Academic literature on the topic 'Women in animation'
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Journal articles on the topic "Women in animation"
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Novianto, Hanang, and Erma Rachmayanti. "Hemoroid Pada Kehamilan." Reslaj : Religion Education Social Laa Roiba Journal 5, no. 1 (August 7, 2022): 126–37. http://dx.doi.org/10.47467/reslaj.v5i1.1332.
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Hemorrhoids during pregnancy is one of the problems that pregnant women often complain about. It is estimated that around 25-35 percent of pregnant women experience this condition, also known as hemorrhoids. Hemorrhoids during pregnancy usually begin to appear at week 25 or in the last trimester of pregnancy. Hemorrhoids in pregnant women are a physiological condition, so the therapy is aimed at overcoming complaints, namely with preventive measures and animation. New surgery is performed if the animation treatment is not successful.
Keywords: Hemorroid, Pregnancy
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Novianto, Hanang, and Erma Rachmayanti. "Hemoroid pada Kehamilan." Reslaj : Religion Education Social Laa Roiba Journal 4, no. 6 (April 10, 2022): 1650–59. http://dx.doi.org/10.47467/reslaj.v4i6.1332.
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Hemorrhoids during pregnancy is one of the problems that pregnant women often complain about. It is estimated that around 25-35 percent of pregnant women experience this condition, also known as hemorrhoids. Hemorrhoids during pregnancy usually begin to appear at week 25 or in the last trimester of pregnancy. Hemorrhoids in pregnant women are a physiological condition, so the therapy is aimed at overcoming complaints, namely with preventive measures and animation. New surgery is performed if the animation treatment is not successful.
Keywords: Hemorroid, Pregnancy
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Parsons, Joanne E., Katie V. Newby, David P. French, Elizabeth Bailey, and Nadia Inglis. "The development of a digital intervention to increase influenza vaccination amongst pregnant women." DIGITAL HEALTH 7 (January 2021): 205520762110121. http://dx.doi.org/10.1177/20552076211012128.
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Objective Pregnant women and unborn babies are at increased risk of complications from influenza, including pneumonia, yet in the UK, uptake of flu vaccination amongst this population remains <50%. Pregnant women hold beliefs about risks of flu and efficacy of vaccination that consistently predict them to decline vaccination. This study aimed to develop a theory and evidence-based intervention addressing these beliefs to promote flu vaccine uptake. Methods The intervention was developed by behavioural scientists, pregnant women, midwives, clinicians and Public Health professionals, informed by Intervention Mapping. Six predefined steps were performed in line with Intervention Mapping. Results The intervention is an animation addressing beliefs about risks of flu and efficacy of vaccination. Preliminary testing using qualitative methodology indicates the information within the animation is appropriate, and the animation is acceptable to pregnant women. Conclusions This is the first known intervention for pregnant women, aiming to increase flu vaccination through addressing risk and efficacy appraisals. It has been implemented within seasonal flu vaccination campaigns during 2018/19 and 2019/20 within one geographically and ethnically diverse area of the UK.
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Bothra, Sapana, Sabaretnam Mayilvaganan, Prabhaker Mishra, Anjali Mishra, Amit Agarwal, and Gaurav Agarwal. "Use of animation video in surgical decision-making for treatment of early breast cancer in Indian women." South Asian Journal of Cancer 08, no. 03 (July 2019): 137–39. http://dx.doi.org/10.4103/sajc.sajc_179_18.
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Abstract Introduction: Surgical decision-making in early breast cancer is difficult for the patient and also for the treating clinician, especially when the patient is not completely aware of the available options. Adjuncts such as animation video with case scenarios can be helpful in this regard. We used an animation video to help in decision-making and evaluated the effect of such adjunct in Indian women with early breast cancer. Materials and Methods: An animation video of running time of 4 min and 11 s was shown to forty patients with early breast cancer, who filled in a patient satisfaction multimedia questionnaire at the end of the animation. Results: Seventeen (42.5%) patients underwent breast-conserving surgery (BCS) while the rest 23 (57.5%) patients underwent the mastectomy. All forty patients were satisfied with the animation video. The mean score of the utility of the video to improve understanding of the disorder, better organization of treatment, stimulated interest in the relations, and saved unnecessary discussion was 88.50, 88.50,88.3, and 90.3, respectively. Age and literacy status did not significantly affect the scores. Discussion: All the patients found the video useful and most patients made the decision on the first attempt. Patients' perspective about BCS is influenced by the fear of recurrence, fear of multiple surgeries, complications, and also the counseling provided by the surgeon. Conclusion: In this situation, such animation videos provide an unbiased view on the operative procedure and help in decision-making.
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Van de Peer, Stefanie. "Fragments of War and Animation: Dahna Abourahme’s Kingdom of Women and Soudade Kaadan’s Damascus Roofs: Tales of Paradise." Middle East Journal of Culture and Communication 6, no. 2 (2013): 151–77. http://dx.doi.org/10.1163/18739865-00602003.
