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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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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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Krivulya, Natalia G. "Education Genres Animated Poster in the Second Half of the 20th Century." Journal of Flm Arts and Film Studies 8, no. 4 (2016): 28–42. http://dx.doi.org/10.17816/vgik8428-42.
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After WWII the genre of the animated poster was predominantly presented as advertisment films. The movie posters imagery in the 1950s tended to have an illustrative and spatial-pictorial artistic propensity. Grotesque and satire gave way to the dominance of realistic images, and the artistic design had gained coloration and splendor, creating the image of a cheerful world, affluence and prosperity. Films with propaganda and ideological orientations appeared along with the advertisement films, as the political and social poster developed. A special role in the poster genre development was played by the emergence of television as a major customer and distributor of this product. Unlike Western animation, the production of advertisement and social film-posters in the USSR was a state tool of the planned economy. Animated posters played an important role in the formation of new social strategies, behavior patterns and consumption. As a result, in the animated posters of the Soviet period, especially during the 1950s and 1960s, a didactic tone and an optimistic pathos in the presentation of the material dominated. The stylistics of film-posters changed in the 1960s. Their artistic image was characterized by conciseness and expressiveness, inclination towards iconic symbolism, and the metaphoric and graphic quality of the imagery. The poster aesthetics influenced the entire animation development in this period. The development of advertisement and social posters continued in the 1970s-1980s. The clipping principles of the material presentation began to develop in the advertisement poster, however, in the social and political poster there was a tendency towards narration. Computer technology usage in animation and the emergence of the Internet as a new communicative environment contributed to a new stage in the development of the animated poster genre. Means of expression experienced a qualitative upgrade under the influence of digital technologies in animated posters. While creating an animated posters artistic appearance the attraction and collage tendencies intensify due to the compilation of computer graphics and photographic images, furthermore, simulacrum-images are actively utilized as well. Since the 2000s, digital technologies are actively used for the development of social, instructional and educational posters. The advent of new technologies has led to modifications of the animated poster genre, changed the way it functions and converted its form. Along with cinematic and television forms - new types of animated posters have appeared which are used in outdoor advertising (billboards) as well as dynamic interactive banners and animated posters on web sites.
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Mytnik-Daniluk, Joanna. "A social dimension of the activities of selected contemporary animated film characters." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 12, no. 4 (2020): 4–14. http://dx.doi.org/10.24917/20837275.12.4.1.
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Animated film characters represent various attitudes, points of view and issues, including social problems. Many of them are shown as carriers of socially approved character traits, who have an important mission or fight for the greater good. It must be emphasised that a film hero, as the key element of the film plot is the centre of attention for a viewer. The holistic reception, including all the values, norms and principles, proves to be an effective tool during educational and therapeutic work. Thanks to considerations into the social dimension of activities, based on the example of particular characters, it is possible to appreciate in animated films the significance of the issues which are still unnoticed and regarded as childish. The development of this topic is the result of the researcher’s own research into the social message of animated works.
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Tanner, Litsa RenÉe, Shelley A. Haddock, Toni Schindler Zimmerman, and Lori K. Lund. "Images of Couples and Families in Disney Feature-Length Animated Films." American Journal of Family Therapy 31, no. 5 (2003): 355–73. http://dx.doi.org/10.1080/01926180390223987.
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Brydon, Suzan G. "“I’ve Got to Succeed, So She Can Succeed, So We Can Succeed”: Empowered Mothering, Role Fluidity, and Competition in Incredible Parenting." Social Sciences 7, no. 11 (2018): 215. http://dx.doi.org/10.3390/socsci7110215.
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The social influence of Disney discourse is difficult to ignore, as is their repetitive matricide and positioning of the patriarchal and heteronormative family model in their bloc.kbuster animated films. Yet, through its Pixar Animation Studios subsidiary, Disney has pushed progressively at the boundaries, not only in terms of animation artistry but also through the social topics explored. This study builds on previous research of male mothering in Finding Nemo by visiting the subsequent 11 Pixar animated films, with in-depth exploration of their most recent release, Incredibles 2. Ultimately, I argue that Pixar has once again opened space by embracing empowered and collaborative parenting.
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Hubka, David, Lil Tonmyr, and Wendy Hovdestad. "Social Work and Child Maltreatment Intervention in Disney Animated Feature Films: 1937–2006." Australian Social Work 62, no. 1 (2009): 99–112. http://dx.doi.org/10.1080/03124070802626919.
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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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Klahr, Lewis. "Flotsam and Jetsam: The Spray of History." Animation 6, no. 3 (2011): 387–98. http://dx.doi.org/10.1177/1746847711421651.
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Renowned collage filmmaker Lewis Klahr has created a collage of personal statements and images from his films to reflect upon his cut-out animation films. The piece discusses his artistic process and his use of artifacts, documents and detritus to explore ephemeral aspects of history and the passage of time. He comments on his use of animated movement and stillness and the idea of reanimating objects from the past.
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Hawkins, Ed, Taran Fæhn, and Jan Fuglestvedt. "The Climate Spiral Demonstrates the Power of Sharing Creative Ideas." Bulletin of the American Meteorological Society 100, no. 5 (2019): 753–56. http://dx.doi.org/10.1175/bams-d-18-0228.1.
