The variety of the genres and thematic content is aimed at one of the biggest TV audiences and is broadcast on both universally available and commercial thematic channels, which determines the topicality of the research. The authors conceptualize the pedagogic and educational influence of TV programs for children, and distinguish its key aspects, which include delivering moral values and social norms, propagating cultural and scientific knowledge, encouraging interest in learning, and developing the ability for self-actualization and world cognition. The qualitative and quantitative research methods were used to analyze which of the aspects are realized by means of TV programs and animated films for children in China. The study covers 34 programs and 74 animated films for children shown on 33 universal and 4 most popular special TV channels. The results of the research are as follows. One of the most popular forms of content on TV channels for children is animated films, whose key function is delivering moral values and social norms. Magazine format is a rather common form of journalist content. TV programs are mostly aimed at encouraging children’s interest in learning. Since it is rather difficult to combine entertainment and educational components, on universally available channels there is a large number of TV programs for children that fulfil their pedagogic and educational function only formally.
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Zulkarnain, Alfiansyah, Nita Virena Nathania, Putu Widyayana Putra, and Priscilla Agatha. "Applying Balinese Philosophy "Rwa Bineda" Concept on Character & Environment Design in 3D Animated VR Short Film "Gede"." IMOVICCON Conference Proceeding 1, no. 1 (2019): 167–74. http://dx.doi.org/10.37312/imoviccon.v1i1.18.
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A distincitve and unique conceptual character and environtment design, especially in animated films, is important as to seperate itself from plaethora of generic animated films out there. A deep understanding of local culture and how the philosophy shaped its culture could create a new way to visualize its world, and a more faithful representative of its world. In this modern era, concept about the dichotomy of positive and negative aspects is often overshadowed by western thinking of dominance, that one must defeat the other. Eastern thinking about this issue is somewhat different, whereas the balance between the positive and negative is a common concept in Asian cultures and society. The Balinese understood this concept as Rwa Bhineda or two opposition, where both the aspects in life must co-exist in harmony.
 
 This paper will examine how the Rwa Bhineda concept could become a theoritical foundation to design characters and environments, using animated short “Gede” as the subject matter. The story of “Gede” is based on the myth of Barong and Rangda as both mythical characters are the physical forms of Rwa Bhineda concept. We will see how the concept is applied on the worldbuilding, character proportions, gateway designs, lands layout, and character and environment visual elements. In the end, we can conclude that a good understanding of local wisdom could produce a new approach in character and environmental design.
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Varga, Zoltán. "Look Behind the (Animated) Pictures. Notes on the Role of the Aesopic Language in Hungarian Animated Film." Acta Universitatis Sapientiae, Film and Media Studies 10, no. 1 (2015): 121–39. http://dx.doi.org/10.1515/ausfm-2015-0030.
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Abstract The essay explores a certain tendency of Hungarian animated film related to a strategy of constructing meaning. The so-called Aesopic language, which can be found in Hungarian animated film, is interested in creating ambiguity, hidden meanings, especially against oppressive political systems. The paper approaches the development of the Aesopic language in Hungarian animated film based on two factors. The first one examines the characteristics of the animated film in general, focusing on the double sense of the animated image. The second one is a historical approach, considering how the Communist regime affected artistic freedom, and how the Aesopic language became general in Central and Eastern Europe during the decades of Communism. After delineating the concept, the essay continues with interpretations of Hungarian animated films produced by the famous Pannonia Film Studio as examples of the Aesopic language. The paper distinguishes between a less and a more direct variant of creating ambiguity, depending on whether the animated films lack or contain explicit references to the Communist system. The group o|f the less direct variant includes Rondino, Changing Times and The Fly, among the examples of the more direct variant we can find Storv about N, Our Holidays and Mind the Steps!.
Dissertations / Theses on the topic "Political aspects of Animated films"
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Mercer, Joanne. "Imag(in)ing God in animation : towards a theological understanding of the textuality of the animated film." Thesis, University of Wales Trinity Saint David, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683340.
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Trowell, Melody. "A test of the effects of linguistic stereotypes in children's animated film: A language attitude study." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3605/.
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This study examined the claim that animated films influence childrens' opinions of accented-English. Two hundred and eighteen 3rd through 5th graders participated in a web-based survey. They listened to speakers with various accents: Mainstream US English (MUSE), African American Vernacular English (AAVE), French, British, and Arabic. Respondents judged speakers' personality traits (Work Ethic, Wealth, Attitude, Intelligence), assigned jobs/life positions, and provided personal information, movie watching habits, and exposure to foreign languages. Results indicate: (1) MUSE ranks higher and AAVE lower than other speakers, (2) jobs/life positions do not correlate with animated films, (3) movie watching habits correlate with AAVE, French, and British ratings, (4) foreign language exposure correlates with French, British, and Arabic ratings.