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In this article, the author addresses the meaning of animated fragments in documentary films. She analyzes a Syrian and a Lebanese film, and illustrates the role and function of the hybrid form as a means through which women are now able to express themselves. Dahna Abourahme’s film Ein El Hilweh: Kingdom of Women (Lebanon, 2010) and Soudade Kaadan’s film Damascus Roofs: Tales of Paradise (Syria, 2010) are used as recent examples of documentaries addressing taboo issues by way of animated fragments. The author places these films in the wider context of the contemporary developments in animation in the Middle East, paying special attention to women’s contributions in the field. Both documentaries use animation not only for aesthetic appeal but also to enhance understanding and deepen engagement with topics and events that are necessarily situated beyond the knowledge and experience of a transnational audience. The author contends that animation creates a different film experience, and the audience must deal with the seduction of the animation.
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Azza, Sekar Yolanda. "THE TRADITIONAL GENDER ROLES STEREOTYPES AS SEEN IN TROLLS (2016) THE DREAMWORKS ANIMATION MOVIE." SIGEH ELT : Journal of Literature and Linguistics 2, no. 2 (September 8, 2022): 91–105. http://dx.doi.org/10.36269/sigeh.v2i2.518.
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In recent years, literature is not merely about poetry, prose, novel, short story but also the movie. One of the exciting animation movies is Trolls, produced by DreamWorks Animation in 2016. Undoubtedly, movies are not always about entertainment but can persuasively create an ideology in the kids' minds. Gender stereotypes are a negative impact of ideology that exists all over the world. Two research questions are formulated; what are the stereotypes towards women in Trolls movie and what ideology the movie seems to promote. This research aims to reveal the traditional stereotype towards women in Trolls movies and make the audience aware of the ideology of gender stereotypes towards women. This research applies library research with the descriptive qualitative method. Since this research analyzes gender stereotypes towards women in the movie, binary opposition theory can see the movie's structure. The writer concludes that women’s traditional gender roles stereotypes still exist in this movie. The stereotypes over women through Poppy as the character can be seen as irrational, weak, and submissive. The researcher also can find the patriarchal ideology. The movie promotes the gender issue in this film that shows the man is superior to the woman
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Ivanovski, Aleksandar, Bojan Ugrinić, Katarina Ćirić-Duvnjak, Saša Pantelić, and Dušan Mitić. "The quantitative analysis of animation programs in tourism." Sport — nauka i praksa = Sport — Science And Practice 9, no. 2 (2019): 36–48. http://dx.doi.org/10.5937/snp1901036i.
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The aim of the paper was to analyze tourist participation in animation programs during daily recreational activities within package tours which included apartment accommodation in Greece, i.e. whether there are differences between male and female participation rate in certain activities. Indirectly, based on the obtained results, it is necessary to establish whether animation programs should be conducted jointly and/or they should be planned and conducted separately for men and women. Another aim was to determine whether any differences occurred in animation programs during multiannual monitoring.
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Kim, Eun Ju and Geon KIM. "Image ideological of women appeared in Miyazaki Hayao’s animation." Journal of Korea Design Forum ll, no. 44 (August 2014): 217–30. http://dx.doi.org/10.21326/ksdt.2014..44.019.
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Trotman, Carroll-Ann, Julian J. Faraway, Kirsten T. Silvester, Geoffrey M. Greenlee, and Lysle E. Johnston. "Sensitivity of a Method for the Analysis of Facial Mobility. I. Vector of Displacement." Cleft Palate-Craniofacial Journal 35, no. 2 (March 1998): 132–41. http://dx.doi.org/10.1597/1545-1569_1998_035_0132_soamft_2.3.co_2.
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Objective (1) To determine which facial landmarks show the greatest movement during specific facial animations and (2) to determine the sensitivity of our instrument in using these landmarks to detect putatively abnormal facial movements. Design Movements of an array of skin-based landmarks on five healthy human subjects (2 men and 3 women; mean age, 27.6 years; range, 26 to 29 years) were observed during the execution of specific facial animations. To investigate the instrument sensitivity, we analyzed facial movements during maximal smile animations in six patients with different types of functional problems. In parallel, a panel was asked to view video recordings of the patients and to rate the degree of motor impairment. Comparisons were made between the panel scores and those of the measurement instrument. Results Specific regions of the face display movement that is representative of specific animations. During the smile animation, landmarks on the mid- and lower facial regions demonstrated the greatest movement. A similar pattern of movement was seen during the cheek puff animation, except that the infraorbital and chin regions demonstrated minimal movement. For the grimace and eye closure animations, the upper, mid-facial, and upper-lip regions exhibited the greatest movement. During eye opening, the upper and mid-facial regions, excluding the upper lip and cheek, moved the most, and during lip purse, markers on the mid- and lower face demonstrated the most movement. We used the smile-sensitive landmarks to evaluate individuals with functional impairment and found good agreement between instrument rankings based on the data from these landmarks and the panel rankings. Conclusion The present method of three-dimensional tracking has the potential to detect and characterize a range of clinically significant functional deficits.
