tag:blogger.com,1999:blog-72682898466781110002024-03-18T21:50:08.344-07:00Animation EssaysAnimation Essays by Christian SalmonChristian Salmonhttp://www.blogger.com/profile/05368205501588816032noreply@blogger.comBlogger6125tag:blogger.com,1999:blog-7268289846678111000.post-9370836249060253752007-01-08T22:38:00.000-08:002007-01-09T02:36:41.012-08:00ANIMATION - POST MODERNISM<div style="text-align: center;"><span lang="EN-AU" style="font-family:Arial;">20<sup>th</sup> Century Visual Culture<o:p></o:p></span></div> <p class="MsoNormal" style="text-align: center;" align="center"><span lang="EN-AU" style="font-family:Arial;">Modernism & Post Modernism<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: center;" align="center"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <div class="MsoNormal" style="text-align: center;" align="center"><span style=";font-family:Arial;font-size:16;" lang="EN-AU" > <hr align="center" size="2" width="100%"> </span></div> <p class="MsoNormal" style="margin: 0in 0.5in 0.0001pt; text-align: center;" align="center"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="margin: 0in 0.5in 0.0001pt; text-align: center;" align="center"><u><span lang="EN-AU" style="font-family:Arial;">Question<o:p></o:p></span></u></p> <p class="MsoNormal" style="margin: 0in 0.5in 0.0001pt; text-align: center;" align="center"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Animation From The Last 50 Years Has Often Been Discussed In Relation To Its Fusion Of High Art And Popular Culture ‑ As Well As Its Use Of Appropriation, Pastiche And Parody, Its Ambivalence To New Technology And Mass Media And Its Avoidance Of The Narrative 'Closure'. Argue That These Characteristics of Post modernity can be applied To Three (3) Animated Titles. (Use Examples from Commercial/ Independent And / Or Web based Forms and Pop‑Video Clips)<o:p></o:p></span></p> <p class="MsoNormal" style="margin: 0in 0.5in 0.0001pt; text-align: center;" align="center"><b style=""><span style="font-family:Arial;"><o:p> </o:p></span></b></p> <div class="MsoNormal" style="text-align: center;" align="center"><span style=";font-family:Arial;font-size:16;" lang="EN-AU" > <hr align="center" size="2" width="100%"> </span></div> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span lang="EN-AU"><o:p></o:p></span><b style=""><u><span style="font-family:Arial;"><o:p><span style="text-decoration: none;"></span></o:p></span></u></b><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Animation from the last 50 years has often been discussed in relation to its fusion of high art and popular culture, appropriation, pastiche and parody, its ambivalence to new technology and mass media and its avoidance of the narrative 'closure'.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">This paper will argue that these characteristics of post modernity can be applied to the three following animated titles; <i style=""><u>The Maxx</u>,</i> <i style=""><u>Shrek</u>,</i> and <i style=""><u>Fantasia 2000</u></i>. <span style=""> </span>Firstly, this paper will identify characteristics of the fusion of high art and popular, as in <i style=""><u>Fantasia 2000</u></i>, with its combination of Disney cartoons with classical music. Secondly, this paper will show that there is use of parody, pastiche and appropriation, as in <i style=""><u>Shrek’s</u></i> irreverent treatment of the fairy tale genre and, thirdly that there is an ambivalence<span style=""> </span>to new technologies and the mass media, and an avoidance of the narrative closure, as in the animated adaptation of Sam Keith’s psycho-analytical comic book, <i style=""><u>The Maxx</u></i>. <span style=""> </span><o:p></o:p></span></p> <p class="MsoNormal" style="margin-right: 55.3pt; text-align: justify; line-height: 200%;"><i style=""><span style="font-family:Arial;"><o:p> </o:p></span></i></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Post Modernity is itself a slippery concept and there is not one undisputed description of this contemporary cultural phenomenon. It can be said that an artifact or activity is post modern if it exhibits a number of the traits that are generally associated with postmodernism (</span><span lang="EN-AU" style="font-family:Arial;">Batorowicz</span><span style="font-family:Arial;"> B. 2003). It is apparent that post modern characteristics are being identified and applied to animation discourse when we consider a statement by Lindvall and Melton;<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="margin: 0in 0.5in 0.0001pt; text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><span style=""> </span>“Animated film serves as a site for exploring certain aspects of postmodernism, particularly the realms of double-coding, intertextuality, and carnival comedy. It’s use of pastiche and parody, of extended quotation, and of multiple perspectives – of heteroglossia within one small discourse – situate it as a prime property for post modern analysis.” <o:p></o:p></span></p> <p class="MsoNormal" style="margin: 0in 55.3pt 0.0001pt 0.5in; text-align: justify; line-height: 200%;"><span style=";font-family:Arial;color:red;" ><o:p> </o:p></span></p> <p class="MsoNormal" style="margin-right: 1.3pt; text-align: justify; line-height: 200%;"><span style="font-family:Arial;">It can be viewed that animation is an area that is being understood and discussed in a post modern context and we can also further identify some of the significant characteristics of post modernity.