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AbstractGraphical visualizations have the potential to engage diverse audiences in understanding the changes to our climate, especially when spread worldwide using both traditional and social media. The animated global temperature spiral was one of the first climate graphics to “go viral,” being viewed by millions of people online and by more than a billion people when it was used in the opening ceremony of the 2016 Rio Olympics. The idea, design, and communication aspects that led to the successes of this animated graphic are discussed, highlighting the benefits to scientists of engaging actively online and openly sharing their creative ideas.
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Cox, Meredith, Erin Garrett, and James A. Graham. "Death in Disney Films: Implications for Children's Understanding of Death." OMEGA - Journal of Death and Dying 50, no. 4 (2005): 267–80. http://dx.doi.org/10.2190/q5vl-klf7-060f-w69v.
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This study examined the potential influence of Disney films on children's concepts of death. A content analysis was performed on 23 death scenes from 10 selected full-length Disney Classic animated films. The portrayal of death focused on five categories: character status; depiction of death; death status; emotional reaction; and causality. The findings indicate that some animated Disney films present scenes that eclipse the permanence and irreversibility of death and often leave deaths (especially those of villains) emotionally unacknowledged. Previous work has shown that many children tend not to discuss death with their friends or parents for many reasons. More importantly, the films may serve as catalysts to introduce the concept of death into discussions between children, peers, and adults.
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Rahmaniah, Rima, M. Hudri, Irwandi Irwandi, Moh Fauzi Bafadal, Nurmiwati Nurmiwati, and Hidayati Hidayati. "PERMAINAN EDUKASI PSIKOSOSIAL DI DESA AIK BERIK KECAMATAN BATUKLIANG UTARA KABUPATEN LOMBOK TENGAH." SELAPARANG Jurnal Pengabdian Masyarakat Berkemajuan 3, no. 2 (2020): 218. http://dx.doi.org/10.31764/jpmb.v3i2.2197.
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ABSTRAKBermain, dari segi pendidikan adalah kegiatan permainan menggunakan alat permainan yang mendidik serta alat yang bisa merangsang perkembangan aspek kognitif, sosial, emosi, dan fisik yang dimiliki anak atau yang disebut dengan permainan edukatif. Adams (1975) berpendapat bahwa permainan edukatif adalah semua bentuk permainan yang dirancang untuk memberikan pengalaman pendidikan atau pengalaman belajar kepada para pemainnya, termasuk permainan tradisional dan moderen yang diberi muatan pendidikan dan pengajaran. Maka guna mengurangi trauma anak pada dampak bencana gempa pada tahun 2018 lalu, tim pengabdian bersama mahasiswa melaksanakan kegiatan pengabdian sebagai kegiatan psikososial dengan mengajak dan mengajar anak-anak terdampak tersebut dengan memberikan permainan edukatif dengan tahapan kegiatannya dimulai dari pemutaran film animasi gempa bumi, sesi tanya jawab, dan bermain edukasi untuk mengurangi trauma anak mengenai kejadian bencana yang terjadi di tahun 2018 lalu untuk meningkatkan pengetahuan, keterampilan dan self awareness anak usia sekolah sampai menengah yang ada di desa Aik Berik Kecamatan Batukliang Utara Kabupaten Lombok Tengah. Kegiatan ini akan dilakukan selama 8 (delapan) pekan dalam 2 (dua) bulan dengan menggunakan metode observasi atau pengamatan langsung, dan metode tindakan. Target hasil capaian dan simpulan dalam kegiatan ini sebagai berikut: a) Adanya pemahaman tentang mitigasi bencana pada anak-anak dan masyarakat yang akan menemani anak-anak mereka untuk meningkatkan self awareness mereka tentang bencana, b) Dimilikinya pengembangan pengetahuan, ketrampilan dengan menggunakan permainan edukatif untuk mengurangi trauma akan dampak gempa yang terjadi tahun 2018 lalu, dan c) Dimilikinya pemahaman tentang kesiapsiagaan akan mitigasi bencana yang bertujuan pengurangan dampak bencana atau usaha-usaha yang dilakukan untuk mengurangi korban ketika bencana terjadi baik korban jiwa maupun harta Kata kunci : permainan edukasi; psikososial. ABSTRACTIn terms of education, playing is an activity by using games that can stimulate the development of cognitive, social, emotional, and physical aspects of a child or what is called an educational game. Educational games are all forms of games designed to provide educational experiences or learning experiences to the players, including traditional and modern games that are given educational and teaching content. So in order to reduce child trauma on the impact of the earthquake in 2018, the team of devotees along with students carried out community service activities as a psychosocial activity by inviting and teaching affected children by providing educational games with stages of activities starting from the screening of earthquake animated films, question answer sessions, and education games to reduce child trauma regarding disasters that occurred in 2018 and to improve the knowledge, skills and self awareness of school-to-middle-aged children in the Aik Berik village, Batukliang Utara District, Lombok Tengah District. This activity would be carried out for 8 (eight) weeks in 2 (two) months using the observation method or direct observation, and the action method. The target and conclusion in this activity are as follows: a) An understanding of disaster mitigation for children and the community that will accompany their children to increase their self-awareness about disasters, b) Having the knowledge development and skills by using educational games to reduce trauma to the effects of the earthquake that occurred last 2018, and c) Having an understanding of disaster mitigation preparedness aimed at reducing the impact of disasters or efforts made to reduce casualties when disasters occur both fatalities and property. Keywords : educational game; psychosocial.
