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Dissertations / Theses on the topic 'Social aspects of Animated films'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Au-Yeung, Shing, and 歐陽檉. "Hong Kong's Alternative Film and Video movement as an agent for socialchange." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36243693.

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12

Chéné, Johanne. "La représentation de la femme dans des films québécois mettant en scène les années 1900 à 1950." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq26050.pdf.

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13

Johnson, Stacey. "Taking pictures, making movies and telling time : charting the domestication of a producing and consuming visual culture in North America." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35900.

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The dissertation examines how image-making, a common pastime, was made common. It investigates the ways in which the production and consumption of images in the context of the North American family contributed to the development of a distinctly domestic and privatized visual culture, and the transformation of the home into a site for privatized spectatorship.<br>Four cultural forms (No. 1 Kodak, Box Brownie, Cine Kodak and Cine Kodak 8) are specified in this development, all pioneered by the Eastman Kodak Company. The dissertation traces Eastman Kodak's direct involvement in the popularization of image practices. It analyzes strategies used by them to make this possible, namely an appeal to the becoming lifestyles of the bourgeois and middle-classes.<br>The analysis links the popularization of image-making and consuming practices to other popular amusements (i.e. cycling, cinema-going) to work against an artifact-centred analysis. Issues of gender and generation are critically evaluated as concepts used to instill image-making as a popular, family practice. Shifts in modern temporal and spatial experience, as well as mobility are also explored in relation to popular image-making.

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14

Van, Niekerk Tanya. "'N Feministiese analise van animasiekarakters vanuit 'n feministiese benadering." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-10122004-135247.

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15

Niedermeyer, Michael. "The development of the University of Central Florida home movie archive and the Harris Rosen collection." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4663.

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Since the invention of the cinema, people have been taking home movies. The ever- increasing popularity of this activity has produced a hundred years worth of amateur film culture which is in desperate need of preservation. As film archival and public history have coalesced in the past thirty years around the idea that every person's history is important, home movies represent a way for those histories to be preserved and studied by communities and researchers alike. The University of Central Florida is in a perfect position to establish an archive of this nature, one that is specifically dedicated to acquiring, preserving, and presenting the home movies of Central Florida residents. This project has resulted in the establishment of The Central Florida Home Movie Archive, and the resulting analysis will show that the archive will be a benefit for researchers from all areas of academic study as well as the residents of Central Florida.<br>ID: 029049897; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2010.; Includes bibliographical references (p. 83-84).<br>M.A.<br>Masters<br>Department of History<br>Arts and Humanities

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16

"SomeThing (un)desirable: serial killers in selected contemporary bestsellers and films." 1999. http://library.cuhk.edu.hk/record=b5889924.

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by Wan, Rosa.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 1999.<br>Includes bibliographical references (leaves 118-127).<br>Abstracts in English and Chinese.<br>Abstract --- p.i<br>Table of Contents --- p.v<br>Acknowledgments --- p.vi<br>Chapter Chapter One --- Introduction: The Empire of the Serial Killers --- p.1<br>Chapter Chapter Two --- Stereotyping in Serial Killer Movies and Bestsellers --- p.26<br>Chapter Chapter Three --- Inter-serial-textuality --- p.68<br>Chapter Chapter Four --- Controversies --- p.103<br>Conclusion --- p.113<br>Works Cited --- p.118<br>Appendix --- p.128

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17

Campbell, Casey R. "Bowling together : the making of a documentary." Thesis, 2005. http://hdl.handle.net/1957/37143.

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18

Aguayo, Angela Jean. "Documentary film/video and social change: a rhetorical investigation of dissent." Thesis, 2005. http://hdl.handle.net/2152/2232.

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19

"Resistance through language style: a case study of university BBS youth culture in China." 2002. http://library.cuhk.edu.hk/record=b5891249.

