Relevant bibliographies by topics / Television broadcasting of animated films

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

Academic literature on the topic 'Television broadcasting of animated films'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 February 2023

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Journal articles on the topic "Television broadcasting of animated films"

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Brandel, Robert, Larry Elin, Susan Rugtiv, Douglas Towey, Christine Barton, and Carl Rosendahl. "Animated computer graphics in television broadcasting (panel session)." ACM SIGGRAPH Computer Graphics 19, no. 3 (1985): 325. http://dx.doi.org/10.1145/325165.325255.

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Fouts, Gregory, Mitchell Callan, Kelly Piasentin, and Andrea Lawson. "Demonizing in Children’s Television Cartoons and Disney Animated Films." Child Psychiatry and Human Development 37, no. 1 (2006): 15–23. http://dx.doi.org/10.1007/s10578-006-0016-7.

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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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Rochman, Mochamad Faizal. "Toy Industry As A Mainstream Business Idea In Animation Industry." DeKaVe 15, no. 2 (2022): 112–25. http://dx.doi.org/10.24821/dkv.v15i2.7498.

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This article examines the aspects that influenced the emergence of the animation industry format aimed specifically at selling toys. In addition, this article also aims to find out whether the purpose of this animation business is still relevant to be used today by analyzing animated characters and their toy figures related to the exploration of culture, ideology, and supporting factors. In its first development, animation was used to deliver messages in the advertising industry. Then animation became a promising industry with the emergence of Snow White which was made for big-screen consumption. The emergence and popularity of television in the '60s provided new opportunities for the animation industry, stimulating the development of animated television series. Animated television series have a significant role in helping the marketing of derivative products in the animation industry. The 80s became a golden year for the animation industry and its derivatives, which was marked by the emergence of many animated films with the main business objective of selling toys. The declining popularity of television and the increasing use of the internet as a medium of entertainment will undoubtedly impact the development of the animation and toy industry. The power of character toy figures as a sole entertainment has also begun to come under pressure from the video game industry.
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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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Fardani, Diah Novita, and Yorita Febry Lismanda. "NILAI-NILAI PENDIDIKAN KARAKTER UNTUK ANAK USIA DINI DALAM FILM “NUSSA”." Thufuli : Jurnal Ilmiah Pendidikan Islam Anak Usia Dini 1, no. 2 (2019): 34. http://dx.doi.org/10.33474/thufuli.v1i2.4921.

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Early Childhood has a variety of interests, one of them is the fondness of watching television shows that are animated cartoons. At an early age, children have a strong tendency to mimic everything they see. This becomes important considering that a lot of animated cartoon films are shown and are often seen by children which certainly affects the character and personality of children.This study aims to determine the values of character education forearly childhood contained in the animated film "Nussa". In carrying out this study using a qualitative descriptive approach by analyzing the contents of four randomly selected episodes. The results of this study found that educational valuescharacters for early childhood contained in the four episodes of the animated film "Nussa" are very diverse, among the character values contained such as religious, hard work, independent, friendly and communicative, honest, caring socially, creatively, disciplined, rewarding achievement, and responsibility.
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Wijaya, Fenny, and Dyah Gayatri Puspitasari. "Perancangan Komunikasi Visual Film Animasi Pendek “Sitiha dan Sisiti”." Humaniora 1, no. 2 (2010): 489. http://dx.doi.org/10.21512/humaniora.v1i2.2890.

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The purpose of this research is to acquire, collect and analyze data needed to realize the design of short animated 3D films with a folklore theme which is presented with a visually appeal to interest spectators, especially children, so the moral message can be conveyed. The research method is to survey directly to the field, namely the cultural center of Indonesia TMII, playground and library. In addition to the literature media such as books, magazines and journals and supported with references from the internet media relating to the topic. Results to be achieved are for the moral message conveyed in this animated folklore film can be received and understood by the audience, especially children. Conclusion at the present time, visual communications media such as movies and television shows are very popular among children. So by using the medium of animated films, children will be more interested and may like local folklore again, since local productions are not of lesser quality than the outside impressions.
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Rowe, Rebecca. "Shaping Girls: Analyzing Animated Female Body Shapes." Animation 14, no. 1 (2019): 22–36. http://dx.doi.org/10.1177/1746847719829871.