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-right: 1.3pt; text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">In looking into one characteristic of post modernism, that being the fusion of high art and popular culture, it must be understood that animation has generally been considered a low art form of popular culture entertainment. It is associated with cartoons, comics and the mass marketing and merchandising of trade marked characters and properties. Recently there has been a revival in interest and academic study of the medium and there is a movement to acknowledge certain key animation artists and the art in general at higher level in the continuum of high and low art<span style="color:red;">. </span>(Wells 2002) <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Although <i style=""><u>Shrek</u></i>, <i style=""><u>The Maxx</u></i>, and <i style=""><u>Fantasia 2000</u></i> can be considered as popular culture artifacts given there production within the entertainment industry, there is a significant fusion of high art ideals, concerns, and references into the production process that both informs and affects the final product or outcome. This fusion of high art sensibilities and concerns within popular culture context is seen to be a significant characteristic of the postmodernism era (</span><span lang="EN-AU" style="font-family:Arial;">Benshoff H.1992)</span><span style="font-family:Arial;">. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">The basis of Disney’s <i style=""><u>Fantasia 2000</u></i>, which is the sequel to the original <i style=""><u>Fantasia</u></i> of 1940, is the combination of classical music with a variety of figurative and experimental animated segments. Although “this mixing of high and popular cultures doesn’t raise the eyebrows that it did in 1940” (Turan K. 1999), it is nonetheless important to note as it further indicates the continued shifting of sensibilities towards a more post modern discourse.<span style=""> </span><o:p></o:p></span></p> <p class="MsoNormal" style="margin-right: 55.3pt; text-align: justify; line-height: 200%;"><span style=";font-family:Arial;color:red;" ><o:p> </o:p></span></p> <p class="MsoNormal" style="margin-right: 55.3pt; text-align: justify; line-height: 200%;"><span style="font-family:Arial;">In <i style=""><u>Shrek</u></i> the 3D animated blockbuster film about</span><span style="font-family:Arial;"> <span lang="EN-AU">“a grumpy, slime-loving, bug eating ogre”</span></span><span lang="EN-AU" style="font-family:Arial;"> </span><span style="font-family:Arial;">(Fordham J. 2002) </span><span lang="EN-AU" style="font-family:Arial;">there is a significant </span><span style="font-family:Arial;">fusion of high art ideals, concerns, and references. </span><span lang="EN-AU" style="font-family:Arial;">“DreamWorks upside down fairy tale” (Kaufmann D. 2001) </span><span style="font-family:Arial;">references the impressionist color palettes of illustrators N.C. Wyeth (Fig 1), and Grant Wood. In impressionist paintings such as Monet’s, ’</span><span lang="EN-AU" style="font-family:Arial;">Wheat stacks’</span><span style="font-family:Arial;"> (Fig. 2) the colors are pushed and combined to create an imagined reality of heightened chroma. To achieve the “other worldly’ fairy tale look in Shrek, DreamWorks developed <span style=""> </span>complex 3D rendering programs to add a cooler chromatic spectrum to shadows and a warmer spectrum to the light and to minimize the use of black (Fordham J. <span style="color: rgb(0, 0, 0);">2002)</span>. This use of a sophisticated impressionistic colour palette in a popular culture animated feature film can be considered a fusion of high and low. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="margin-right: 55.3pt; text-align: justify; line-height: 200%;"><span style="font-family:Arial;">There are visual references in the design of Prince Farquaad’s fascist theme park castle, ‘Duloc’, that are sourced from “the pre-world war II architecture of Albert Speer, the architect for Hitler” (Joe Fordham 2002).<span style="color:red;"> </span>Albert Speer’s impressive architectural monuments to fascism are considered to rest in the culture of the high arts.