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Dong Dong.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2002.<br>Includes bibliographical references (leaves 127-136).<br>Abstracts in English and Chinese.<br>Chapter I. --- Introduction --- p.5<br>Chapter II. --- Youth Culture Practiced in Virtual Community --- p.10<br>Chapter III. --- "Background, Research Questions and Research Design" --- p.36<br>Chapter IV. --- Style of Chinese University BBS Youth Culture --- p.45<br>Chapter V. --- Youth Cultural Community as Identified by Style --- p.68<br>Chapter VI. --- Resistance within Contexts --- p.84<br>Chapter VII. --- Conclusion --- p.108<br>Appendix 1 Captions of Postings & Discussion Threads --- p.111<br>Appendix 2 Style of BBS Discussion Threads --- p.114<br>Appendix 3 BBS Member's Composition --- p.118<br>Appendix 4 Personal Reflections on the Film --- p.120<br>Appendix 5 --- p.123<br>Collective Discussions in Chinese University BBSs --- p.123<br>Bibliography --- p.127

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20

Rwafa, Urther. "Language censorship in selected Zimbabwean films in Shona and English." Thesis, 2012. http://hdl.handle.net/10500/9486.

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The aim of this study was to explore language censorship in Zimbabwean films in Shona and English. The study concentrated on the themes of politics, culture and economic in the genre of the documentary, feature and short film genres. It was demonstrated that the Zimbabwean laws enabled authorities to impose censorship strategies that ranged from banning, restriction, persecution of filmmakers, withdrawal of films from circulation, and threats of withdrawal of permits of film retailers. These visible, direct and banal forms of censorship have forced some filmmakers to flee the country. Most of the filmmakers who have remained in the country have been forced to deal with themes that appear harmless to the state. This state induced form of self-censorship on the filmmakers has resulted in the production of uncritical, and unreflective films whose staple diet were embedded in cultural stereotypes. The study argued that language is a signifying practice that cannot be interpreted in a single direction. Thus, despite these realities of film censorship some filmmakers deliberately encoded or used verbal and visual film language that generated surplus meanings with which the films could be re-read in ways that reveal new linguistic strategies to evade and challenge both the restrictive censorship laws as well as criticise the undemocratic political culture that has taken root in Zimbabwe. The study used eclectic theories such as Marxism, audience-reception approach, critical legal theories and language theories to analyse the films. The explanatory capacity of these theories helped to reveal the contradictory ways in which the desire to impose restrictions on film meanings was constantly undermined in the innovative language of the films.<br>African Languages<br>D. Litt. et Phil. (African Languages)

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21

Shabangu, Lorraine. "Representations of blackness in post-1994 black-centred films: an analysis of Conversations on a Sunday afternoon (2005), When we were black (2007) and State violence (2011)." Thesis, 2016. http://hdl.handle.net/10539/19384.

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A thesis submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Arts in African Languages. Wits University, Johannesburg, 2015<br>This report interrogates the representation of blackness in post-1994 black-centred films in South Africa. With a particular focus on Khalo Matabane’s films, I analyse Conversations on a Sunday Afternoon (2005), When We Were Black (2007) and State of Violence (2011) across a spectrum of themes. I also interrogate and introduce several critical concepts such as ‘blackness’, ‘the image of blackness’, ‘black identity’, ‘masculinity’, ‘femininity’, ‘the Gaze’ and ‘Otherness’. These concepts are interlinked in ways that bring about an understanding of the concept of black-centred films, which is central to the research report. Amidst the different interpretations of black-centred films, the vantage point from which the concept is used is interested in black-centred films as films that are made by a black filmmaker, whose content addresses issues of blackness and is targeted at a black audience. However, these three factors need not always resonate in a single film in order for it to be considered and analysed as a black-centred film. The lens through which Matabane holds the camera questions his representation of the black image and whether it is from an insider or outsider’s perspective. The view from which Matabane holds the camera is important in establishing whether he has purported to represent historically stereotypical images of blackness, or whether his endeavours in filmmaking are occupied by the relentless pursuit to present new images of blackness.