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The debate over whether television and film affect girls’ body image has been contentious. Researchers argue that film and television negatively affect, only partially affect, or do not affect girls’ body image. These studies have one common limitation: they approach animated female bodies as if they are the same because they are, mostly, thin. In this project, the author seeks to extend and complicate this existing scholarship by analyzing bodies in 67 films produced by several American animation studios from 1989 through 2016. In this study, she classifies 239 female characters as one of four body types: Hourglass, Pear, Rectangle, or Inverted Triangle. Her argument is two-fold: (1) over the last 30 years, there has been a shift from a singular dominant shape (Hourglass) to the dominance of several body shapes (especially Pear and Rectangle); and (2) young girls may be affected by characters their own age who have been largely ignored in studies thus far. The author argues that young girls see diverse images of bodies rather than the singular image that scholars study. Girls’ body image may be affected by animation, but animated images are so diverse that this effect may be difficult to determine. A more nuanced understanding of the body shapes animation utilizes may allow researchers to study the more complex messages that girls do or do not internalize.
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Scully, Paul, Orlaith Reid, Alan Macken, et al. "Food and beverage cues in children’s television programmes: the influence of programme genre." Public Health Nutrition 19, no. 4 (2015): 616–24. http://dx.doi.org/10.1017/s1368980015001755.

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AbstractObjectiveThe link between childhood obesity and both television viewing and television advertising have previously been examined. We sought to investigate the frequency and type of food and beverage placements in children-specific television broadcasts and, in particular, differences between programme genres.MethodContent of five weekdays of children-specific television broadcasting on both UK (BBC) and Irish (RTE) television channels was summarized. Food and beverage placements were coded based on type of product, product placement, product use and characters involved. A comparison was made between different programme genres: animated, cartoon, child-specific, film, quiz, tween and young persons’ programming.ResultsA total of 1155 (BBC=450; RTE=705) cues were recorded giving a cue every 4·2 min, an average of 12·3 s/cue. The genre with most cues recorded was cartoon programming (30·8 %). For the majority of genres, cues related to sweet snacks (range 1·8–23·3 %) and sweets/candy (range 3·6–25·8 %) featured highly. Fast-food (18·0 %) and sugar-sweetened beverage (42·3 %) cues were observed in a high proportion of tween programming. Celebratory/social motivation factors (range 10–40 %) were most common across all genres while there were low proportions of cues based on reward, punishment or health-related motivating factors.ConclusionsThe study provides evidence for the prominence of energy-dense/nutrient-poor foods and beverages in children’s programming. Of particular interest is the high prevalence of fast-food and sugar-sweetened beverage cues associated with tween programming. These results further emphasize the need for programme makers to provide a healthier image of foods and beverages in children’s television.
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Uzuegbunam, Chikezie, and Chinedu Richard Ononiwu. "Highlighting Racial Demonization in 3D Animated Films and Its Implications: A Semiotic Analysis of Frankenweenie." Romanian Journal of Communication and Public Relations 20, no. 2 (2018): 5. http://dx.doi.org/10.21018/rjcpr.2018.2.256.

