Animated Films

Walt Disney animated films are considered synonymous with wholesome family entertainment despite the inherent negative messages of gender, age, and power hierarchies behind them. This paper proposes to explore the aspect of
age as intersecting with gender through the villainesses in six of Disney’s popular animated films: Snow White and
the Seven Dwarfs (1937), Cinderella (1950), Sleeping Beauty (1959), The Little Mermaid (1989), Tangled (2010),
and Frozen (2013). How Disney alters the actions of major and minor characters, and the construction of aging
female characters and the key characteristics they exhibit during their fight for eternal youth, beauty, and social and
political power will be analyzed, attempting to show how Disney is not a harmless substitute for a babysitter for
children.

Durante la Segunda Guerra Mundial la literatura de propaganda no se ciñó únicamente a la literatura habitual en revistas o diarios, como el Der Stürmer, famoso por sus difamatorios cartoons antisemitas. Conscientes del éxito que generaban las películas Disney, desde el frente nazi se intentó copiar el formato animado, produciendo cortos nazis de gran carga ideológico-moral. Mientras tanto varias productoras de animación produjeron, por encargo del gobierno americano, manuales ilustrados y sobre todo cortometrajes de propaganda de guerra, con un claro contenido anti- nazi. Entre estos estudios, uno de los más involucrados fue la Disney Company, que llevó a cabo películas educativas y de formación militar, así como otras encaminadas a levantar la moral en retaguardia. Entre los diferentes contratos que se !rmaron, destaca uno de especial interés, para la realización de varias producciones animadas con un mensaje anti-nazi, teniendo como máximo exponente el corto Der Fuehrer’s Face (1943). En estas narrativas, tanto en la del Ministerio de propaganda nazi, como en la del frente aliado, encontramos una marcada utilización de un formato animado con los propósitos de una literatura de propaganda. Partiendo de un concepto de literatura amplificada, en esta comunicación se pretende analizar la clara lectura ideológica de estos productos y sobre todo el papel de estos cortos animados en la con!guración de criterios, valores y actitudes sociales en el contexto de la Segunda Guerra Mundial.

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 col-or' negatively over the years.

Lawrence Thomas Martinelli The drawing of reality, truth and artifice of comics and animated cinema. Can drawn representation of reality complete and sometimes replace photographic documentation of the real? In absence or in concealment of official information and of photographic documentation, in a paradoxical context of overdose of seemingly objective, complete, updated " 24 hours a day " information that produces a rising feeling of frustrating indifference, grows the popularity and need of reality expressed through comics and animated cinema. Almost as if there were more truth in the reconstruction by strips of less exposed or more hidden pages of history. In animated or drawn narration, where the artifice is manifest, the manipulation of the image is obvious, and handmade subjectivity is not confused with supposed mechanical-photographic " objectiveness " , there we can find the relish of telling and visualizing political and social issues in total freedom. By studying some cases in which drawn testimony is made explicit –animated documentaries, graphic reporting, drawn reconstructions-we try to find cues to understand how such forms of hybrid expression can contribute in establishing a truth that outcomes from the pluralism of notions and from the approaches to reach and treat them. In my previous paper given on " Objective and subjective documentation of the contemporary by animated films " 1 , we examined the motivations that could induce authors to prefer the use of animation in presence of authentic material, but in absence of real live action footage. We have seen how in such cases visual documentary for completeness of information goes through a various range of processes of recreation and reconstruction, according to the aims of the animator-documentary-maker. Given as accepted that animated cinema and documentary film have definitely merged into what is commonly defined as animated documentary, form of expression in the spirit of current times, we focus our attention on the credibility and authenticity of " artificially " reconstructed account of facts, on the balance between objectiveness and subjectivity, on the amount and means of exposure of such subjective approach and presence of the author. In a similar way and with the same aims, we shall take into consideration also the use of graphic novels and comic art in general to give account of reality in different ways. We are speaking of that widely developed part of graphical narration produced in the more recent decades that goes under the categories of carnets de voyages, biographies and autobiographical narrations, reportages, graphical journalism. Both in animated documentaries and in what we shall call here " non-fiction comics " , the moment of visualization of reality is openly artificial. Especially with " handmade " techniques, namely by drawings (but also by cutouts , modelled clay and puppets), the artificial recreation of reality is manifest. While the use of digital animation or digital illustration may straddle a wide line of ambiguity between the real and its recreation, the use of drawings is no doubt related to the hand of the artist. To the hand and, more obviously than in all the other cases, to the point of view of the author. Nevertheless, especially when dealing with narration, the rhythm itself of narration, the layout, the involvement of the spectator-reader, the visual and sound effects may take the receiver to forget the presence of the narrator and thus the narrator's point of view. The belying subjectivity of the narrator may be therefore overshadowed by the other elements that make the story credible and authentic. To some authors such a result may be desired (the need to make it seem or feel real). To others, surely among those who draw their accounts themselves or have them drawn, to have the presence of the artist exposed is a much more desirable effect.