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Radovic, Selena, and Mladen Radulovic. "The transformation in the representation of gender roles in animated films: The case of Disney princesses." Sociologija 58, no. 1 (2016): 86–112. http://dx.doi.org/10.2298/soc1601086r.
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Starting from the theories that prolong mayor influence of media as the agency of socialization and criticism of gender representation in the media, in this work we observed whether the image of women in Disney?s animated films has changed during the time, and if so, in which way the change happened. Basic dimensions of gender roles of the heroines that have been placed in one of the most influential franchises named Disney?s Princesses are described in the essay. More precisely, all of the 12 animated films and 13 heroines that had been emerging from 1937 to 2013 were embraced in the analysis. During the research close attention has been given to the activities heroines are committed to, communications they make, their physical appearance, goals, and also the attitude towards marriage and sexuality. The main finding is that the ?oldest? heroines (those who appeared between 1937 and 1959) are represented in accordance with the expectations of the patriarchal culture of the period (an obedient and a hardworking woman, excluded from a society, with getting married as her only life goal), while the latter princesses are presented in a highly different manner, being independent, educated and rebellious. Also the analysis showed that with the princesses that made appearance during the last decade, various trends have appeared. It turned out that some of them have chosen the road of emancipation while the other ones show indications of retraditionalization.
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Sulistiyono, Arif. "Punakawan Sebagai Inspirasi Penciptaan Film Pendek Animasi Bertema Pendidikan Karakter." Journal of Animation & Games Studies 2, no. 2 (2017): 173. http://dx.doi.org/10.24821/jags.v2i2.1420.
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Educational animation is an animated product produced specifically for the purpose of learning. Its popularity in helping students understand and remember information presented increased since the advent of computer graphics technology. The lack of an increase in the production of animated short films in Indonesia resulted in at least encountered the works of domestically-made animation education. Stimulation of creation of animated works based on the local culture should be a concern for creators to produce Indonesian animated film. This has encouraged the idea of research and the creation of the works to add alternative work spectacle for children to be more varied. The work produced will be expected to become one of the benchmarks for the creators of short animated films in Indonesia. The short animated film themed character education and have the characterization and design characteristics based on local wisdom is still a little bit. Production work is still dominated by elements that showed the humorous aspects of violence as like a common thing to do. It is extremely dangerous due to the development of the child's personality or character will indirectly entertained spectacle dominated by the less educated. Therefore bring back figures Punakawan as "teacher" character education in the form of short animated films for the sake of growth is necessary to be realized next generation character education in Indonesia.Keywords: educational animation, punakawan, moral educationAbstrakAnimasi edukasi adalah sebuah produk animasi yang diproduksi khusus untuk tujuan pembelajaran. Popularitasnya dalam membantu peserta didik memahami dan mengingat informasi yang disajikan meningkat sejak munculnya teknologi komputer grafis. Kurangnya peningkatan produksi karya film pendek animasi di Indonesia mengakibatkan sedikitnya dijumpai karya-karya animasi edukasi buatan anak negeri. Rangsangan penciptaan karya animasi berbasis pada budaya lokal sepatutnya menjadi perhatian bagi para kreator dalam menghasilkan film animasi Indonesia. Hal inilah yang mendorong ide penelitian dan penciptaan karya guna menambahkan karya alternatif tontonan bagi anak-anak supaya lebih bervariatif. Karya yang dihasilkan nantinya diharapkan mampu menjadi salah satu tolok ukur bagi pencipta-pencipta film pendek animasi di Indonesia.Film pendek animasi yang bertemakan pendidikan karakter dan memiliki ciri penokohan dan desain berbasis kearifan lokal masih sangat sedikit. Produksi karya masih didominasi oleh unsur-unsur humoris yang mempertontonkan aspek kekerasan sebagai layaknya hal yang umum dilakukan. Hal ini sangat berbahaya dikarenakan perkembangan kepribadian atau karakter sang anak secara tidak langsung akan didominasi oleh tontonan hiburan yang kurang mendidik. Oleh karena itu memunculkan kembali tokoh-tokoh Punakawan selaku “guru” pendidikan karakter dalam wujud karya film pendek animasi sangatlah perlu direalisasikan demi pertumbuhan pendidikan karakter generasi penerus bangsa Indonesia dikemudian hari. Kata kunci: Animasi edukasi, punakawan, pendidikan karakter
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Lund, Julie. "Connectedness with things. Animated objects of Viking Age Scandinavia and early medieval Europe." Archaeological Dialogues 24, no. 1 (2017): 89–108. http://dx.doi.org/10.1017/s1380203817000058.
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AbstractThis article examines a small group of artefacts of the Viking Age that may have been perceived as animated objects. These specific weapons and pieces of jewellery appear in narratives in the Old Norse sources as named, as having a will of their own, as possessing personhood. In archaeological contexts the same types of artefact are handled categorically differently than the rest of the material culture. Further, the possible links between these perspectives and the role of animated objects in early medieval Christianity of the Carolingian Empire are examined through studies of the reopening of Reihengräber and the phenomenon offurta sacra. By linking studies of the social biographies of objects with studies of animism, the article aims to identify aspects of Viking Age ontology and its similarities to Carolingian Christianity.