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Leon, Carlo Yannick, and Emilia Schmidt. "Women Equity Strive in Society Depicted through Animation Film Characters." NOTION: Journal of Linguistics, Literature, and Culture 3, no. 2 (November 23, 2021): 112–25. http://dx.doi.org/10.12928/notion.v3i2.4818.
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The purpose of this research is to identify the female representation depicted in the Disney Renaissance and to investigate why Disney characters struggle to claim their equity as women in their society. The research methods used in this study are classified as qualitative and descriptive. The documentation method and taking notes techniques are used to collect data. The research also employs two method concepts to analyze the collected data, including a gender equity approach analysis and Simone de Beauvoir's second-wave feminism theory. The data consists of linguistic units from various Disney Renaissance stories. The writer discovered three parts in the description of female representations based on data analysis of the female representations depicted in Disney Renaissance: rebel, wise, and adventurous women; confident, intelligent, and repellent of domestication women; and masculine, loyal, and ambitious women. Furthermore, data analysis of Disney characters' struggles in claiming their equality as women in their society reveals that they outperform patriarchal expectations, reject domestication, and practice emancipation by appropriating masculine attributes and roles.
Dissertations / Theses on the topic "Women in animation"
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Spark, Andi. "Animatrix: Animating Female Experience." Thesis, Griffith University, 2016. http://hdl.handle.net/10072/365369.
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This research explores the practice and context of animating female experience, specifically responding to the issue of postnatal depression. The interrelated hypothesis argues the definition of ‘animatrix’; a term that can be used to identify a particular approach to practice that is distinctly woman-centred or woman-created. In doing so, I address unfavourable conditions in the animation industry, both historically and continuing, that discourage an authentic female voice. This study takes an exploratory self-reflective practice approach wherein I examine my own and others’ experiences and responses to mental health issues surrounding childbirth. I correlate these to associated themes of the representation of adult women, social constructs and expectations of women as mothers, concepts of taboo and abjection, along with ideas of embodiment, memory, and fragmented storytelling. Coupled with this, I scrutinise practical and structural techniques used in animating; in particular, hand-drawn animation as opposed to the use of two-dimensional, cut-out, or rigged animating techniques or sculptural or digital three-dimensional model styles. This extends to incorporating haptic and tactile aspects of a drawing-based practice, integrated with theories of flow, to develop iterative digital screen-based artworks that can be displayed in multi-modal environments. Through a critical review of my multidisciplinary practice surrounding the field of animation, I identify key criteria that may be used to designate the honorific of Animatrix to a practitioner or practical outcome. This designation and attendant criteria serve to provide a launching point for further critical discussion from academics, practitioners, and the industry about the representation and contribution of women in animation.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Fadina, Nadezda. "Fairytale women : gender politics in Soviet and post-Soviet animated adaptations of Russian national fairytales." Thesis, University of Bedfordshire, 2016. http://hdl.handle.net/10547/603530.
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Despite the volume of research into fairytales, gender and ideology in media studies, the specific subject of animated adaptations of national fairytales and their role in constructing gender identities remains a blind spot at least in relation to non-Western and non-Hollywood animation. This study addresses the gap by analysing animated adaptations of Russian national fairytales in Soviet and post-Soviet cinema and television. It does so as a tool through which to approach the gender politics of the dominant ideologies in national cinema and also, though to a lesser extent, in television. One of the key perspectives this research adopts concerns the reorganization of the myths of femininity, as stored in ‘national memory’ and transferred through the material of national fairytales produced during a century-long period. By providing a detailed critical treatment of animated adaptations of Russian magic fairytales, this research examines the interaction between the cinematic versions of the national fairytales and the representation of female characters on screen. It draws on a range of feminist theoretical approaches on media representation. By performing a systematic study of the under-researched field, through a combination of qualitative and empirical analysis, the work demonstrates how totalitarian regimes and new democratic societies implicitly control gender constructions in similar ways, and specifically through the animated versions of national fairytale adaptations. The research identifies how the constructions of femininity are manipulated through the reshaping of the national past coded in the ancient folkloric narratives. The findings of the study reveal the principles on which the implicit patriarchal gender politics is based. These principles include the conservative choice of fairytale material adapted to the screen, the reactionary increase of production of animated fairytales targeted against liberalisation, the exclusion and reconstruction of strong matriarchal fairytale female characters, stereotypical representation of selected female characters, and normalisation of domestic violence. In so doing the study identifies a weakness in the existing scholarly discourse on ideology, which traditionally has claimed that Soviet animation was non-violent. Further, the study establishes the constructions of national memory and female identity as a part of the dominant cinematic discourses.
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Parker, Kayla. "Every frame counts : creative practice and gender in direct animation." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/4309.