A partir de 1990, a arte da animação tem se desenvolvido amplamente com a informatização dos meios de produção. E como já observavam Adorno e Horkheimer (1996, p. 65), as obras animadas se transformaram em produtos á mercê das manipulações econômicosociais do mercado, como também elementos mantenedores do sistema – e de fuga da realidade, seguindo os estudos de Guy Debord (2003). Assim, são lançadas no mercado superproduções que extasiam o público, sendo verdadeiros espetáculos de efeitos digitais.
Porém, mesmo neste contexto, existem iniciativas de desenvolvimento de uma arte menos mercantilista. Pois “espetáculo”, não significa apenas eventos com forte aparato cenográfico e de efeitos, mas também “olhar”, “observar atentamente”, “contemplar” – latim, spectaculu (HOLANDA, 1999, p. 815).
Uma das instituições que tem por filosofia o desenvolvimento
da linguagem audiovisual é o National Film Board of Canada, sendo notoriamente conhecido como um polo produtor de obras de animação autoral, obras que possuem “um caráter, uma personalidade, uma vida real, uma psicologia e até uma ‘visão de mundo’ que concentrem sua função sobre sua própria pessoa e sobre a sua ‘vontade de expressão pessoal” (VERNET in: AUMONT, 2008, p. 110). Tais projetos resultam numa manifestação artística homogênea, e visualmente mais pregnante que, como confirma Alexander Petrov, “se mantém a individualidade, sua ideia, a especificidade do estilo do animador, sua peculiaridade estética, tudo o que geralmente se perde nas grandes produções” (2009).
Em 1999 um dos projetos selecionados pela instituição foi Aria
(2001), um curta-metragem de animação com bonecos baseado na ópera Madame Butterfly (1904), de Giacomo Puccini (1858-1924), do animador russo, radicado em Oslo, Piotr Sapegin.
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Since 1990, the art of animation has developed extensively with the computerization of the means of production. And as observed Adorno and Horkheimer (1996, p 65), the animated works turned into products at the mercy of economic and social market manipulations, as well as maintainers elements of the system - and escape from reality, following the Guy Debord studies (2003). So, blockbusters are launched in the market, to pleasure of the public, as true spectacles of digital effects.
But even in this context, there are development initiatives of an art less mercantilist. For "spectacle" does not mean only events with strong scenic apparatus and effects, but also "look", "watch closely", "contemplate" - Latin Spectaculu (HOLLAND, 1999, p 815).
An institution whose philosophy development the audiovisual language is the National Film Board of Canada, It is notoriously known as a producer of polo authorial animated films, works that have a character, a personality, a real life, a psychology and even a world view "to concentrate their function on their own person and on their' willingness to personal expression"(VERNET in : AUMONT, 2008, p 110). Such projects result in a homogeneous artistic expression, and visually more pregnant that, as confirmed by Alexander Petrov, "remains individuality, your idea, the specificity of the animator's style, its aesthetic peculiarity, everything that usually gets lost in the big productions" (2009).
In 1999 one of the projects selected by the institution was "Aria"
(2001), an animated short film with puppets based on the  Madame Butterfly opera(1904), by Giacomo Puccini (1858-1924), by russian animator, based in Oslo, Piotr Sapegin.