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Juprinedi, Juprinedi, Arta Uly Siahaan, and Cahya Miranto. "ANALISIS MAKNA DENOTATIF DAN KONOTATIF DALAM FILM UPIN & IPIN EPISODE KENANGAN MENGUSIK JIWA." JOURNAL OF DIGITAL EDUCATION, COMMUNICATION, AND ARTS (DECA) 3, no. 01 (2020): 1–17. http://dx.doi.org/10.30871/deca.v3i01.1986.
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Representations of public life in recalling past events or history can be found, among others, in 3D animated films. An interpretation of connotative meaning, as the second layer meaning, arises when a symbol is associated with its psychological aspects, such as feelings, emotions, or beliefs, which are closely related to culture, knowledge, and history. This study aims to interpret symbols in the Kenangan Mengusik Jiwa episode of Upin & Ipin animated film for their denotative and connotative meaning to better understand the context of the story and the moral message conveyed. A questionnaire was used in this research to increase validity. In processing questionnaire data, a calculation is conducted using the Likert scale. The results of the study indicate that the main moral message conveyed in this episode is to never forget history or established culture. This interpretation is supported by results from questionnaire data.
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Faherty, Vincent E. "Is the Mouse Sensitive? A Study of Race, Gender, and Social Vulnerability in Disney Animated Films." SIMILE: Studies In Media & Information Literacy Education 1, no. 3 (2001): 1–8. http://dx.doi.org/10.3138/sim.1.3.001.
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Hetherington, Richard, and Rachel McRae. "Make-Believing Animated Films Featuring Digital Humans: A Qualitative Inquiry Using Online Sources." Animation 12, no. 2 (2017): 156–73. http://dx.doi.org/10.1177/1746847717710738.
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A qualitative inquiry of reviews of films featuring digital humanlike characters was performed by sampling user comments from three online reviewer aggregator sites: the Internet Movie Database, Rotten Tomatoes and Metacritic. The films chosen for analysis were: Final Fantasy: The Spirits Within (dir. Hironobu Sakaguchi and Motonori Sakakibara, 2001), The Polar Express (dir. Robert Zemeckis, 2004), and Beowulf (dir. Robert Zemeckis, 2007), all produced using CGI animation, together with A Scanner Darkly (dir. Richard Linklater, 2006) whose visuals are depicted by rotoscoping using Bob Sabiston’s Rotoshop software. The authors’ analysis identified individual differences in the viewing experience, particularly in relation to the uncertain ontology of the humanlike characters created using CGI (CGI-Humans). They found examples of reviews indicating an inability to distinguish between real and CGI-Human actors, observations of characters transiently exhibiting realism before returning to their artifice, and of characters being viewed as eerie (analogous to the uncanny valley), thus illustrating a complex and dynamic response to this phenomenon. In some situations, character uncanniness was related to the presence of an atypical feature such as movement of the eyes. Whilst specifically for Beowulf, perceptions became more problematic when there was familiarity with the actor playing the CGI-Human character, with some reviewers describing difficulties in categorizing the character as either real or animated. CGI-Human performances were also characterized by a lack of, or inappropriate, social interaction. Online reviewers did not perceive characters depicted using Rotoshop (Rotoshop-Humans) as eerie; rotoscoping was found to preserve, and possibly enhance, the natural social interactions between actors recorded from the live-action film which was used as the source material for the animation. The authors’ inquiry also identified user motivations for viewing these films and the importance placed by reviewers on the form of display when viewing the CGI films. They situate their interpretation of these findings in relation to Walton’s make-believe theory ( Mimesis as Make-Believe: On the Foundations of the Representational Arts, 1990).
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Cartwright, Lisa. "The Hands of the Animator: Rotoscopic Projection, Condensation, and Repetition Automatism in the Fleischer Apparatus." Body & Society 18, no. 1 (2012): 47–78. http://dx.doi.org/10.1177/1357034x11432562.
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This article is concerned with the affective relationship among bodies and film technologies in the process of building and using filmmaking instruments, taking as its object the early Rotoscope, a device patented by the legendary American animator Max Fleischer that entailed the projection of live-action film for use as a template in the drawing of animated figures, to which the live-action trace was thought to impart life-like, normative patterns of movement. Drawing from media archaeology, psychoanalytic theories of repetition, projection, and condensation, and object relations theory, this article offers an interpretation of some of the kinds of psychic interactions offered in animated film through traces of the Rotoscope’s production history found in the device’s patent drawings, its patent embodiments, and its published family legend. It is proposed that the device was the locus of a collective fraternal performance, serving as a shared ground for an array of condensations and displacements and enactments of repetition compulsion among the multiple bodies engaged in the production of the device, as well as among the multiple animated and live-action film bodies that crossed its production screens and patent pages. One objective of this article is to shift the interpretive and analytic focus in film studies from the filmstrip and the projected screen image to the relationship between bodies and technologies in the experience of making films, and making the filmic apparatus. A secondary objective of this article is to suggest that the approach to bodily movement embedded in the design of the Rotoscope was hardly normative. The device offered a means to stretch and distort both norms and stereotypes of human expression through movement. The rotoscoped body sometimes performed in ways that pushed the limits of viewer expectations about how a given body will, or should, move, in space or across the screen.