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This article focuses on a semiotic analysis of Frankenweenie, one of Disney Picture’s 3D animated films. Anchored within the psychoanalytic film theory, the aim was to highlight how animated films, as colorful and comic as they are, can demonize a certain group of people. Studying how animated films can do this can lead to an important understanding because children’s exposure to modelled behavior on television and in movies has the potential to influence a wide range of attitudes and behaviors, cause victimization, alter their perceptions of reality, reinforce stereotypes and make them acquire such negative emotions as fear and anxiety, and behaviors like retaliation and passivity. The possibility of these adverse effects is even of greater concern in Africa and similar contexts which are at the receiving end of cultural products such as films that emanate from the West. The findings suggest that the negative portrayal of ‘people of color’ or other characters that represent them, by American film producers and directors seems to be a reoccurring phenomenon. Significantly, from an African perspective, this study corroborates scholars’ position that Disney has continued to portray ‘people of color’ negatively over the years.
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Dissertations / Theses on the topic "Television broadcasting of animated films"

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Klinger, Lori Jean Brestan Elizabeth V. "What are your children watching? a DPICS-II analysis of parent-child interactions in television cartoons /." Auburn, Ala., 2006. http://repo.lib.auburn.edu/2006%20Fall/Dissertations/KLINGER_LORI_42.pdf.

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Smaill, Belinda 1972. "Amidst a nation's cultures : documentary and Australia's Special Broadcasting Service Television." Monash University, Centre for Comparative Literature and Cultural Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/8644.

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Amir, Shahkarami Sayed Najmedin. "The pre-production phase in the making of Iranian full-length animated films 1979-2012." Thesis, University of West London, 2013. https://repository.uwl.ac.uk/id/eprint/611/.

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As the pre-production phase is a vital process in feature-length animation filmmaking, this study focuses on the arrangement of this phase in Iranian animation film projects. They are Mouse and Cat, Tak Taz, Namaki & The Giant, The Sun of Egypt, Jamshid & Khorshid, Simorq’s Heart and Tehran 2121. In support of the investigation of these, the research reviews the background of Iranian cinema, television and animation. It looks also at the emergence and evolution of the pre-production phase in Disney and Pixar studios. Moreover, comparisons of pre-production phases implemented by Japanese, British and Pixar filmmakers are complementary contexts highlighting this process. It comprises four key stages: writing stages e.g. script; visualization stages e.g. concept design; scene setting e.g. storyboard, and a rough version of a film in the form of a story reel (Yun Mou et al, 2013). Implementation of these stages needs strategies to be employed by successful filmmakers. Based on such facts, a theoretical comparison analyses the arrangement of the pre-production phase in the seven projects. The findings indicate two types of factors affecting the arrangement of this phase. Indirect factors such as the dependency on management by government and its financial support constitutes issues influencing productions. Direct factors include filmmakers’ abilities and their direct actions on production.
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Thomas, Suzanne Lynne. "Heroes, assassins, mobsters and murderers : martial arts TV and the popular Chinese imagination in the PRC /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3112189.

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Montañez-Arica, Jimena-del-Rosario. "Largometrajes animados digitalmente en el Perú. Los casos de Red Animation, Origami Studio y Aronnax." Bachelor's thesis, Universidad de Lima, 2017. http://repositorio.ulima.edu.pe/handle/ulima/4547.

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Esta investigación analiza el panorama de largometrajes animados digitalmente en la ciudad de Lima, Perú, durante los años 2004-2016. Se aborda el proceso de realización de las películas, sus dificultades y características primordiales, a través del estudio de tres productoras: Origami Studio, Red Animation y Aronnax. El presente texto ofrece una perspectiva de la industria de la animación en Lima y desagrega tanto sus capacidades como sus posibilidades de desarrollo<br>The aim of this research is to analyze the feature film digital animation scene, in the city of Lima, Peru, between the years of 2005-2016. To achieve this, the realization process of the animated movies made in the present, along with its main characteristics and difficulties, is investigated through the study of three different production companies: Origami Studio, Red Animation and Aronnax. The text offers an outlook of the animated movie industry and it divides both their capabilities and their development possibilities.<br>Trabajo de investigación
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Davies, Llewellyn Willis. "‘LOOK’ AND LOOK BACK: Using an auto/biographical lens to study the Australian documentary film industry, 1970 - 2010." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154339.