This paper endeavors to reveal the portrayal of domestication in How to Train Your Dragon I. This film is based on a collection of books written by Cressida Cowell, and important to be discussed due to some reasons. First, the film is adapted as an animated film with PG (Parental Guidance) status. It makes parents to concern with its narrative because it contains entertainment and education values. Second, the film adaption converts the original size of the dragon, Toothless, from small green to big black dragon. This conversion invites questions from the writers of this paper as it has impacts on the portrayal of the dragon. Third, How to Train Your Dragon I is a 2010 fiction film adaptation directed by Chris Sanders and Dean DeBlois under Dream Works production which introduces the point of view of colonial discourses illustration through the domestication as the result of relationship between white human character namely Hiccup and black non-human character namely Toothless. Moreover, Edward Said colonial discourse is used to analyze the portrayal of domestication captured through Hiccup-Toothless relationship from taming to owning. This paper used qualitative method followed by observing preferred shots showing the portrayal of domestication process and analyzing them through colonial discourse. The result of the paper criticizes that Toothless' domestication followed by the rest of dragons represents and emphasizes the white superiority over black non-human character.

anna antonini chiara tognolotti Burattini animati. Le avventure di Pinocchio nel cinema animato italiano La scelta di seguire le tracce delle avventure di Pinocchio per rileggere alcuni snodi della storia del cinema animato italiano non è, com'è ovvio, casuale. Il testo di Collodi, uscito in volume nel 1883, segna l'inizio dell'industria culturale italiana. Come è stato dimostrato da Fausto Colombo nel suo La cultura sottile1, l'opera di Carlo Lorenzini occupa un posto di rilievo per due motivi. Innanzitutto la mescolanza di matrici culturali, che comprendono -in sintesi -il mito (la metamorfosi, ma anche la biblica balena), la favola (l'antropomorfismo degli animali) e il romanzo d'appendice (la fata e tutto il suo 'corredo' gotico). L'altra ragione è che Le avventure di Pinocchio segna la nascita dell'artigianato culturale: ovvero Collodi incarna un autore che da un lato presta grande attenzione alla cura e alla qualità del suo lavoro, dall'altra possiede un senso imprenditoriale spiccato che lo fa agire con consapevolezza nel nascente mercato culturale. A partire da queste premesse, la questione è: questi due motivi trovano un qualche riscontro nell'animazione italiana? Che cosa passa dal testo alle trasposizioni animate? In altri termini: se e come si traduce la ricchezza culturale del romanzo collodiano nei film animati italiani? E, secondo interrogativo: possiamo rintracciare in essi, perlomeno in embrione, un'industria paragonabile a quella editoriale nascente? Vediamo qualche esempio. Di solito si cita il Pinocchio di Giulio Antamoro del 19112 come primo esempio di trasposizione del romanzo che conterrebbe alcune sequenze animate, in particolare quelle delle marionette di Mangiafuoco e quelle della balena; ma nella versione restaurata del film vediamo che nel primo caso le marionette sono attori travestiti e ripresi in continuità, mentre nel secondo caso si ha soltanto la ripresa fotogramma per fotogramma, così come di tanto in tanto ci sono dei trucchi per far sparire o riapparire personaggi. Dunque non si tratta di un film d'animazione vero e proprio: ma il film di Antamoro rimane comunque interessante perché rappresenta uno snodo, un punto di partenza di diversi percorsi che l'animazione italiana tenta di percorrere, ma senza riuscirci (quasi) mai. In effetti il film del 1911 rappresenta un punto di passaggio tra cinema primitivo e istituzionale; se dal punto di vista del contenuto si cerca di legittimare la nascente istituzione cinematografica portando sullo schermo uno dei testi simbolo della cultura e dell'identità nazionale, se si guarda allo stile il modo di rappresentazione è ancora legato ai modi dei primi tempi: quadri giustapposti, autonomia delle scene, profondità di campo, movimento degli attori nello spazio filmico. Ancora, il film rispecchia la presenza di più serie culturali, peraltro presenti anche nel libro3, configurandosi come un vero e proprio testo sincretico: la letteratura certo, ma anche l'illustrazione, i libri e il cinema d'avventura e fantastici, la comicità dell'attore Guillaume, nonché -scendendo per un attimo nel dettaglio -le cosiddette "pinocchiate", ovvero pubblicazioni che sfruttavano la figura di Pinocchio per inserirlo in contesti del tutto estranei al testo collodiano -per cui, detto per inciso, l'inserimento dell'episodio che vede Geppetto preso prigioniero dagli Indiani d'America si rivela in realtà meno peregrino di quanto non sembri a prima vista.