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SEVİNDİ, Koray. "IDEOLOGICAL DISCOURSE ANALYSIS IN SOVIET ANIMATION CINEMA." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 2 (2021): 594–605. http://dx.doi.org/10.7456/11102100/017.
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In this study, the Soviet animation cinema's ideological discourses, which showed the consequences and reflections of the political ideology of the era, were examined. In line with the findings, it was considered that these animated films constitute a kind of cultural memory that exhibits the political history and social culture of the Soviets. The article's ideological discourse analysis method was applied by considering Teun A. van Dijk's study titled Ideological Discourse Analysis. As part of this research, because ideological discourses were analyzed, only short films with propaganda content were regarded among Soviet animations, and the scope of the study was restricted. Furthermore, the date range taken about the films was the term of Soyuzmultfilm, the official animation studio of the Soviet Union. The films created by the studio, which began its actions in 1936 until the dissolution of the Soviet Union in 1991, were taken into account. The conclusions of discourse analysis were evaluated according to the headings 'self-identity', 'activity', 'goal', 'norm and value', 'position and relation' and 'resource' mentioned in the article Ideological Discourse Analysis, and the ideological discourses in Soviet animated cinema were analyzed.
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Widiastomo, Yohanes Merci. "Business Aspect of Intellectual Properties “Si Juki”." IMOVICCON Conference Proceeding 2, no. 1 (2021): 64–72. http://dx.doi.org/10.37312/imoviccon.v2i1.63.
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Si Juki is an example of a thriving local Indonesian IP management. Starting from 2010 with a comic strip uploaded via social media, Facebook has developed into an IP that the Indonesian people love. Si Juki is also an animated feature film with the most significant number of viewers. This phenomenon, of course, has attracted more attention from the Indonesian people. In developing an IP, 2 essential aspects must be considered by the IP maker must consider two essential aspects, namely the creative element and the business aspect. Without thinking about the business aspect, Ip is just an ordinary art that cannot survive in the industry. The Author, on this occasion, will examine the business aspects carried out by the Juki IP development team in Indonesia based on data available online based on business and marketing theories.
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Tasker, Yvonne. "An Interview with Terry Wragg on the Work of the Leeds Animation Workshop." Feminist Media Histories 2, no. 2 (2016): 122–32. http://dx.doi.org/10.1525/fmh.2016.2.2.122.
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Based in the city of Leeds in the north of England, Leeds Animation Workshop describes itself as a “not-for-profit, cooperative company, which produces and distributes animated films and films on social and educational issues.” The organization was formally established in 1978 following a collaboration by a group of women on the film Who Needs Nurseries? We Do! In this interview Terry Wragg, a member of the group since that founding period, talks with Yvonne Tasker about funding patterns, filmmaking, the women's movement, and the significance of the workshop movement in the United Kingdom.
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Sinha, Madhumeeta. "Witness to Violence." Indian Journal of Gender Studies 17, no. 3 (2010): 365–73. http://dx.doi.org/10.1177/097152151001700303.
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This article attempts to place feminist documentary filmmaking in the context of the women’s movement in India. More specifically, it seeks to examine some of the widely debated concerns and strategies that have animated feminist documentary filmmaking in India through an analysis of two important films: Deepa Dhanraj’s Something Like a War and Reena Mohan’s Skin Deep.
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Voskolovich, Nina Alexandrovna, and Igor Nikolaevich Molchanov. "Social and Economic Aspects of Forming Film Audience." Journal of Flm Arts and Film Studies 4, no. 4 (2012): 109–18. http://dx.doi.org/10.17816/vgik44109-118.
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The article reveals the interplay of the economic, physical and social factors determining Russian movie audience. Social changes and the corresponding process of forming consumptive preferences regarding films, television and internet as three competing spheres, require the commercial stimulation of the audience’s activity which includes artistic promotion.
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Skawina, Ireneusz, Elżbieta Markiewicz, and Sylwia Szczepaniak. "Pedagogical Intervention: The Place and the Influence of Contemporary Animated Movies on Pedagogical Process." Pedagogika Rodziny 5, no. 1 (2015): 39–50. http://dx.doi.org/10.1515/fampe-2015-0004.
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Abstract Nowadays, the most expansive factor which determines the various aspects of human life are social communicators. Among them there is a consistent dominance of television for decades. This social mean of messaging, being a common utility good has changed its status, in recent times. It seems that from the electronic device intended for remote receiving the moving images, it became an inalienable part of the family - often its binder. What’s more, a new feature that TV performs, fully enables parents to entrust essential pedagogical - educational process of youngest members of the family. This means, more than once, many hours of child’s mindless contact with animation movies. At that time, uncontrolled by the parents and guardians, contents of animation are received and assimilated by the child (unconditionally-E. M.) influencing the evolution or changes in the personality, attitudes, and behaviors. The phenomena that occur in the sphere of child’s personality under the influence of the assimilation of media content, just encompass the educational scope. This means that childhood is the most important period of human development and an essential part of pedagogical and educational process where our personality and character, our attitudes and behavior and action are shaped. Hence, pedagogical intervention becomes necessary to contemporary content of animation,which is easy to receiveon the one hand promotes hedonistic behaviour patterns and mass culture, on the other “(...) does not provoke to work on yourself, (...), rather adulate the recipient, confirming him to the belief that he/she has the right to do what he/she wants” [Bobrowska 1999, pp. 67-73].