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While much has been written on the Australian film and television industry, little has been presented by actual producers, filmmakers and technicians of their time and experiences within that same industry. Similarly, with historical documentaries, it has been academics rather than filmmakers who have led the debate. This thesis addresses this shortcoming and bridges the gap between practitioner experience and intellectual discussion, synthesising the debate and providing an important contribution from a filmmaker-academic, in its own way unique and insightful. The thesis is presented in two voices. First, my voice, the voice of memoir and recollected experience of my screen adventures over 38 years within the Australian industry, mainly producing historical documentaries for the ABC and the SBS. This is represented in italics. The second half and the alternate chapters provide the industry framework in which I worked with particular emphasis on documentaries and how this evolved and developed over a 40-year period, from 1970 to 2010. Within these two voices are three layers against which this history is reviewed and presented. Forming the base of the pyramid is the broad Australian film industry made up of feature films, documentary, television drama, animation and other types and styles of production. Above this is the genre documentary within this broad industry, and making up the small top tip of the pyramid, the sub-genre of historical documentary. These form the vertical structure within which industry issues are discussed. Threading through it are the duel determinants of production: ‘the market’ and ‘funding’. Underpinning the industry is the involvement of government, both state and federal, forming the three dimensional matrix for the thesis. For over 100 years the Australian film industry has depended on government support through subsidy, funding mechanisms, development assistance, broadcast policy and legislative provisions. This thesis aims to weave together these industry layers, binding them with the determinants of the market and funding, and immersing them beneath layers of government legislation and policy to present a new view of the Australian film industry.
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Gille, Quentin. "Propositions pour un paradigme culturel de la phono-cinématographie: des phono-scènes aux vidéoclips et au-delà." Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209309.

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La proposition centrale de cette thèse est double. D’une part, il s’agit de jeter les bases d’un modèle historique qui réunirait tous les dispositifs audiovisuels qui associent des images animées à une chanson populaire qui leur est préexistante sous un même paradigme culturel que nous baptiserons « phono-cinématographie ». Celui-ci aurait débuté vers la fin du XIXe siècle, avec l’invention du kinétoscope d’Edison, pour aboutir à nos jours avec l’émergence des vidéos musicales interactives sur Internet. D’autre part, il s’agit de nous interroger sur le rôle a priori central que les Beatles occupent au sein de cette histoire de la chanson populaire mise en image. Notre hypothèse principale est que le vidéoclip, tel qu’il s’est institutionnalisé au début des années 1980 pour ensuite se perpétuer jusque dans les années 2000, n’a rien d’une pratique culturelle (voir même d’un média) figé(e) :bien au contraire, cette pratique/ce média a été l’objet de réélaborations continues tant sur le plan de la production, de la diffusion que de la fonction.<p>Notre approche se situe à cheval sur l’histoire du cinéma, de la musique populaire et de la télévision. En nous appuyant sur certaines propositions théoriques et certains concepts formulés dans le champ des études cinématographiques ainsi que dans le champ des performance studies, nous serons particulièrement attentif aux questions de représentation qui se déploient dans ces différents dispositifs phono-cinématographiques :à savoir, les premiers films chantants (les phono-scènes Gaumont et les Vitaphone shorts), les juke-boxes équipés d’un écran (les Soundies et les Scopitones) et enfin les vidéos musicales télévisées (les films promotionnels et les vidéoclips).<br>Doctorat en Information et communication<br>info:eu-repo/semantics/nonPublished
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Books on the topic "Television broadcasting of animated films"

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Woolery, George W. Animated TV specials: The complete directory to the first twenty-five years, 1962-1987. Scarecrow Press, 1989.

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"Tetsuwan Atomu" no jidai: Eizō sangyō no kōbō. Sekai Shisōsha, 2009.

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Furuta, Hisateru. "Tetsuwan Atomu" no jidai: Eizō sangyō no kōbō. Sekai Shisōsha, 2009.

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O educador e o desenho animado que a criança vê na televisão. Edições Loyola, 1985.

