Relevant bibliographies by topics / Social aspects of Animated films

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Social aspects of Animated films'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Social aspects of Animated films"

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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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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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Lukyanova, Valentina, and Olga Koloskova. "Pragmatic potential of onomatopoeia in animated movies for children." Global Journal of Foreign Language Teaching 10, no. 1 (2020): 58–64. http://dx.doi.org/10.18844/gjflt.v10i1.4482.

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This paper reflects the results of the investigation into pragmatic potential of onomatopoeia as a part of children’s movies. The enquiry into this subject was conducted within the framework of the project devoted to the evolution and functioning of language within films for children. The paper includes the analysis of onomatopoeia through language development aspects, stylistic and pragmatic analysis. In this regard our attention is focused on the semantic, pragmatic and linguistic characteristics of onomatopoeia. It has been suggested that the onomatopoeia performs different functions within the children’s movies acting as a strong expressive component, reflecting the level of speech development, conveying emotions, describing nature, supporting musical mood in songs, attracts child’s attention to the most important character or event, forming new hybrid words to convey extra connotations, participating in wordplay such as pun or parody, developing mental activity, linguistic intuition and social communicative skills.
 Keywords: Onomatopoeia, language development, pragmatic potential, semantic and functional feature, animated movies for children.
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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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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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Aziz, Ghafiruna Al, Chumi Zahroul Fitriyah, and Zetti Finali. "Tayangan Video Animasi “Si Nopal” Untuk Mendukung Interaksi Sosial Siswa Sekolah Dasar." Scholaria: Jurnal Pendidikan dan Kebudayaan 10, no. 3 (2020): 207–16. http://dx.doi.org/10.24246/j.js.2020.v10.i3.p207-216.

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Social interaction is a dynamic social relationship that involves relationships between individuals, between groups, and between individuals and groups. The purpose of this research is to analyse an animated film "Si Nopal" in supporting social interaction of the elementary students. The type and design of the study used in this study is descriptive research. The data collection methods are documentation and interviews. Qualitative data analysis used in this study consisted of three activity processes, namely data reduction, data presentation, and drawing conclusions. Based on the results and discussion it can be seen that the Nopal's animated video can support students' social interactions. The social interactions in the Nopal animated video include the communication process, social contact, and associative processes. Students who are given the animated video show "Si Nopal" have the motivation to imitate the aspects of social interaction in the video shown.
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Brown, William J., and Terry R. Lindvall. "Green Cartoons: Toward a Pedagogy of the Animated Parable." Animation 14, no. 3 (2019): 235–49. http://dx.doi.org/10.1177/1746847719881701.

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The use of short animated films to address important social issues and societal needs has a rich tradition. These cartoons follow a stream of ecological propaganda in a variety of films that promote pro-environmental values and beliefs. After surveying films for both the cinema and television, the authors focus on exploring short animated films as pedagogical texts that teach pro-environmental beliefs and encourage ordinate behaviors in entertaining ways. They then discuss the application of the entertainment–education communication strategy through animated films as a means to advance environmental education. In particular, they view short animated films as pedagogical tools that function as exemplary or revelatory parables.
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Ristiasari, Riska, and Hendra Kaprisma. "SOCIAL CRITICISM IN THE MISTER FRIMEN ANIMATED SERIES." Capture : Jurnal Seni Media Rekam 12, no. 2 (2021): 176–88. http://dx.doi.org/10.33153/capture.v12i2.3255.

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Social criticism is generally comprised of individuals' ideas and opinions of societal problems that bring changes. Individuals can express their opinions through various media, including animated films. The animated series Mister Frimen created by Pavel Muntyan, Vladimir Ponomarev, Anatoly Dobrozan, and Vadim Demchog are notoriously sarcastic. The sarcastic remarks given by the main character are always about current problems in Russian society. This study focuses on the way the animated series Mister Frimen expresses social problems. This article uses intertextual theory and discourse analysis to analyze every message and symbol and how the messages are generated. The results show that each scene in Mister Frimen contains symbols illustrating social criticism messages about the situation of Russian society. Nonetheless, satire/social criticism offers suggestions for establishing societal peace and prosperity
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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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Dissertations / Theses on the topic "Social aspects of Animated films"

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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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Davidson, Rachael. "Traditional and Non-traditional Gender Role Stereotypes in Children’s Animated Films." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3977.