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Zamojski, Jan. "Philosophical and aesthetic aspects of the face in the context of teaching selected humanities subjects at the Poznan University of Medical Sciences." Journal of Face Aesthetics 1, no. 1 (2018): 37–50. http://dx.doi.org/10.20883/jofa.4.
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The paper starts off from the prehistoric role of the face and the dominant significance of the question of the face in the humanities. Author will address the above questions in the context of his own teaching of such subjects as Philosophy, History of Philosophy, Aesthetics, and Philosophy of Medicine. He draws attention to the role of works of art he uses in the teaching process, e.g. the tale Beautiful Face from the book 13 Tales from the Kingdom of Lailonia by the eminent philosopher Leszek Kołakowski. As the person instrumental for the film adaptation of this book and the script writer, the author will share his experience of making use of films from the series 14 Tales from the Kingdom of Lailonia by Leszek Kołakowski, begun in the late 1990s. Contributing to the making of individual films in the TV Studio of Animated Films in Poznań were distinguished directors, outstanding actors, e.g. Zbigniew Zapasiewicz and Andrzej Seweryn and expert stage designers. Of special importance for the teaching process in the context of these films is the intersemiotic translation, related to the questions of the face. Author will moreover reference in his teaching practice ideas put forth by philosophers such as Plato, Emanuel Levinas and Jan Payne and works by such eminent artists as Tadeusz Kantor and Zbigniew Libera. Individual issues discussed in the paper will be illustrated with ample iconography related to the face, including images unpublished earlier, such as those from the films from the above series, currently under production.
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Matheson, Emily L., Helena Lewis-Smith, and Phillippa C. Diedrichs. "The effectiveness of brief animated films as a scalable micro-intervention to improve children’s body image: A randomised controlled trial." Body Image 35 (December 2020): 142–53. http://dx.doi.org/10.1016/j.bodyim.2020.08.015.
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Tenzek, Kelly E., and Bonnie M. Nickels. "End-of-Life in Disney and Pixar Films: An opportunity for Engaging in Difficult Conversation." OMEGA - Journal of Death and Dying 80, no. 1 (2017): 49–68. http://dx.doi.org/10.1177/0030222817726258.
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This study expanded upon previous scholarship by examining end-of-life (EOL) depictions and messages of death within Disney and Pixar animated films. We argue Disney and Pixar depictions of EOL and death can provide critical opportunities for discussing death and dying processes with children and adults alike. A content analysis of 57 movies resulted in a total of 71 character deaths. These instances of death became the discourse used for analysis. The EOL discourse was coded based on five categories (character status, depiction of death, death status, emotional reaction, and causality). After quantitative analysis, the films were qualitatively analyzed. Four themes emerged from analysis, unrealistic moments, managing EOL, intentions to kill, and transformation and spiritual connection. Discussion of results, limitations, and directions for future research are included.
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Chen, Shaopeng. "Tang Cheng: The first female animation screenwriter and director in the People’s Republic of China." Journal of Screenwriting 11, no. 3 (2020): 245–64. http://dx.doi.org/10.1386/josc_00032_1.
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Tang Cheng (唐澄) (1919–86) was one of the most accomplished and versatile animation practitioners in the history of Chinese animation and the first female animation scriptwriter and director in the People’s Republic of China (PRC, 1949–present). Animation in the PRC was once famous for its ‘Chinese school’ aesthetics, in which female professionals influenced all dimensions of the form, from animation techniques to aspects of narration and artistic style. Tang Cheng was best known for directing or co-directing representative Chinese school animated films. However, her early career in animation screenwriting has been largely forgotten. This article not only highlights her role as a scenarist commissioned to write the screenplays of the didactic fairy tales Old Lady’s Jujube Tree (1958) and Radish Is Back (1959) but also analyses how the spirit of collectivism and childlike simplicity revealed in her screenwriting affected her later directorial productions such as Little Tadpoles Looking for Mother (1961), Havoc in Heaven (1961, 1964) and The Deer Bell (1982).
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Chen, Shaopeng. "Social Concern, Government Regulation, and Industry Self-Regulation: A Comparison of Media Violence in Boonie Bears TV and Cinematic Creations." SAGE Open 10, no. 4 (2020): 215824402096313. http://dx.doi.org/10.1177/2158244020963136.
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This article compares the TV and cinematic versions of the Chinese 3D animation Boonie Bears in terms of their representations of media violence within the context of social concern, government regulation, and industry self-regulation. These works are particularly significant among domestically produced animation with respect to their effects on children of exposure to violent programming. The first part of this article examines physical violence and verbal abuse in Boonie Bears and Pleasant Goat and Big Big Wolf, the two most influential and widely watched animated TV series in China. The second part reviews the corresponding public criticism the above two works have received and the reasons behind it. The third part of this article analyzes how and to what extent the production company has reduced the degree of children’s exposure to media violence in cinematic Boonie Bears productions (especially the first two films), which have been deemed acceptable by the majority of potential audience members.
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Virdis, Daniela Francesca. "Stereotyping Scotland: Groundskeeper Willie’s illocutionary acts in The Simpsons." Crossroads. A Journal of English Studies, no. 32(1) (2021): 16–35. http://dx.doi.org/10.15290/cr.2021.32.1.02.