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Shōsetsu Tezuka gakkō: Nihon dōga kōbōshi. Kōdansha, 2009.

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Furuta, Hisateru. "Tetsuwan Atomu" no jidai: Eizō sangyō no kōbō. Sekai Shisōsha, 2009.

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Viviane, Cohen, and CND international, eds. Disney channel. Hachette, 1986.

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Getting into films & television. 9th ed. How To Books, 2009.

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John, Peel. The animated voyages begin. Borgo Press, 1987.

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Anime trivia quizbook: From easy to otaku obscure, episode 1. Stone Bridge Press, 2000.

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Book chapters on the topic "Television broadcasting of animated films"

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Meeusen, Meghann. "Power, Prejudice, Predators, and Pets: Representation in Animated Animal Films." In The Palgrave Handbook of Children's Film and Television. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17620-4_19.

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Saarenmaa, Laura. "The Diversity Principle Taken to Its Extreme: East Asian Propaganda on Finnish Television." In Nordic Media Histories of Propaganda and Persuasion. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-05171-5_14.

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AbstractThis chapter explores the travels of 1970s’ Maoist ballet films from the People’s Republic of China to Finnish television and outlines the political context for these broadcasts. The study centres on Finnish Broadcasting Company YLE’s Film Service, an independent unit responsible for rental of foreign films and series for television from 1967 to 1987. By broadcasting a wide selection of foreign films from around the world, YLE Film Service participated in shaping a national collective mindset and people’s views of the world.
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"Feature Films Make Their Way to Television." In Broadcasting Hollywood. Rutgers University Press, 2021. http://dx.doi.org/10.2307/j.ctv2v55kfn.10.

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"6. Feature Films Make Their Way to Television." In Broadcasting Hollywood. Rutgers University Press, 2021. http://dx.doi.org/10.36019/9780813596259-008.

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"Television and Public Service: A Brief History1." In A Future for Public Service Television, edited by Des Freedman and Vana Goblot. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/9781906897710.003.0014.

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This chapter traces the history of public service television. The history of British public service broadcasting policy in the 20th century is characterized by a series of very deliberate public interventions into what might otherwise have developed as a straightforward commercial marketplace. The creation of the BBC, the launch of an ITV network required to produce public service programming, and the addition of the highly idiosyncratic Channel 4 gave the UK a television ecology animated by quality, breadth of programming and an orientation towards serving the public interest. At each of these three moments, the possibilities of public service television were expanded and British culture enriched as a result. The 1990 Broadcasting Act and the fair wind given to multichannel services may have ended the supremacy of the public service television ideal. However, public service television has survived, through the design of the institutions responsible for it, because of legislative protection, and as a result of its continuing popularity amongst the public.
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Bilis, Pınar Özgökbel, and Ali Emre Bilis. "The Role of Locally Produced and Digitally Animated Cartoons in the Process of Acquisition of Social Values." In Handbook of Research on Children's Consumption of Digital Media. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-5733-3.ch014.

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Television channels for children contain many cartoons and programs. These productions reach the viewers via both the television and the channel's official website. TRT Çocuk, broadcasting for children as a government television channel, presents many locally produced animated cartoons to the viewers. A product of the modern and digital technology, these locally produced cartoons carry importance in terms of transfer of social values. This study focuses on locally produced animation cartoons that have an important potential especially in the transfer of national and moral values. Determination of values conveyed via cartoons that bear importance in the transformation of television into an educational tool allows the media and child relationships to become visible. This work aims to examine the relationship between media and values by defining the concept of “value.” After creating a corporate frame, the study brings to light the social values conveyed in locally produced cartoons aired on TRT Çocuk television channel via qualitative analysis method.
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Charidimou, Dimos Savvas, and Stylianos Euaggeos Gouloudis. "Media and Human Resource Management." In Advanced Technologies and Standards for Interactive Educational Television. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-0253-2.ch002.