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This thesis interrogates the ways in which the body-centred practices of women film artists embrace the materiality of direct animation in order to foreground gendered, subjective positions. Through the researcher's own creative practice, it investigates how this mode of film-making, in which the artist works through physical engagement with the film materials and the material processes of film-making, might be understood as feminine and/or feminist. Direct animation foregrounds touch as the primary sense. Its practices are process-based and highly experimental, because images are made through the agency of the body operating within restrictive parameters, making results difficult to predict or control with precision. For these reasons, direct animation has not been embraced by mainstream, narrative-focused, studio-based models of production, unlike other forms of two and three dimensional animation. It has remained a specialist area for the individual artist and auteur, and, to date, there is a paucity of commentary about direct animation practices, and what exists has been dominated by male voices. In order to develop ideas about the ways in which women represent themselves in an expanded film-making praxis that is focused on the body and materiality of process, this PhD inquiry, encompassing a body of films with written contextualisation, is situated in the context of the direct animation practices of three artists (Caroline Leaf, Annabel Nicolson, and Margaret Tait); and informed by conceptual frameworks provided by Luce Irigaray, Julia Kristeva and Hélène Cixous. This thesis proposes, via interaction between these three axes of research, that women film artists, operating independently, are able to create a female imaginary that represents women and is recognised by them, by constructing positions of practice outside the dominant symbolic modes of patriarchy, which evolve through the maternal body and the materialities of the feminine.
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Lee, Chanju. "Birth and Women in Mythology." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/35.
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The Birth is a multi-media video installation inspired by my personal experiences of a miscarriage and the births of my two children. The work is influenced by the mythologies found in Korean culture that focus on the mother figure as a ¡°Great Mother¡±. She is an ¡°ideal woman¡±, a ¡°good mother¡± and a ¡°sincere wife¡±. Working abstractly across the media of painting, video, digital animation, and the paintings of my son, The Birth exploits metaphors and symbols, to tell the story of women, especially the stories of mothers. The work speaks to motherly love and my own identity as an artist and a mother.
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Johansson, Ida. "NOT ON THE FABRIC BUT IN THE FABRIC : hardanger embroidery, animation and the grid." Thesis, Konstfack, Textil, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5574.
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This paper describes my work with a historical craft and my attempt to find new ways to look at it, work with it and present it. I use the embroidery technique Hardangersaum which is all white, and where selected threads of the woven fabric grid are removed while others are wrapped and embellished. The artistic research leans heavily on the traditional craft but tries to isolate it from its historical baggage. I turn my focus to the grid of the fabric and I present some viewpoints from Rosalind Krauss and Hannah B. Higgins. I describe questions of scale and presentation that have emerged and show how digital animation has played a major role in the development and the communication of the embroidery work.
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Álvarez, San Román Mercedes. "¿Anima(fic)ción? La producción del cuerpo en la era digital." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040206.
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Ce travail propose une analyse de la construction des personnages féminins des longs-métrages d’animation produits en Espagne entre 1985-2017, dans l’intention d’apporter des pistes sur la production du corps à l’ère du numérique. Une première approche de la matérialité de l’image générée par ordinateur à travers un parcours historique a servi d’abord à établir un cadre méthodologique. Elle a été suivie par une périodisation historique de l’introduction de la 3D en Espagne, à partir du modèle économique de production et de ses répercussions sur le contenu du long-métrage. Étant la première étude académique à traiter cette étape en profondeur, nous avons eu recours à des sources primaires, ce qui a impliqué un travail de terrain comportant près de soixante interviews semi-dirigées et le visionnage de plus de cent longs-métrages. La corrélation entre les caractéristiques de production de l’image en 3D et le contexte social et politique de l’Espagne a permis de mieux comprendre l’évolution du modèle commercial du cinéma d’animation. Tous ces éléments, obtenus et analysés à partir d’une étude ethnographique et de documentation bibliographique, ont contribué à délimiter le cadre dans lequel explorer le corps virtuel. La perspective de genre a été fondamentale pour discerner les implications de l’économie sur la fabrication du corps. En d’autres termes, l’étude des personnages féminins et de la manière dont ils sont construits comme tels, malgré l’absence d’un sexe biologique, a aidé à comprendre la manière dont le marché modèle les corps des femmesThis dissertation looks at the construction of female characters in animated feature films produced in Spain between 1985 and 2017, with the idea of providing insights into the production of the female body in the digital era. To establish a methodological framework, a first approach to computer generated imagery was made by means of a historic run-through of animation techniques over the years and the relation with other media. A breakdown of the historical stages of introducing 3D in Spain was then proposed, working from the economic production model and the impact thereof on feature-film content. As the first ever in-depth academic study of this stage, it proved necessary to draw from primary sources, whether trade professionals or their own films. This involved a fieldwork campaign involving nearly sixty semi-structured interviews and the watching of over one hundred feature films. Relating the 3D image production features to Spain’s social and political context over time then gives a much better idea of the business model trend in animated films. All these elements have been drawn from an ethnographic study and bibliographical documentation, helping to contextualize the study of the virtual body. The gender perspective has been crucial for ascertaining the economy’s impact on the construction of the body. In other words, the study of feminine characters and the way they are constructed as such, despite the absence of a biological sex, has helped us to understand how the market moulds women’s bodies
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Shah, Sabina. "The portrayal of the historical Muslim female on screen." Thesis, University of Manchester, 2017. https://www.research.manchester.ac.uk/portal/en/theses/the-portrayal-of-the-historical-muslim-female-on-screen(d6251b5e-5cff-44fb-abf0-48cb964b70ad).html.