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This article explores the Scottish character of Groundskeeper Willie in the American animated sitcom The Simpsons with a pragmatic and social-psychological approach. It firstly introduces Willie’s linguistic and visual features, the sample of three episodes the analysis is based on, Scottish stereotypes in Lindsay’s (1997) sociological research, and Searle’s (1976) taxonomy of illocutionary acts (representatives or assertives, directives, commissives, expressives and declarations). Secondly, the turns uttered by the groundskeeper in the sample are classified by applying Searle’s taxonomy, and his illocutionary acts are examined in their contexts and compared with the list of national-ethnic Scottish stereotypes compiled by Lindsay. This study demonstrates that Willie’s illocutionary acts and the stereotypes they convey depict him as a figure characterised by positive traits; nevertheless, the responses his illocutionary acts are met with not only counter his pleasant aspects, but also ultimately represent the Scottish groundskeeper as a ludicrous victim of his American fellow townspeople.
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Condry, Ian. "Anime Creativity." Theory, Culture & Society 26, no. 2-3 (2009): 139–63. http://dx.doi.org/10.1177/0263276409103111.
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This article examines ethnographically the production of anime (Japanese animated films and TV shows) by focusing on how professional animators use characters and dramatic premises to organize their collaborative creativity. In contrast to much of the analysis of anime that focuses on the stories of particular media texts, I argue that a character-based analysis provides a critical perspective on how anime relates to broader transmedia phenomena, from licensed merchandise to fan activities. The ideas of characters, premises, and world-settings also specify in greater detail the logic of anime production, which too often is glossed as emerging from a generalized Japanese culture, as in the ongoing debates about `cool Japan'. I conclude that an ethnographic approach to anime production through a focus on characters can offer new ways of thinking about what moves across media, what distinguishes anime from other media forms, and what gives anime its value.
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Marini-Maio, Nicoletta, and Ellen Nerenberg. "The 'angelification' of girls: Winx Club as a neo-liberal Catholic project." Journal of Italian Cinema & Media Studies 8, no. 1 (2020): 23–41. http://dx.doi.org/10.1386/jicms_00003_1.
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Abstract This article examines and contextualizes the socio-economic model and values system from which the transmedial, transnational text that we call the Winx Project derives and in which it is produced. The Winx Project centres on an animated television series for girls and tweens, Winx Club, produced in Italy and distributed in 150 countries worldwide, but includes spin-off television formats, films, live and interactive entertainments, an amusement park and merchandising and fashion to compose a multifaceted, multiple 'text'. This plural text is employed to measure the functionality of the Winx Club within a global and transnationalized discourse of neo-liberal economics on the one hand and, on the other, a local context that reaches deep into the regional character of Social Catholicism to purvey on a global scale its ethics and values system.
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Dirlik, Arif, and Roxann Prazniak. "The 1911 Revolution: An end and a beginning." China Information 25, no. 3 (2011): 213–31. http://dx.doi.org/10.1177/0920203x11418247.
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The 1911 Revolution was a momentous event in bringing down the monarchical institution with a history of 2,000 years. Yet its consequences were ambiguous, it was overshadowed by the more radical revolution that followed in 1949, and it was stigmatized by the defeat of the Kuomintang, which claimed it as its own. Its ‘revolutionariness’ has been in question even as it has been celebrated as a turning point in modern Chinese history. This discussion reaffirms the revolutionary significance of the event, but also suggests that it is best viewed as a ‘high peak’ in a revolution of long duration that is yet to be completed. The current regime in China has revived aspects of monarchical culture and practices that revolutionaries sought to abolish in 1911. Most importantly, the promise of full citizenship for all that animated the 1911 Revolution remains unfulfilled, which may explain the contemporary regime’s nervousness over the celebration of its 100th anniversary.
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Khan, Musa, Yong-Jin Won, and Nilüfer Pembecioğlu. "Cultural Exportation, Digital Distribution, and Penetration of K-Dramas in Turkey." Transnational Marketing Journal 9, no. 2 (2021): 367–87. http://dx.doi.org/10.33182/tmj.v9i2.1054.
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South Korea has pursued a multidimensional public diplomacy strategy in which Korean television exports and capitalization have emerged as a public and commercial cultural diplomacy tool over the last two decades. This article examines the widespread influence of Korean television content, including digital serial delivery, cultural exportation, cultural interactions, and capitalization—that is, content sales, indirect advertising, and media-induced tourism. Empirical data was obtained from Turkey’s audience members using the online survey tool. As a result of the social and cultural impact, the respondents’ opinions on Korean serials are both animated and rational. The creation of audience members’ social, psychological, and cultural experiences with K-Dramas clarifies their intimacy and activeness. Unlike local or other international content, a significant number of respondents claim that Korean TV serials are not only a source of entertainment but also have profound edifying aspects. According to the results, “Cultural Proximity” and “Content Availability” are two of the most important factors in choosing Korean TV serials over foreign content. The “content availability” is based on the emergence and expansion of Streaming TV; however, in cultural proximity, similarities in family norms and values in both nations are notable.
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Johnson, Michelle. "She's Beauty and She's Grace(less): The Mercurial Femininity of the Modern Disney Princess." Congress on Research in Dance Conference Proceedings 2016 (2016): 229–34. http://dx.doi.org/10.1017/cor.2016.31.