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Easily mentioned, but not that much categorically identified, is the infrastructure beyond huge communication networks providers. Undoubtedly, the commitment for people of a certain country, in their transformation from citizens of a definite jurisdiction to netizens of a global community seeking advanced training and instruction with interactive educational TV, heavily relies on top management support over complex issues, starting from governmental initiatives and ardent information technology support along vigorous settlements with vendors, private funds, and international conglomerates. What the student body seeks, in national scale, is how to enhance the delivery methods of its learning, from face-to-face methodologies to self-paced learning, and recently, even further to live e-learning. For the first time, however, in-depth skill building, support in a range of practical subjects, animated knowledge acquisition, peer networking, and action-planning have been introduced as managerial educative aspects, along information and entertainment, in the world of broadcasting.
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Maree, Claire. "Linguistic Chaos." In queerqueen. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190869618.003.0005.

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Chapter 4 illustrates how, as an enregistered style, queerqueen talk is co-opted into popular culture. It analyzes the Mori Mori Cooking segment of the animated series The World of GOLDEN EGGS (Plus Heads, Inc.) which is hosted by Rose and Mary—animated characters and mascot-like queen-personalities who traverse into the hyper-connected world of media-mix products. The sonic qualities of the okama (fag)-twins as embodied by twins Osugi and Peeco in the late 1970s, and the transformational powers of the queen-personality emanating from makeover genres of the early 2000s are laminated onto the voice performances of Rose and Mary. The highly stylized ventriloquism of queerqueen talk is emblematic of the chaotic language that permeates the Golden Eggs series. Within its multi-platform incarnations, the queerqueen mascot functions as a conduit of knowledge and culinary skills who looks onto the “real world live action” of cooking yet consistently flaunts the dictates of contemporary television broadcasting.
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Sepinwall, Alyssa Goldstein. "Remembering Haiti’s Revolution in France and North America." In Slave Revolt on Screen. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496833105.003.0007.

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The chapter focuses on documentaries, dramatic shorts, and animated shorts about the Haitian Revolution. Many were made entirely by non-Haitians, but some involved collaborations with Haitian scholars and artists. Because Haiti was once a colony of France, several of these documentaries come from French filmmakers. In analyzing these films, the chapter highlights French difficulties in grappling with their histories of slavery and racism, as well as imbalances that give the French greater power to recount Haiti’s history on screen than Haitians themselves. The chapter also examines public television and crowdfunded documentaries from the U.S., such as Égalité for All (2009) and 1804: The Hidden History of Haiti (2017), from white as well as African American directors. Finally, the chapter looks at lesser-known dramatic shorts on the Revolution, and at animated films, including Robin Lloyd and Doreen Kraft’s pioneering 1978 short Black Dawn.
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Eller, Jonathan R. "Harvest Time." In Bradbury Beyond Apollo. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043413.003.0033.

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Chapter 32 begins with Bradbury’s reaction to news of Federico Fellini’s death on Halloween, 1993, and explores Bradbury’s sense of Halloween as a time of “fervor and excitement,” but not a time of happiness. Bradbury’s reflections on the later Fellini films gives way to the more positive process of bringing The Halloween Tree back to its original concept as an animated film with Hanna-Barbera and the Turner Broadcasting System. The chapter concludes with Bradbury’s work on two unrealized science fiction film projects, a proposed remake of the 1950s classic Forbidden Planet and short-lived plans for a sequel to The Day the Earth Stood Still. The chapter concludes with an examination of “Beyond Giverny,” Bradbury’s speculative American Way essay on life in the cosmos.
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Conference papers on the topic "Television broadcasting of animated films"

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Brandel, Robert, Larry Elin, Susan Rugtiv, and Douglas Towey. "Animated computer graphics in television broadcasting (panel session)." In the 12th annual conference, chair Christine Barton and Carl Rosendahl. ACM Press, 1985. http://dx.doi.org/10.1145/325334.325255.

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