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As gender stereotypes could lead to adherence to rape myths later in life, it is important to study the potential development of gender role stereotypes. Based on the theoretical approach of Bandura’s social learning, this mixed methods study sought to expand the literature on children observing gender stereotypes through film viewing. A content analysis of verbal and body language of the highest grossing animated films between 2017-2019 was conducted. The results indicated that most main characters displayed both traditional and non-traditional gender role stereotypes, which is indicative of gender role flexibility. This shows promise that there could be a moderating affect with gender role flexibility, but further research is needed. However, the results found that there was no significant difference between the amount of gender role stereotypes across all the films. It was concluded that there is still a concern for children to be indoctrinated with traditional gender role stereotypes.
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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 Cukor-Avila Patricia. "A test of the effects of linguistic stereotypes in children's animated film a language attitude study /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3605.

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Kirkpatrick, Stephanie R. "The Disney-fication of disability the perpetuation of Hollywood stereotypes of disability in Disney's animated films /." Akron, OH : University of Akron, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=akron1248051363.

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Thesis (M.A.)--University of Akron, School of Communication, 2009.<br>"August, 2009." Title from electronic thesis title page (viewed 10/14/2009) Advisor, Mary Triece; Committee members, Therese Lueck, Carolyn Anderson; School Director, Carolyn Anderson; Dean of the College, James Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.
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Law, Yuk-wa, and 羅玉華. "On time and festivity: a study of Chinese newyear films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38301155.

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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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Stober, JoAnne. "That's not what I heard, synchronized sound cinema in Montreal, 1926-1931." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ64013.pdf.

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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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Norrie, Kathleen Margaret. "Family patterns in French films of the 1930s and of the Occupation." Thesis, University of Stirling, 1995. http://hdl.handle.net/1893/24388.

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This thesis comprises a study of the inscription of father, son, and daughter figures in French films of the 1930s and of the Occupation. Using the tool of Lacanian psychoanalytic theory, Part One looks at the inscription of patriarchy and the positions allotted within it to mature men, young men and young women in classic poetic-realist texts and run-of-the-mill productions of the 1930s, in order to identify the latent collective tensions in the society of that period. Part Two compares the inscription of father, son and daughter figures, together with certain stylistic features and themes, in a variety of films of the Occupation with the paradigm derived from the foregoing analysis, in order to qualify the widely held view that French films changed little between 1929 and 1945.
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Books on the topic "Social aspects of Animated films"

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Whitley, David S. The idea of nature in Disney animation. Ashgate, 2007.

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Lewicki, Arkadiusz. Od House'a do Shreka: Seryjność w kulturze popularnej. Wydawn. Uniwersytetu Wrocławskiego, 2011.

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Judiciary, United States Congress Senate Committee on the. Cartoon all-stars to the rescue: Joint hearing before the Senate Committee on the Judiciary and the House Committee on the Judiciary, One Hundred First Congress, second session, on an entertaining way of enlightening children about the dangers of substance abuse, April 19, 1990. U.S. G.P.O., 1991.

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United States. Congress. Senate. Committee on the Judiciary. Cartoon all-stars to the rescue: Joint hearing before the Senate Committee on the Judiciary and the House Committee on the Judiciary, One Hundred First Congress, second session, on an entertaining way of enlightening children about the dangers of substance abuse, April 19, 1990. U.S. G.P.O., 1991.

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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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Broddes, Sabine. D'Oedipe Roi au Roi Lion: Psychanalyse et Dessins Animés. Buenos Books International, 2012.