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22

Holt, Lee Wallace 1974. "Mountains, mountaineering and modernity: a cultural history of German and Austrian mountaineering, 1900-1945." Thesis, 2008. http://hdl.handle.net/2152/3901.

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During the Weimar Republic, mountaineering organizations sought to establish hegemony over the cultural narrative of mountaineering. Contemporary texts published by various alpine organizations positioned mountaineering as an activity reserved for a select elite, casting alpinists as masculine nationalists committed to the preservation of the Alps as their exclusive 'playground of Europe.' Until World War I, the GermanAustrian Alpenverein, the largest alpine club in the world, maintained firm control over mountaineering's master narrative. I argue that, during the Weimar years, this master narrative was subject to onslaughts from ideological opponents (such as the socialist alpine club, Die Naturfreunde), commercial competitors (the mass tourism industry in the Alps), and alternative representations of mountaineering in the cinematic genre of the Bergfilm. The profusion of alternatives to the formerly hegemonic Alpenverein narrative offered audiences new ways to imagine mountaineering, and this challenge created significant fissures within the Alpenverein itself as it struggled to sustain its dominance over the representations and cultural meanings of mountaineering. As I investigate the fracturing of mountaineering's master narrative, I consider how alpine organizations reacted to the new cultural constellations that arose in Weimar and challenged the Alpenverein's master narrative. To establish the contours of this narrative, I draw upon the Alpenverein's own Zeitschriften and Mitteilungen, and I also consult popular alpine journals, such as Der Bergsteiger and the Allgemeine BergsteigerZeitung, paying close attention to how alpine organizations articulated their critiques of the mass tourism industry and published negative depictions of the increasing modernization of the Alps. Additionally, I examine how the Bergfilm genre threatened this master narrative, and how the Alpenverein attempted unsuccessfully to blunt the genre's popularity. In its analysis of texts and films as normative cultural products, my dissertation focuses on how the culture of mountaineering was contested in the realm of narrative and visual representations. The latter chapters discuss how the Alpenverein later aligned itself with the Nazi regime, not only out of ideological affinity, but also in order to utilize the machinery of the Nazi state to reassert its full control over mountaineering's master narrative.<br>text

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23

Asenas, Jennifer Nichole 1977. "The past as rhetorical resource for resistance : enabling and constraining memories of the Black freedom struggle in Eyes on the prize." 2007. http://hdl.handle.net/2152/15859.

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I began this project with the question of how today's social justice activists might find a useable history in a massively influential text like Eyes on the Prize. Thus, the broad question that motivated this rhetorical inquiry was: what means are available to people interested in social change, but whose access to the resources to influence society is limited? One important resource that oppressed peoples can lay claim to is a shared sense of the past. Through a critical analysis of Eyes on the Prize, this dissertation examines shared memory as a resource for rhetorical production. I am interested not only in how the past is re-presented in the documentary, but also what resources the documentary provides its audience to consider and take action for social change. The films present memories that complicate or run counter to the dominant narrative of the black freedom struggle and thereby make available a reservoir of rhetoric power for a political present. My analysis suggests that Eyes on the Prize does not contradict public memory's dominant values of the black freedom struggle, but it does resist their blind adherence. The documentary does not force viewers to take sides on divisive issues like separation/integration or violence/nonviolence. Instead it allows them to realize that these concepts are dialectical. These are, in my estimation, productive tensions. Eyes on the Prize is an excellent pedagogical tool for producing citizen activists. Although activism gives way to electoralism by the end of the documentary, activism is portrayed positively in the documentary. There are certainly costs to activism, as some activists experienced in the most extreme way. However, the heroes of Eyes on the Prize are certainly the activists. In an analysis of a text's rhetorical potential, it is also necessary to acknowledge how the text limits rhetorical possibility. Significantly, Eyes on the Prize inadequately addresses the importance of class in the black freedom struggle. The lacuna of class in the documentary neglects fundamental changes in the goals and tactics of the black freedom struggle and limits the material and psychological structures that maintain racism.<br>text

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