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Tjalle, Rosalie Olivia Vanessa. "The presentation of African government leaders or Sovereigns' in selected African and mainstream films." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/12392.
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African Cinema is an entity as diverse as the various countries, languages and cultures on this continent. The entertainment value of Cinema has been more popular than the study of its ideological significance, but nevertheless in a contemporary Africa where politics affect the social, cultural and economical survival of its citizens, Cinema can be used as a valuable asset and a powerful means of communication that can conscientize and educate African audiences. Thomas Hobbes’s leadership model and political theory of sovereignty, though a XVIIth century framework, can theoretically contribute in the analysis of the representation of African leadership styles in Cinema. This article analyzes four fiction films representing four different political leaders in, respectively, South Africa, Uganda, Cameroon and Nigeria. A film content analysis will explore the different representation of leadership styles, the personality of each leader, the power struggles in each society and how this may suggest value judgments about African leadership to the films’ various target audiences.
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Roy, André 1963. "Une lecture politique de Star trek /." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61800.
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Ntsane, Ntsane Steve. "The dual world metaphor and the 'struggle' in selected South African and African films (1948 to 1996)." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53628.
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Thesis (MA)--Stellenbosch University, 2003.<br>ENGLISH ABSTRACT: The terminology used in segregationist discourse that South Africa is a combination
of 'first world' and 'third world' elements has been appropriated from an international
discourse about problems of world-wide socio-economic development. The terms are
used to describe the sophisticated metropolitan areas inhabited by highly developed
whites and simple, backward, isolated, rural regions occupied by undeveloped or
underdeveloped blacks. However, in South Africa this dual world metaphor, which
has socio-political implications that have brought great misfortune to blacks, was
institutionalised by apartheid, with the consequences that blacks have expressed their
resistance in what became known as the 'struggle' against the dualist system.
Selected South African and African films whose themes have a bearing on such a
socio-economic system are explored in this thesis. A supplementary exploration of
films dealing with the theme of the 'struggle', which has become a metaphor for the
'generations of resistance', has been undertaken by means ofa detailed analysis.
The interpretation of 'development' in this thesis finds a link betweeen the dualist
paradigm, the perpetuation of poverty and the migratory labour system. The peculiar
relationship which the 'struggle' has had with the cultures of black people, in which
there is a mutual influence between the 'struggle' and the nature of these cultures, is
explored in the relevant films.
However, this thesis offers no solutions, but exposes a VICIOUS system which IS
threatening to gain world ascendency.<br>AFRIKAANSE OPSOMMING: Die terminologie gebruik in die segregasie-diskoers tot die effek dat Suid-Afrika 'n
kombinasie van 'Eerste Wêreld' en 'Derde Wêreld' elemente is, is oorgeneem uit 'n
internasionale diskoers wat handeloor wêreld-wye sosio-ekonomiese ontwikkeling. Dié
terme word gebruik om die gesofistikeerde metropolitaanse areas bewoon deur hoogsontwikkelde
blankes en eenvoudige, agterlike, geïsoleerde, landelike streke beset deur
onder- of on-ontwikkelde swartes te beskryf. Maar in Suid-Afrika is hierdie dubbelwêreld
metafoor - met die sosio-politiese implikasies daarvan wat tot groot ellende vir
swartes aanleiding gegee het - deur Apartheid geïnstitusionaliseer, met die gevolg dat
swartes hul weerstand uitgedruk het in wat bekend geword het as die 'struggle' teen
dierdie dualistiese sisteem.
'n Keur van films uit Suid-Afrika en die res van Afrika, die tema's waarvan betrekking
het op hierdie sosio-ekonomiese sisteem, word ondersoek in hierdie skripsie. 'n
Bykomstige ondersoek na films wat handeloor die tematiek van die 'struggle', wat
metafories geword het vir die 'generasie van weerstand', is by wyse van 'n meer gedetaileerde
analise uitgevoer.
Die interpretasie van 'ontwikkeling' in hierdie skripsie ontbloot 'n verband tussen die
dualistiese sisteem, die voortsetting van armoede en die sisteem van trekardbeid. Die
besonderse manier wat die 'struggle' met die kulture van swart mense verhou, waarin
daar 'n wedersydse beïnvloeding tussen die 'struggle' en die aard van die kulture
plaasvind, word ondersoek in die relevante films.