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Animating culture: Hollywood cartoons from the sound era. Roundhouse Publishing, 1993.

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Nikkan animēshon no shinri bunseki: Deai, majiwari, tojikomori. Rinsen Shoten, 2009.

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The idea of nature in Disney animation-from Snow White to WALL-E. Ashgate, 2012.

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Book chapters on the topic "Social aspects of Animated films"

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Holliday, Christopher. "Object Transformation and the Spectacle of Scrap." In The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.003.0006.

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This chapter considers metamorphosis and object transformation as underlying elements of animation’s specificity and representational orthodoxy. However it argues that objects in the computer-animated film are altogether more stable, prized instead according to their utilitarian value—that is, their constructive worth or usefulness—whilst animators seek to preserve physical relationships and properties. This assertion runs counter to animation’s more conventional collapsing of an object’s material honesty within the spectacle of metamorphosis. Focusing on the genre’s fascination with everyday mess, this chapter discusses the emergent importance of an aesthetics of trash within the computer-animated film, and situate their formal and narrative preoccupation with rubbish, scrap and cultural detritus within wider traditions of junk art. Several computer-animated films redeem waste products as plentiful bounty, and their attraction to scrap provides the pleasurable recuperation of trash (as art) through its practical inscription as a fully-functioning cityspaces. By connecting the industrious behaviour of characters and inventors (as they manipulate and repurpose everyday junk) to cognitive and social activities of object substitution, this chapter argues that computer-animated films invite spectators to formulate new responses to recognisable objects, and to become acquainted with the widening of junk’s functional possibility.
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Warstat, Andrew. "Adorno, Lewis Klahr and the Shuddering Image." In Drawn from Life. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748694112.003.0009.

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This chapter considers animation’s relationship to the document and documentary form from a broadly Marxist perspective. It uses Marxist aesthetic theory to demonstrate how analysing an animated film’s ‘constructedness’ can allow for critical examination of the construction of reality as lived under capitalism. Specifically, the chapter analyses the stop-frame and cut-out animated films of Lewis Klahr. Klahr’s films show capitalist reality not as an unmediated realm, but as a reality enmeshed in American and European image cultures. His films are literally built from the material residue of the recent past, creating dense psycho-social narratives out of re-animated ‘dead’ images. This chapter views Klahr’s films as realist documents in relation to two arguments. Firstly, Siegfried Kracauer’s suggestion that film engages reality through its constructed “material dimension”. Secondly, Theodor Adorno’s proposal that the shuddering (animated) image is encoded with a hidden, social content that provokes unease in the viewer.
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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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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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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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Endong, Floribert Patrick C. "Documenting Nigeria's Social and Cultural History Through Cinema." In Advances in Library and Information Science. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-5840-8.ch010.

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In recent times, cinema has emerged as an alternative technology to document reality. This could be seen in the fact that both fictional and non-fictional films are increasingly deployed to chronicle various aspects of history. In the Nigerian moving pictures industry (Nollywood), this paradigm could be illustrated by the recent release of historical epic movies such as Lancelot Imasuen's Invasion 1897, Jeta Amata's Black November, Biyi Bandele's Half of a Yellow Sun, and Kunle Afolayan's October 1, among others. Drawing on this relatively old trend, this chapter examines the extent to which some of Nollywood epic films are “trustworthy” records of Nigerian history. The chapter begins by examining the controversy over the nature of film as a historical document in its own right. It goes further to exploring the issue of historical film making in Nollywood and ends with a reading of Biyi Bandele's Half of a Yellow Sun and Kunle Afolayan's October 1 as forms of historical films.
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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.

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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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Brown, Noel. "Hollywood Animation, Late Modernity and Contemporary America." In Contemporary Hollywood Animation. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474410564.003.0003.