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Focusing on characters from Disney's three most recent “princess” films, Tangled (2010), Brave (2012), and Frozen (2013), I examine the development and divergence of these figures from “classic” Walt Disney models. Their mercurial character, as illustrated through gesture and movement, presents a firm contrast with and significant departure from their predecessors in films such as Cinderella (1950) and Sleeping Beauty (1959)—protagonists who exhibited a static character reflective of their social roles through the “embodiment” of balletic grace. Expanding on existing research comparing Walt Disney–era princesses with those from the Disney Renaissance of the 1980s and 1990s, I explore the significance of this shift in representation. Viewed as a metaphor for contemporary femininity, how do these modern princesses resolve the incongruity between their official social stations, proscribed behavior, and “real” personalities through their bodies over the course of the films?I believe that the conflict staged on these animated bodies is representative of larger societal issues emerging from contested definitions of both feminism and femininity, and that the Disney princess offers a contemporary site for the expression and resolution of this dissonance. Viewing the body of the Disney princess as representative of a larger female “social body” and conflict that occurs within her as indicative of the larger forces that shape female identity, I integrate my study with historical dance scholarship which regarded movement as indicative of the presence of an Apollonian/Dionysian dialectic working within culture.
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Gunasekera, Hasantha, Simon Chapman, and Sharon Campbell. "Sex and Drugs in Popular Movies: An Analysis of the top 200 Films." Journal of the Royal Society of Medicine 98, no. 10 (2005): 464–70. http://dx.doi.org/10.1177/014107680509801012.
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We analyse the portrayal of sex and drug use in the most popular movies of the last 20 years using the Internet Movie Database list of the top 200 movies of all time. Films released or set prior to the HIV era (pre 1983), animated, not about humans or G/PG rated, were excluded. Films were reviewed by one of two teams of two observers using a data extraction sheet tested for inter-rater reliability. Sexual activity, sexually transmitted disease (STD) prevention, birth control measures, drug use and any consequences discussed or depicted were recorded. There were 53 sex episodes in 28 (32%) of the 87 movies reviewed. There was only one suggestion of condom use, which was the only reference to any form of birth control. There were no depictions of important consequences of unprotected sex such as unwanted pregnancies, HIV or other STDs. Movies with cannabis (8%) and other non-injected illicit drugs (7%) were less common than those with alcohol intoxication (32%) and tobacco use (68%) but tended to portray their use positively and without negative consequences. There were no episodes of injected drug use. Sex depictions in popular movies of the last two decades lacked safe sex messages. Drug use, though infrequent, tended to be depicted positively. The social norm being presented is concerning given the HIV and illicit drug pandemics.
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Wang, ZhiQiang, and JongHan Lee. "Research on Social Hierarchy in Animated Films from the Perspective of Visual Semiotics - take the costume image of white snake: the origin as an example -." Cartoon and Animation Studies 56 (September 30, 2019): 211–27. http://dx.doi.org/10.7230/koscas.2019.56.211.
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Pashova, E. V. "Demonstration of Social Models through the Path of the Archetypal Hero (Based on the Analysis of the Full-Length Animated Films "Frozen" and "Frozen II")." Siberian Journal of Anthropology 4, no. 3 (2020): 106–17. http://dx.doi.org/10.31804/2542-1816-2020-4-3-106-117.
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Dunn, Valerie J., and Tom Mellor. "Creative, participatory projects with young people: Reflections over five years." Research for All 1, no. 2 (2017): 284–99. http://dx.doi.org/10.18546/rfa.01.2.05.
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Participatory research is collaborative and democratic, and may be particularly engaging for vulnerable or so-called hard-to-reach groups. In this paper, we describe three creative participatory projects carried out over five years with young people and NHS, social care and third sector partners. Working with young people in care we co-produced a trilogy of films, one of which won the young people a British Film Institute (BFI) award. The films are now used for training throughout the UK. With young people with experience of depression, we coproduced a short, animated film which aimed to offer support to other young people who may be depressed and not know where to turn. Finally, with young people attending or leaving NHS child and adolescent mental health services, we co-produced a transition preparation programme for those leaving the service at 17 or 18. For all the projects, the aim was to maximize involvement and give young people some ownership of the research. We outline our approach and describe some of the challenges and limitations.
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Baron-Cohen, Simon, Ofer Golan, and Emma Ashwin. "Can emotion recognition be taught to children with autism spectrum conditions?" Philosophical Transactions of the Royal Society B: Biological Sciences 364, no. 1535 (2009): 3567–74. http://dx.doi.org/10.1098/rstb.2009.0191.
Full textAbstract:
Children with autism spectrum conditions (ASC) have major difficulties in recognizing and responding to emotional and mental states in others' facial expressions. Such difficulties in empathy underlie their social-communication difficulties that form a core of the diagnosis. In this paper we ask whether aspects of empathy can be taught to young children with ASC. We review a study that evaluated The Transporters , an animated series designed to enhance emotion comprehension in children with ASC. Children with ASC (4–7 years old) watched The Transporters every day for four weeks. Participants were tested before and after intervention on emotional vocabulary and emotion recognition at three levels of generalization. The intervention group improved significantly more than a clinical control group on all task levels, performing comparably to typical controls at time 2. The discussion centres on how vehicles as mechanical systems may be one key reason why The Transporters caused the improved understanding and recognition of emotions in children with ASC. The implications for the design of autism-friendly interventions are also explored.