Hierdie skripsie bied egter geen oplossings nie, maar ontmasker eerder 'n wrede sisteem
wat dreig tot wêreld-oorheersing.
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Dedman, Stephen. "Techronomicon (novel) ; and The weapon shop : the relationship between American science fiction and the US military (dissertation)." University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0093.
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Techronomicon Techronomicon is a science fiction novel that examines far-future military actions from several different perspectives. Human beings have colonized several planets with help from the enigmatic and more technologically advanced Zhir, who gave spaceships and habitable worlds to those they deemed suitable and their descendants. The Joint Expeditionary Force is the military arm of the Universal Faith, called in when conflicts arise that the Faith decides are beyond the local government and militia and require their intervention. Leneveldt and Roader are JEF officers assigned to Operation Techronomicon, investigating what seems to be a Zhir-built defence shield around the planet Lassana. Another JEF company sent to Kalaabhavan after the murder of the planets Confessor-General loses its CO to a land-mine, and Lieutenant Hellerman reluctantly accepts command. Chevalier, a civilian pilot, takes refugees fleeing military-run detention camps on Ararat to a biological research station on otherwise uninhabited Lila. The biologists on Lila discover a symbiote that enables humans to photosynthesize, which comes to the attention of Operation Techronomicon and the JEF's Weapons Research Division. Leneveldt and Roeder, frustrated by the lack of progress on Lassana, are sent to Lila to detain the biologists, who flee into the swamps. Hellerman's efforts to restore peace on Kalaabhavan are frustrated by the Confessors, and his company finds itself besieged by insurgents. The novel explores individuals' motives for choosing or rejecting violence and/or military service; the lessons they learn about themselves and their enemies; and the possible results of attempts to forcibly suppress ideas.
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陳家樂. "光影中的政治 : 香港電影的政治表述 = Politics on the silver screen : political representation in Hong Kong films". HKBU Institutional Repository, 2005. http://repository.hkbu.edu.hk/etd_ra/625.
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Graham, Garrett. ""Don't Frack with Denton"." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984171/.
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Don't Frack With Denton chronicles the ground-breaking movement to ban hydraulic fracturing in the city of Denton, Texas by combining observational location shooting with extensive sit-down interviews and carefully negotiated subject-filmmaker relationships to create a safe and comfortable space for thoughtful reflection and criticism of a complex social movement who's activities span several years and many individuals. The result is a long-form documentary that is unapologetically in solidarity with this movement's goals while simultaneously maintaining enough editorial independence and critical distance to allow the activists themselves to honestly evaluate their decision-making, tactics and interpersonal relationships in ways that will provide insight and instruction to similar movements around the country and the world.
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Amaya, Hector. "Viewing political selves in film: a comparative reception study of Cuban films in Cuba and the United States." Thesis, 2003. http://hdl.handle.net/2152/433.
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Aguayo, Angela Jean. "Documentary film/video and social change: a rhetorical investigation of dissent." Thesis, 2005. http://hdl.handle.net/2152/2232.
Full textBooks on the topic "Political aspects of Animated films"
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Smoodin, Eric. Animating culture: Hollywood cartoons from the sound era. Rutgers University Press, 1993.
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Animating culture: Hollywood cartoons from the sound era. Rutgers University Press, 1993.
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Animating culture: Hollywood cartoons from the sound era. Roundhouse Publishing, 1993.
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Peters, Mette. Meestal in 't verborgene: Animatiefilm in Nederland, 1940-1945. Uniepers, 2000.
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Booker, M. Keith. Disney, Pixar, and the hidden messages of children's films. Praeger, 2010.
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Broddes, Sabine. D'Oedipe Roi au Roi Lion: Psychanalyse et Dessins Animés. Buenos Books International, 2012.
Find full textBook chapters on the topic "Political aspects of Animated films"
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Barradas Jorge, Nuno. "A ‘Document of Documents’: Authorship, Intertextuality and Politics in Horse Money (2014)." In ReFocus: The Films of Pedro Costa. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474444538.003.0008.
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This chapter examines Pedro Costa’s evolving authorial process, centring its attention on 2014 feature film Horse Money. This chapter considers the different levels of intertextuality animating Costa’s cinema, particularly with regards to the inclusion of different documents and the reworking of personal stories lived by some of his non-professional collaborators. As regards this latter aspect, the chapter sheds light on the ambiguous nature of authorship, understanding it as a creation process that is as much dependent on individual authority as it is indebted to collaborative practices. Both textually and contextually, Horse Money is the result of creative relationships with non-professional actors Ventura and Vitalina Varela. The intertextual and collaborative practices informing Horse Money, moreover, come to reflect possible political aspects transmitted by Costa’s filmic universe. Returning to the discussions initially opened in Chapter 2, this final chapter concludes by looking at some of the critical debates around Horse Money, which are particularly animated by possible political readings transmitted by Costa’s films.