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Representations of the Muslim female are value-laden synonymous with the act of veiling. Veiling has fuelled political, social and academic debates and this study contributes to the ongoing conversation alongside identity formation by examining the image of the Muslim female on-screen with due attention given to animation. The image of the Muslim female is drawn in all manner of directions from that of the belly-dancing beauty to the 'bundle in black', the latter often associated with terrorism, particularly post-9/11 and the consequent 'War on Terror'. There is another direction that proffers an idealised image of the good daughter and dutiful wife against that of the fallen woman. Such constructs I argue tend to rid the Muslim female of her agency. This thesis examines how and why various representations of the Muslim female have emerged and changed, whilst some aspects have remained stagnant over time, thus positioning on-screen representations within their historical context. This project goes beyond traditional academic methods of critical analysis in reading film. The hybridised role of the researcher-animator enables the study to offer a critique from that of the spectator, but with the added vantage point of the practitioner with a set focus on the making of meaning. The interdisciplinary approach incorporates film theory, specifically concerned with representations of race and gender. The work of Muslim women scholar-activists informs and inspires the practice in reclaiming the status of the Muslim woman. Their approach lies within three trajectories being gender-sensitive interpretations of the Qur'an, a recovery of Muslim women's history and a critique on representation. Their approaches fall in line with the aim of this project to reclaim the historical Muslim figure on screen, whereas animation provides an attractive yet versatile mode of production to carry out such a task. Key questions guiding this study are: why are current and existing portrayals of the historical Muslim female problematic? Why do these portrayals need to be addressed? Why does an alternative approach to the portrayal of the historical Muslim female need to be devised and put into practice? Finding the answers to these questions lie in the undertaking of the practice. The practice consists of the first two episodes of a five-part series titled 'Sultan Razia', and as the title suggests the animation is based upon a legendary historical Muslim female figure, who ruled the Sultanate of Delhi between 634-638 Hejira/1236-1240CE. This project is an example of how theory works in practice and vice-versa to determine an audio-visual practice that re-inserts the Muslim female into a history that breaks away from established cliches.
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Bella, M'ba Noella Maryse. "Comprendre l'engagement politique des femmes au Gabon." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH193.
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Née d’un questionnement initial sur la thématique de la démocratie gabonaise, cette recherche a évolué, non pour s’en détacher, mais pour en analyser un des aspects fondamentaux souvent mis de côté : celui de l’égalité dans la représentativité des genres. Au Gabon, depuis la Conférence Nationale qui instaure la démocratie dans les années 1990, la présence des femmes au sein des Gouvernements et dans les grandes Institutions de la République est ininterrompue. Auparavant, les groupes exclusivement féminins ont été leur principale tribune d’expression, limitant ces dernières à une pratique périphérique au champ politique. Elles semblent désormais parfaitement intégrées à la sphère des responsabilités.Cette thèse de doctorat vient interroger l’engagement des femmes dans le contexte gabonais. Elle analyse notamment la construction des différentes identités féminines socialement déterminées, mais aussi les rapports qu’elles entretiennent entre elles, et l’image qu’elles construisent de la sphère politique. Elle s’intéresse également à l’adéquation entre les pratiques féminines et les réalités de ce champ. En somme, l’objectif principal de cette recherche est d’analyser la pérennisation des dissymétries entre les femmes et les hommes en matière de responsabilités et de représentativité.La méthode principale a consisté en des entretiens semi-directifs auprès d’une soixantaine de femmes et d’hommes élus ou simples militants, issus d’une dizaine de partis politiques de la majorité et de l’opposition, du monde associatif, mais aussi de gabonaises et de gabonais sans attache partisane et non militants, appartenant à des catégories sociales variées. De nombreux présupposés théoriques sont venus renforcer cette étude qui se situe notamment à la croisée de la reproduction des rapports de sexes, de la domination, de la théorie de la dominance sociale, mais aussi de la violence symbolique et de celle relative aux imaginaires des croyances africaines.Cette étude apporte de nombreux enseignements sur l’engagement politique des femmes au Gabon. En dépit de leur présence numérique de plus en plus importante, et du fait que le pays se soit engagé, à l’échelle continentale et mondiale, à réduire les inégalités entre les femmes et les hommes et à améliorer le statut de ces dernières, leur existence en tant qu’actrices politiques demeure précaire, ce qui se lit à travers les postes qui sont les leurs et qui demeurent intrinsèquement liés aux mêmes grandes thématiques. En définitive, la sous-représentation quantitative et qualitative des femmes gabonaises en matière de responsabilités est la conséquence de nombreux facteurs, notamment la difficulté à juxtaposer leurs nombreuses identités contraignantes, le besoin de maintenir un ordre familial remis en cause par la disparition ou les modifications de la virilité sociale masculine elle-même consécutive à une présence plus importante des femmes au sommet de la hiérarchie, les pratiques féminines peu adaptées à la recherche et à la