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One of the primary distinguishing features of post-1990s Hollywood animation is its foregrounding of contemporary culture and society. While many of the ‘classic’ Disney films are set in fantastical or fairy tale landscapes geographically and temporally removed from everyday life (‘once upon a time…’), most animated features from the early 1990s onwards are self-conscious artefacts of late modernity. There are two primary manifestations of the foregrounding of contemporary culture in post-1990s Hollywood animation. The first, and most immediately visible, is (a usually comic) intertextuality that takes the form of an intensified referentiality to other works of popular culture and modern life more broadly. The second form is that of social commentary, which is often satirical in nature and tends to be a more abiding thematic focus than the intertextual allusion. This chapter argues that both forms serve a similar function: they are strategies of proximation that anchor films to recognisable and identifiable situations and events.
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Lindenfeld, Laura, and Fabio Parasecoli. "When Weirdos Stir the Pot." In Feasting Our Eyes. Columbia University Press, 2016. http://dx.doi.org/10.7312/columbia/9780231172516.003.0006.

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Explores recent animated films that embrace the idea that belonging to a community does not require conformity to social expectations, but rather builds on the protagonist’s individuality and seeming queerness. In box office hits like Ratatouille (Bird, 2007), Kung Fu Panda (Osborn and Stevenson, 2008), and Cloudy with a Chance of Meatballs (Lord and Miller, 2009), and in the lesser known Bee Movie (Hickner and Smith. 2007), The Tale of Desperaux (Fell and Stevenhagen, 2008), character development connects closely with food, which becomes the instrument of the heroes’ redemption even when it would initially appear to be the very cause of their social isolation. This raises the question: What models of acceptable adulthood – in terms of gender, class, ethnicity, and body image - does the interaction with food present to viewers, in particular children, who are arguably among the main marketing targets of these productions? Although cooking is still often culturally framed as an element of the domestic and feminine sphere, in these films food is not domestic or related to care work, and as such appears as more culturally acceptable for males.
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Barradas Jorge, Nuno. "Negotiating Filmmaking: Adaptation, Location and Docufiction." In ReFocus: The Films of Pedro Costa. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474444538.003.0003.

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Chapter 2 contextualises Pedro Costa’s transition from a young director working within the constraints of Portuguese national cinema to an emergent European filmmaker enjoying a more efficient and substantial co-production framework. It traces Costa’s authorship and production processes of Casa de Lava (1994) and Bones (1997). It highlights two main aspects that became present inCosta’s oeuvre. The first is the evolution from an authorial process shaped bycinephilia-informed influences to a form of creative practice which, while stillconsidering these influences, becomes increasingly attentive to the social andpolitical contexts present at the shooting locations of both films. Reflecting thischaracteristic, the second aspect concerns the increasingly tense relationship between creative practice and the means of production sustaining the making of these two films.
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Conference papers on the topic "Social aspects of Animated films"

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Zhao, Yunxuan. "The Construction of Chinese Wisdom in Hollywood Animated Films." In 2020 3rd International Conference on Humanities Education and Social Sciences (ICHESS 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201214.536.

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Leontyeva, T. V. "THE FORMATION OF THE IMAGE OF THE FAMILY IN MODERN RUSSIAN ANIMATED FILMS." In XIV International Social Congress. Russian State Social University, 2015. http://dx.doi.org/10.15216/rgsu-xiv-250.

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"An Overview of the Creation of Virtual Reality Animated Short Films." In 2020 Conference on Social Science and Modern Science. Scholar Publishing Group, 2020. http://dx.doi.org/10.38007/proceedings.0000745.

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Xiao, Yang, Ziqi Xiao, and Zhuyanyan Xue. "The Study on the Transformation of Disney Animated films Based on Consumerism." In 2021 5th International Seminar on Education, Management and Social Sciences (ISEMSS 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210806.114.

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He, Feng. "Study of Teaching English in Primary School with Original English Animated Films." In Proceedings of the 3rd International Conference on Economics and Management, Education, Humanities and Social Sciences (EMEHSS 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/emehss-19.2019.76.