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Ehrlich, Nea, and Jonathan Murray. "Editors’ Introduction." In Drawn from Life. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748694112.003.0001.
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Introducing the collection, this chapter sets the stage for researching animated documentary. The introduction explores how animated imagery, which often assumes obviously artificial, non-indexical visual forms, can be used to communicate the qualities of believability and factuality commonly expected from documentary artefacts. The writers contributing to this book consider the varied kinds of subject matter animation might effectively document, and the extent to which animated documentary reflects and influences contemporary understandings of “reality” and “the real”. The book’s essays present interdisciplinary investigations into the aesthetic, practical, ethical, epistemological, philosophical, technological and political issues associated with animated documentary cinema. Tracing the historical roots of animated documentary and where its future directions might lead, Drawn from Life identifies a range of theoretical and practice-led bases from which animated documentary cinema can be productively understood and reimagined. The book’s sections include Past and Present, Defining Terms and Contexts, and Films and Filmmakers.
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Hu, Tze-yue G. "Interpretations and Thoughts of the Animated Self in Cowherd’s Flute." In Animating the Spirited. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826268.003.0009.
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Existing published works on classic Chinese watercolor-and-ink animation (shuimo donghua) tend to focus on the propaganda-nationalistic aspects of its making. This essay, however, draws attention to the philosophical side of the story-telling images and narratives found principally in the animated works directed by the late animator, Te Wei (1915-2010), who was a founding member of the Shanghai Animation Studio. The animated work, Cowherd’s Flute (1963), is the main focus in this essay. The essay argues that the spiritual yoke of Te Wei’s watercolor-and-ink animation is profoundly Daoist, reflecting a traditional Chinese native philosophy in a subtle technological setting. It advances the view that such generic animation has rekindled a laden strand of Chinese heritage thought by giving life and movement to its aesthetic and philosophical elements. The author also theorizes the concept of the animated self in the light of the historical-political environment in which the animation was made.
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Brown, Noel. "Ways of Being: Identity and Hollywood Animation." In Contemporary Hollywood Animation. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474410564.003.0004.
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This chapter examines how contemporary animated films have negotiated changes in attitudes towards individual and group identity, particularly (though not exclusively) in relation to gender, sexuality, race and ethnicity. One of the central projects of post-1990s Hollywood animation is that of accommodating difference. This is partly a matter of commercial pragmatism: films must address a pluralistic, global audience to remain profitable, and therefore must be able to reconcile a multitude of different interests, backgrounds and perspectives. However, it also responds to current debates regarding the social desirability, and the political capital, of diversity in its many forms. This chapter is concerned not only with how different kinds of identity are represented in contemporary animation, but also how valorisations of difference are reconciled with the utopianism traditionally embodied by the Hollywood family film.
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Hori, Hikari. "The Dream of Japanese National Animation." In Promiscuous Media. Cornell University Press, 2018. http://dx.doi.org/10.7591/cornell/9781501714542.003.0005.
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Chapter Four turns to animated film, revealing the various transnational inspirations that constructed the medium in its formative years in Japan. Moreover, it also emphasizes the transmedia recursivity of painting, photography, dramatic and documentary films, and animation during total war. Several distinct visual motifs, national historical incidents, and narrative molds were repeatedly used in different media in the early 1940s, which sustained the sense of national affiliation of imperial citizens, forged shared emotions and sensitivity, and privileged specific myths, ideas, and aesthetics. Works by animator Seo Mitsuyo (1911-2010) and his contemporaries serve as a guide to the development of the medium as well as to futile attempts to create a nationalized form. The chapter reveals the animators’ artistic curiosity about foreign theories and films; their passionate creativity; and the collisions between abstract political ideologies of cultural purity and actual, heterogeneous filmmaking practices. (142 words)
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Saunders, Rebecca Inez. "The Pornographic Paratexts of Pornhub." In Advances in Human and Social Aspects of Technology. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-6002-1.ch012.