Resumen:
La ciencia ha estado presente en el hecho cinematográfico desde sus orígenes, ya como impulsora de la invención misma del cinematógrafo en el ocaso del siglo XIX, ya como promotora del continuo desarrollo técnico que los soportes audiovisuales han ido experimentando y garante de la calidad de la imagen y el sonido, a la vez que elemento propiciador de la reciente apertura del cine hacia la digitalización. En este artículo nos proponemos hacer un breve recorrido por los insignos científicos que han sido protagonistas de la historia del medio en un contexto amplio, desde aquellos primeros inventores y pioneros de los efectos especiales y el trucaje hasta los crudos estereotipos sociológicos que el ámbito audiovisual nos ha ofrecido durante décadas, deteniéndonos a analizar el rol propagandístico o admonitorio que la imagen en movimiento ha desempeñado a la hora de reflejar las bienandanzas o adversidades que el progreso tecno-científico puede llegar a acarrear.



Abstract:
It is an undisputed fact that scientific discovery has been notably present in cinema since its early origins, either as a precursor of the Cinématographe’s invention in the twilight of the nineteenth century or even as a tool intended for the technical improvement of the audiovisual aids and the progressive quality of image and sound, as well as a driving force in the opening-up to modern digitalization nowadays. Our aim in this article is to have a short tour around the most prominent scientists that have led the history of film in a wide sense, from the early inventors and the pioneers of special effects and trick photography to the on-screen sociologically stereotypes that audiovisual means have provided for decades. Finally, we also discuss the advertising or warning role that motion pictures have carried out to mainly reflect the prosperities and adversities that techno-scientific progress may entail.

Ice age: Dawn of the Dinosaurs is a story about an unsual herd and their journey towards the Dinosaur land below the icy surface. The herd is unsual for it is made up of diverse animals: Manny and Ellie, two mammoths; Sid the sloth; Diego the saber; and the opossum twins Crash and Eddie. Manny is expecting a child with his wife, Ellie. He is anxious that he panicked at his wife's false alarm. He is also obsessed with making life safe and perfect for his and their child. At the same time, Diego finds himself unable to catch a gazelle and because of this decides to leave the group for believes that sticking with the herd makes his more soft and that he is losing his predatory skills. When he said it to the herd, he and Manny got a fight in which Sid also grew sad and got jealous that Manny is having a family. When Sid got lost, he stumbled upon three eggs and took them, giving them names: Eggbert, Shelly and Yoko. When he brings it to the surface, Manny tells him to return them but he did not head.