conquête du pouvoir, ainsi que l’influence importante des valeurs traditionnelles reçues en héritage. Enfin, l’organisation trimorphique de la société, c’est-à-dire sa séparation en trois univers distincts, à savoir, la sphère privée, la sphère publique et la sphère des pouvoirs, complexifie la réalité de l’engagement politique des femmes gabonaisesEmerging from an initial questioning on Gabonese democracy, this research has evolved, not in order to emancipate itself from it, but to analyze one of its fundamental aspects which is too often put aside: the equality of gender representativeness. In Gabon, since the National Conference that established democracy in the early 1990s, the presence of women within Governments and major Institutions of the Republic has been permanent. Previously, the female groups were the main platform for their expression, limitating them to a peripheral practice in the political field. Now, they seem perfectly integrated into the sphere of responsibility.This doctoral thesis questions the commitment of women in the context of Gabon. It analyses in particular the construction of different identity among socially defined women, but also relationships between them, and the image of the political sphere that they build. It also deals with the adequacy between the women's practices and the realities of this field. In short, the main objective of this research is to analyse the perpetuation of the asymmetries between women and men in terms of responsibilities and representativeness.The main method consisted in semi-structured interviews of some 60 women and men representatives or activists from a dozen political parties of the majority and the opposition, of the associations, but also of Gabonese citizens and a variety of non partisan and not militant Gabonese people belonging to various social categories. Many theoretical assumptions have reinforced this study which is especially at the crossroads of the reproduction, of sex relationships, of domination, of the theory of social dominance, but also of symbolic violence and that are related to the imaginary of African creeds.This study provides insights into the political commitment of women in Gabon. Despite their increasing numerical presence, and the fact that the country has committed itself, on a continental and global scale to reduce inequalities between women and men and to improve the status of women, their existence as political actors remains precarious. This is visible through the positions they occupy and which remain intrinsically linked to the same major themes. In the end, the quantitative and qualitative under-representation of Gabonese women in terms of responsibilities is the result of many factors, including the difficulty to juxtapose their many binding identities, the need of maintaining a family organization undermined by the disappearance or changes of men’s sense of social manhood itself due to a greater presence of women at the top of the hierarchy, women's practices that are not suited to search and the conquest of power, as well as the important influence of traditional values inherited. Finally, the trimorphic organization of society, that is to say, its separation into three separate worlds, namely, the private sphere, the public sphere and the sphere of powers, makes the reality of Gabonese women’s political commitment more complex
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Ballif, Kristin Leifson. "Oral Performances as Ritual: Animating the invisible in Mormon Women's Miscarriage Stories." Diss., CLICK HERE for online access, 1998. http://patriot.lib.byu.edu/u?/MTAF,15532.
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Shimada, Akiko S. "Representations of girls in Japanese Magical Girl TV animation programmes from 1966 to 2003 and Japanese female audiences' understanding of them." Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/51536/.
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As a Japanese cultural genre, animated works for girls serve as sociocultural texts which articulate hegemonic social norms and ideologies regarding gender in Japanese society. This thesis aims to critically examine representations of 'magical girl' protagonists in Jpanese Magical Girl TV animation programmes (anime) for girls from 1966 to 2003, and to analyse female audiences' viewing experiences and understanding of those programmes in relation to the context of sociocultural and feminist movements in Japan. By using a combined methodology of close textual analysis of six Magical Girl TV anime and of qualitative research, in which individual interviews with female audiences and a focus group discussion among girl audiences were conducted, this thesis explores how representations of Western-oriented witches and witchcraft in the Magical Girl TV anime facilitated constructions of female gender identity and idealised 'self' and how actual female audiences in three different age cohorts understood, took pleasure in, consumed, negotiated, resonated with and/or reconciled with those representations. Although Japanese witch animation texts articulated Japanese normative moral values and hegemonic femininity as well as ideal gender equality, they served as sites in which female audiences took pleasure in constructing an ideal 'self' and self-assertion through negotiating, resonating and reconciling with Western-oriented fashionable female protagonists and their lifestyle, and attaining self-expression through 'textual poaching' or exercising imagined magical transformations in an all-female or solitary environment. This thesis attempts to contribute to uncovering little-explored but important Japanese cultural texts of Magical Girl TV anime and explicate the way in which actual Japanese audiences responded to this gender-segregated genre of Japanese TV anime.
Books on the topic "Women in animation"
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Good girls and wicked witches: Women in Disney's feature animation. Eastleigh, U.K: John Libbey Publishing, 2006.