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Li, Liang. "Analysis of the Spread of Experimental Animated Short Films in the Context of New Media." In 3rd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/iccessh-18.2018.163.

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Wikanengsih, W., and Irma Silviani. "Improving the Ability to Write Fantasy Stories and Motivation of Junior High School Students in Writing Fantasy Stories by Using the Discovery Learning Method Assisted by Animated Films." In 2nd Annual Conference on Education and Social Science (ACCESS 2020). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210525.131.

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Zhang, Bo. "Study on the Influence of Nuances in Similar Modeling on Character in Animated Films Analysis of the Relationship Between the Modeling of the Seven Dwarfs in Snow White and Their Characters." In Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.185.

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Pfennig, Anja. "Meeting diversity during the covid-19 pandemic in a fully online learning environment." In Seventh International Conference on Higher Education Advances. Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/head21.2021.12793.

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Diversity among engineering students is growing more and more acknowledgeable in higher education – especially in first year classes where in applied universities students from many backgrounds form new classes. Differences in education (high school, job training, dual careers, etc.) are as common as various social aspects (family duties, etc.) that delay full time studying. This challenges students as well as lecturers especially in the covid-19 pandemic of 2020/2021. A standard based portfolio grading enables students to participate and place different skills in their cumulative assessment. The online course structure using Moodle as content management system (CMS) is based on inverted classroom teaching scenarios. These are supported by peer-to-peer lecture films and micro-lectures along with various online teaching materials and online meeting sessions. The portfolio cumulatively grades lectures, presentations, forum discussions, written homework and glossary entries. Although benefits of present classes are obvious the course results improved over previous semester especially for students with language difficulties. This paper reflects on the possibility to meet diversity in the covid-19 pandemic and enable first year mechanical engineering students to grow more homogeneous regarding scholarly work.
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Yılmaz, Selin, and Deniz Yengin. "Analysis of Emotional Approach of Digital Surveillance in Film Studies." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.020.

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Human is a social being, and needs communication to convey feelings, thoughts, beliefs, and ideologies to survive. Despite being man-made, machines do not have any feelings. However, the development of artificial intelligence poses a suggestion that machines can also think, and feel. The development of new communication technologies reveals the importance of the relationship between machines and humans. People can control the machine/robot with voice commands or hand-face-eye scans. The data processed in the machine memory can be interpreted with other algorithms and instantly give the needed information. The machine that processes the reaction of the individual sometimes may be protective for itself and the individual, and sometimes, a shadow. By recognizing the individual, the machine can turn into a dangerous and useful tool. Makine işlediği verileri saklayıp, depolamakta ve kayıt altına almaktadır. The data is protected by a machine-built firewall. However, if these data are captured, internal and external surveillance is inevitable. Nowadays, in terms of the ecology of communication, new media tools ensure the continuity of communication and facilitate the individual's socialization. In addition, the machines add speed to the life of the individual over time and space. In this study, the character structures of the machine are examined and its importance in terms of digital surveillance is revealed. The aim is to evaluate the machine in terms of digital surveillance by revealing that the machine can be protective, shadow, friend, or dangerous for the individual with the concept of artificial intelligence. In this study, the emotional intelligence of the machine and the concept of digital surveillance will be analyzed using the content analysis method and semiotics technique. In the research, randomly picked 5 Hollywood films (Ex Machina, I Robot, Bicentennial Man, Transcendence, Eagle Eye) will be analysed according to the character analysis of Jung, and the different aspects of the human and machine will be determined by making use of the emotional side of the machine and the fundamental oppositions of Barthes. In these films, the forms of the machine are different, and it is noteworthy that they have protective and shadow characters. The machine becomes dangerous by acting with its emotions. As a result, it has been revealed that the machine/robot reacts according to the data and has an important aspect in terms of digital surveillance since the machine is constantly evolving with the power of artificial intelligence, and this development makes it easier to access other tools and facilitate digital surveillance. In the eagle eye film, the machine can make digital surveillance using all the camera systems in the city.
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