“I am so glad I don’t live in America in real life”. The image of the USA in gender discourse of Soviet animation.
The article based on analysis of the Soviet animated films of the «Long Fifties» (1946-1963) deals with role of gender discourse in constructing the USA image.  The author discusses how the animation served as a weapon of the Cold war confrontation. Representations of American masculinity, femininity, love, marriage, and family issues were aimed to ensure the animated films’ audience in superiority of the Soviet gender order. In order to delegitimate the USA gender order the films employed the specific possibilities of animation: distorting the bodies’ proportions,  picturing the external and internal «Them» in the guises of repulsive  animals, using color to juxtapose «Us» and «Them», and exploiting jazz music as a sign of Americanness.

Crisis processes change the social imaginary and influence artistic creation and cultural products. The aim of this work is to analyze the impact of the 2001 Argentinian crisis on film animation. By means of an audiovisual analysis of the film El empleo (dir. Santiago Grasso, 2008), I address the elements that are problematized and the discourses posed by the film. The conclusion aims to expand the scope of academic studies focusing on the impact of crisis on cultural products in the field of contemporary animation

The paper is focussed on the current discussions on the cartoon “Masha and the Bear” as a factor in geopolitics and international security. The authors show that using the frame of sym-bolic politics as a methodology for analyzing the problem of “cinema and politics” has a great heu-ristic potential.

Bible translation workers face a major challenge in finding ways to engage preliterate communities with Scripture. Traditional translation methods take a long time and depend on literacy to function. Studies have shown that 80% of the world's population are oral learners. This paper shows how local communities can engage with the Scripture by creating animated videos of Bible stories using free software and public domain resources. I will discuss the methods used to create these animated videos as well as the benefits and challenges of using digital media in remote communities. We are using oral translation of Bible stories to engage in the work of Scripture translation with the Central Pame of Mexico. This allows the community to gain access to the Biblical stories sooner than if they waited for a traditional written translation. The addition of digital media engages both adults and children with the stories in a way that print media and oral stories alone cannot. This method not only creates engagement and linguistic pride, but it has created a desire to see a written translation of the Scripture in the local community.

Questi fascicoli educativi invitano gli studenti ad approcciarsi liberamente e con flessibilità ai film; una delle sfide più grandi è comprendere e relazionarsi alle immagini cinematografiche usando diversi approcci: la descrizione, uno step essenziale per qualsiasi processo analitico, e l’abilità di estrarre e selezionare immagini, organizzarle, compararle, e confrontarle. Questo permette di far comparazioni con immagini del film mettendole a confronto con immagini provenienti da tutte le arti visive e narrative (fotografia, letteratura, pittura, teatro, cartoni…). L’obiettivo è che le immagini non siano sfuggenti allo sguardo ma che abbiano senso; il cinema, in questo modo, è un’arte sintetica di inestimabile valore che costruisce e rafforza la prospettiva delle nuove generazioni.

This paper explores how vocative forms are represented and then dubbed into Italian in Lady and the Tramp (1955) and The Jungle Book (1967), two Disney animated classics, and in their recent remakes in live- action. In particular, the quantitative and qualitative descriptive analysis focuses on how the number and the type of vocatives vary between an- imated films and live-action remakes as well as between original and Ital- ian dubbed dialogues. The results indicate that animated films have a higher frequency as well as a richer array of vocative forms which serve diegetic, characterising, and interpersonal functions. As for the Italian dubbings, the analysis shows that vocatives tend to be reduced in terms of tokens and types both in animated films and live-actions, but in the latter in particular. In fact, from a qualitative point of view, in the Italian dubbed live-action remakes vocatives dramatic functions are often lev- elled out.

The educational booklets invite students to freely and flexibly engage with the films; one major challenge is to comprehend and relate to the cinematographic images using different approaches: description, an essential step for any analytical process, and the ability to extract and select images, organize, compare, and confront them. This includes images in the film being discussed and others, as well as images from all visual and narrative arts (photography, literature, painting, theatre, cartoons…). The objective is that images will not be fleeting but rather make sense; cinema, in this way, is an especially invaluable synthetic art in that it builds and bolsters the perspective of young generations.