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Yi, Su-yŏn. Hanʼguk yŏsŏng ŭi munhwa hyangsu siltʻae wa munhwa hyangsu chego rŭl wihan chŏngchʻaek chiwŏn pangan. Sŏul Tʻŭkpyŏlsi: Munhwa Kwanʼgwangbu, 2005.
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Meckel, Anne. Animation, Agitation: Frauendarstellungen auf der "Grossen Deutschen Kunstausstellung" in München, 1937-1944. Weinheim: Deutscher Studien Verlag, 1993.
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Mbilinyi, Marjorie J. Beyond 'women and education': Towards transformative gender animation = Zaidi ya 'wanawake na elimu' : tuelekee kwenye jinsia na uraghibishi. Dar es Salaam: Tanzania Gender Networking Programme, 1995.
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Valentini, Alessandra. Agrippina Maggiore. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-346-5.
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On October 18th of 33 AD, after five years of confinement on the island of Ventotene, Agrippina the Elder, Augstus’ niece, Germanicus Caesar’s wife, Caligula’s mother and Nero’s grandmother, died. At first she was a witness and then she assumed a leading role in the fight for the choice of the prince's heir, held up by a consistent group of supporters and animating the opposition in the Domus Augusta. In recent years scholars’ attention has been dedicated to the reconstruction of Augustus and Tiberius’ politics and to the organization of the groups animating the fight for the heir’s choice in the domus principis. To Agrippina the Elder, who assumed for decades a central role in the dynamics of the principate’s succession, scholars didn’t give specific attention, favoring, instead, the male perspective in the Augustan and Tiberian politics or the study of other women linked to men who assumed important role on the political scene. In a historical context in which the domus Augusta became the space of the political discussion and where women easily acquired spaces in the political field, Agrippina the Elder assumed an increasingly important role, acting in fields traditionally precluded to women and obtaining major possibilities to interfere in politics.
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Clamp. Magic Knight Rayearth. [Los Angeles]: Mixx Manga Premium Edition/Mixx Entertainment, 1998.
Find full textBook chapters on the topic "Women in animation"
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Gardner, Hunter H. "Plastic Surgery: Failed Pygmalions and Decomposing Women in Les Yeux sans Visage (1960) and Bride of Re-Animator (1989)." In Classical Myth on Screen, 95–105. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137486035_9.
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Motrescu-Mayes, Annamaria, and Heather Norris Nicholson. "Reimagining Boundaries: Amateur Animations." In British Women Amateur Filmmakers, 196–226. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420730.003.0008.
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Very few amateur women filmmakers chose to focus on animation and none have been identified in the colonial settings considered in this book. This chapter discusses varied approaches to animation and suggests that early stop motion experiments were entertaining acts of story-telling and capturing scenes of childhood. Some filmmakers added animated titling sequences to their films and used special visual effects, either working on their own, with a partner or as part of a larger group as seen in films by the Grasshopper Group and Leeds Animation Workshop. Working at home characterises many of this chapter's examples although some teachers have explored animation with children of different ages. IAC records and reminiscences trace over eighty years of women's involvement including still active practitioners and many invisible and under-acknowledged contributors to Britain's professional mid century animation industry
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Mihailova, Mihaela. "Drawn (to) independence: female showrunners in contemporary American TV animation." In Independent Women, 91–107. Routledge, 2021. http://dx.doi.org/10.4324/9781003176299-7.
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Zhang, Jing. "Chinese Snake Woman Resurfaces in Comics: Considering the Case Study of Calabash Brothers." In Monstrous Women in Comics, 207–20. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496827623.003.0013.
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This chapter provides a study of a transgressive female figure from Chinese legend who may enjoy lasting popularity, but who also has a dubious moral standing when one examines her relationship to the eponymous young brothers. Snake Woman’s monstrous qualities are revived alongside the magical brothers as the proper counterpart to their superhuman feats in a Shanghai Animation Studio revival from 1986. This chapter shows this to be part of a history that reveals what Chinese culture holds to be both repugnant and appealing about a woman embedded in a children’s narrative.
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Motrescu-Mayes, Annamaria, and Heather Norris Nicholson. "Webs of Production and Practice." In British Women Amateur Filmmakers, 30–56. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420730.003.0002.
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Chapter 2 explores women’s strategic role as clubs grew up to support amateur activity. Unlike the early colonial cine club scene that was largely male dominated, Britain's cine club scene involved women from the outset and echoes other gendered patterns of associational and voluntary activity. Previously unavailable films, club records and interviews identify significant contributions by award-winning women practitioners, as mentors, adjudicators, writers, teachers and committee members that facilitate local to international events and bridge the transition from analogue into digital activity. Interviews reveal how healthier, personally wealthier and active retirees still sustain roles carved out by their pioneering predecessors. Background, education, marital status, paid employment and domestic roles contextualise how women maintained local groups during wartime, filmed club life and made films alone or with other members. Some became fundraisers, all became keen advocates and for some, film became part of their identity, whether working in non-fiction, fiction, experimental filmmaking or animation.