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“The Pornographic Paratexts of Pornhub” analyses the evolving paratextual elements of the popular porn site Pornhub and considers how its evolving virtual frames interact with the visual texts it displays—online porn films. Engaging with Gérard Genette's Paratexts, some fundamental aspects of this late-twentieth-century paratextual theory are reconceptualised in this contemporary, sexually explicit digital environment. Pornhub is considered in relation to its maturing paratextual elements. Despite the virtual amorphousness and (para)textual porousness of the digital environment—the relevant relationships between text, epitext, peritext and intertext, though clearly delineated with regard to the printed book, become more blurred in a virtual space of infinite, hyperlinked pages—Pornhub has developed numerous tangible frames and stable paratextual features since its emergence in 2007. Given the rigid political, judicial and media conception of what online porn films constitute, it is important to consider the possibility that monolithically negative definitions of filmic pornography may derive not from the hardcore content itself, but from the way in which the films are framed online. How, then, do the paratexts of Pornhub interact with and affect users' reading of the films displayed? In this chapter, individual films from the site are descriptively analysed in relation both to how these visual pornographic texts are influenced by their paratext and how paratextual theory is complicated and renewed through this application.
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Scalora, Francesco. "Modern Greek studies in Italy (1866–1897) : Philhellenic revival and classical tradition through the lens of the Nuova Antologia." In Languages, Identities and Cultural Transfers. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462988071_ch06.
Full textAbstract:
During the long era of Italian philhellenism, interest in modern Greece was more than just political and ideological. In particular, in the second half of the nineteenth century, the philhellenism of the Risorgimento period was animated by an interest in the culture of modern Greece and by the wish to investigate the character and most significant aspects of the civilisation and literary production of modern Greece. In the context of literate and pluralistic Italian editorial opinion, the magazine Nuova Antologia exhibited a sincerity of interest in modern Greece in the years when Italy and Greece were still engaged in the process of national resolution and finding their places within the European political and cultural scene.
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Yamamura, Koji. "Transforming the Intangible into the Real." In Animating the Spirited. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826268.003.0003.
Full textAbstract:
Seven short animated films are examined by the auteur-animator as he self-reflects on their creations. Making animation is not only an extension of the pictorial and comic-like expression, but also the act of mystically creating movement to be perceived in the real. The artist shares his personal experiences during the animation making process including the unconscious imaginative realm that creeps into his creative thoughts. Technology may play an important part of the animation production but the author maintains that there is a deeper spiritual world where he is somehow drawn into when he is making animation. Spiritually, he feels the transcendence of the dualism of mind and matter during the creative process, and is able to unite the subconscious with reality. Citing motifs including natural, inorganic, or imaginative entities, the author demonstrates the influence of the psyche in his artistic expressions. To the artist, the spiritual assimilation aspects of his work are profound, complex, and illuminating.
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Verevis, Constantine. "Trading Places: Das doppelte Lottchen and The Parent Trap." In Transnational Film Remakes. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474407236.003.0009.
Full textAbstract:
In 1961, Walt Disney Productions released The Parent Trap. A huge popular and commercial success for the Disney studio, it was theatrically re-issued in 1968; extended through three television sequels (1986, 1989, 1989); and remade in 1998. Perhaps less well known is that Disney’s 1961 version of The Parent Trap was itself already a remake of German, Japanese and British versions – Das doppelte Lottchen (1950), Hibari no komoriuta (1951), and Twice Upon a Time (1953) – each in turn derived from Erich Kästner’s 1949 novel Das doppelte Lottchen. While the cultural production does not end here – with subsequent versions reported in India, Iran and Korea, and animated and live action remakes in Japan and Germany – this chapter inquires into the transnational connections between Kästner’s novel and the US and German versions (originals and remakes). This chapter extends its analysis beyond Kästner’s twin figures of Lisa (from Vienna) and Lotte (from Munich) to chart not only a cartography of transnational flows – a political economy of textual production and reception – but also indicate the way in which the films’ exchange of twins is symptomatic of that between original and transnational film remake.
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Lund, Joshua. "American Nomadic." In Werner Herzog. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043178.003.0001.
Full textAbstract:
This section introduces the basic themes, structure, and argument of the book. The book will be a comprehensive study of Werner Herzog’s cinematic work, organized chronologically. Critical attention is paid to two major aspects of this work. First, the political dimensions of Herzog’s films, what they are and how they work. Second, his films’ relation to the idea of America. Detailed attention will be paid to the dialectical relationship between Herzog’s films and their historical context (both of production and representation). In a nutshell, the book asks, What are the aesthetics of the political in Herzog’s work? Each chapter will revolve around a major film: Aguirre, the Wrath of God (1972); Stroszek (1972); Fitzcarraldo (1982); and Cobra Verde (1987).