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"The War Years, Stalinist Repression, and Women Navigating the Animation Industry." In She Animates, 76–99. Academic Studies Press, 2020. http://dx.doi.org/10.2307/j.ctv1zjg951.7.
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"4. The War Years, Stalinist Repression, and Women Navigating the Animation Industry." In She Animates, 76–99. Academic Studies Press, 2020. http://dx.doi.org/10.1515/9781644690352-005.
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Lockhart, Ellen. "Giuditta Pasta and the History of Musical Electrification." In Animation, Plasticity, and Music in Italy, 1770-1830. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520284432.003.0006.
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Chapter 5 traces the theme of human plasticity into Italian aesthetic discourse and opera of the 1820s and 1830s. The echoes of the musical statues of the late Enlightenment can be heard in the reception of performers of Ottocento opera, especially the women. Figures like Maria Malibran and particularly Giuditta Pasta were construed as living statues or artificially animated interlopers from an ancient past. This quality of animatedness was described with a very new kind of imagery within music criticism, one that drew on well-known developments in the nascent scientific field later known as electrobiology.
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Montgomery, Colleen. "From Snow White to the Snow Queen." In The Oxford Handbook of the Hollywood Musical, 105—C5.N51. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780197503423.013.28.
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Abstract The Disney Princess film is among Walt Disney Animation Studios’ most iconic, popular, and profitable media properties. While the studio’s production of princess films has fluctuated since the late 1930s, the animated singing princess has become largely synonymous with the Disney brand. As texts centered on and historically marketed to young girls, Disney Princess films also figure heavily in popular and academic debates over the representation of women, gender, and femininity in Disney animation. By contrast, relatively little work attends to the critical role the voice plays within the gendered representational economies of the Disney Princess film. To extend and deepen extant understandings of these gendered dynamics, this chapter begins by tracing the history of female vocality in Disney Princess films of the 1930s to the late 2000s. The study then turns to a close analysis of the relationship between the voice, identity, agency, and female (inter) subjectivity in two recent iterations of the Disney Princess film: Brave and Frozen.
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Bello-Bravo, Julia, and Anne Namatsi Lutomia. "Changing Formal and Informal Learning Practices Using Smartphones." In Multicultural Andragogy for Transformative Learning, 171–93. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-3474-7.ch010.
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Smartphones have afforded women opportunities to overcome some of the constraints they face in the informal sector. The culture of traditional learning for women in the marketplace refers to sharing common standardized practices of learning from each other, conducting business, communicating, and making money. Sharing information, knowledge, and experiences is already embedded in the culture of the informal sector therefore a network connection through smartphones will bring a new light of opportunities to the learning environment. Using a case study of market women in Ghana, the authors of this chapter focus on these women's experiences learning with video animation in smartphones and predict how they will envision a new way of learning that combines the formal and informal learning with easy capabilities such as visualization, simulation, technical proficiency, and accessibility to information.
Conference papers on the topic "Women in animation"
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Ramamonjiarivelo, Zo, DeLawnia Comer-Hagans, Ifeanyi Beverly Chukwudozie, Shirley Spencer, Vida Henderson, Barry Pittendrigh, Julia Bello-Bravo, et al. "Abstract B31: Creating a mobile device-based educational animation for African American women with hereditary breast cancer risk." In Abstracts: Tenth AACR Conference on The Science of Cancer Health Disparities in Racial/Ethnic Minorities and the Medically Underserved; September 25-28, 2017; Atlanta, GA. American Association for Cancer Research, 2018. http://dx.doi.org/10.1158/1538-7755.disp17-b31.
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Whitaker, Corinne. "The other woman." In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281523.
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Ishida, Atsushi, Emi Ishigo, Eriko Aiba, and Noriko Nagata. "Lace curtain: rendering animation of woven cloth using BRDF/BTDF." In ACM SIGGRAPH 2012 Posters. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2342896.2342903.
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Clyde, David, Joseph Teran, and Rasmus Tamstorf. "Modeling and data-driven parameter estimation for woven fabrics." In SCA '17: The ACM SIGGRAPH / Eurographics Symposium on Computer Animation. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3099564.3099577.
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Khattab, Ahmed, and A. Sherif El-Gizawy. "Development of Virtual Flow Model for Process Design in Vacuum Assisted Resin Infusion Molding Operations." In ASME 2005 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/detc2005-84399.
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A virtual flow model for process design in vacuum assisted resin infusion operations is developed. It uses a control volume technique based on finite difference method to characterize flow behavior during resin infusion in molding woven fiber composite structures. In order to enhance the visual capability of the developed virtual model, a geometric reconstruction scheme is used to present the resin flow front at fixed time increment. The Graphic Interchange Format (GIF) is used to combine images into a single file to create animation. This model provides capabilities for prediction of flow pattern, pressure distribution inside the mold, and evolved defects. Several case studies were conducted to evaluate the effectiveness of the developed model.