<b style=""><span style="color:red;"><o:p></o:p></span></b></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><b style=""><span style=";font-family:Arial;color:red;" ><o:p> </o:p></span></b></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><span style=""> </span>Also, a significant high visual art and scientific concern is about creating a spatially realistic pictorial image within a flat two dimensional format, i.e.; a canvas or a screen (Manovich L.1997). Manovich sees this concern to be ancestrally related to the significant moment in the history of high western art when Giotto achieved for the first time the effect of being able to produce 3D form on a two dimensional canvas. This was the significant moment when the practice of visual art changed from symbolic 2D medieval imagery to the 3D perspective awareness and ability of the renaissance painters (Manovich L.1997). Perspective and form is achieved in 3D computer generated imagery by the use of recognizable ‘depth cues’ that correspond to the human visual experience of how we see and understand the real world (Moszkowicz J.2002). <span style=""> </span>The visual depth cues that are used in computer generated imagery today can be seen to be the distant visual legacy of Giotto and the painters of the renaissance period that pioneered the language of perspective, form and realistic pictorial representation. This relationship between the high art and science concerns of creating spatially realistic images within a popular culture animated film can be understood within the framework of post modernity. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Parody, Pastiche and appropriation are considered characteristics of post modernity (</span><span lang="EN-AU" style="font-family:Arial;">Batorowicz</span><span style="font-family:Arial;"> B. 2003), and there are significant elements of each in each of the three animated titles.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><i style=""><u><span style="font-family:Arial;">Fantasia 2000</span></u></i><span style="font-family:Arial;"> contains a variety of segments, rather, a pastiche of various Disney animation styles which have been used in previous projects. It has appropriated an entire segment from the first <i style=""><u>Fantasia</u></i> of 1940 and there are strong areas of parody within the film. One of the strongest parodies is the segment with pink flamingos and a yo-yo which can be seen as a parody of the ballet (Fig. 3).<span style=""> </span>This segment is set to the fragment of the classical music of ‘Saint Saines’, “carnival of animals” (Turan, K. 1999) <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><span style=""> </span><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">In <i style=""><u>Shrek</u></i>, the blockbuster 3D animated feature film, there are numerous characteristics of post modernity. It is an irreverent parody and pastiche of the entire western fairytale genre, appropriated and translated from the children’s book by the same name written by William Steig (Kaufman D. 2001)(Fig. 4). In the movie <i style=""><u>Shrek</u></i>, DreamWorks takes well known fairy tale characters and recontextualizes them, putting them all in one new story. Their primary and independent roles are subjugated and they become secondary characters to a new anti hero, the ogre, <i style=""><u>Shrek</u> (Fig.5)</i>. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">DreamWorks draws on a number of fairy tales to populate its story and the use of such material could be seen as pastiche, yet the use of this material extends into the realm of parody. The Fairy tale stories used include - <i style=""><u>The Ginger Bread Man</u></i>, <i style=""><u>Snow White</u></i> and <i style=""><u>The Seven Dwarfs</u></i>, <i style=""><u>Pinocchio</u></i>, <i style=""><u>Goldilocks and the Three Bears</u></i>, <i style=""><u>The Three Little Pigs</u></i>, <i style=""><u>Peter Pan and Tinker Bell</u></i>, <i style=""><u>Little Red Riding Hood</u></i>, <i style=""><u>Three Blind Mice</u></i>, and <i style=""><u>The Pied Piper</u></i>. It also uses the classic fairy tale element of the prince’s quest to the castle protected by a fire breathing dragon to rescue the princess.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">In Shrek there are references to popular entertainment such as the movies <i style=""><u>Matrix</u></i>, <i style=""><u>Crouching Tiger Hidden Dragon</u></i>, <i style=""><u>Gladiator</u></i><u> </u>and<u> <i style="">Star Wars</i></u> and, there are also parodies of popular television wrestling, ice hockey and a television game show presentation <span style="color: rgb(0, 0, 0);">(Adamson A. 2001)</span> <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Often a scene or sequence parodies more than one source, in the scene where Fiona fights Robin Hood and his merry men there are humorous references and parodies. These include a contemporary post modern treatment of Robin Hood and his merry men re contextualizing them into musical number that parodies the dance production ‘River Dance’</span><span style="font-family:Arial;"> <span style="color: rgb(0, 0, 0);">(Adamson A. 2001)</span></span><span style="font-family:Arial;"> There is a further parody in the usage of the effect called ‘bullet time’ popularized by the movie <i style=""><u>Matrix</u></i> in the sequence where Fiona is fighting Robin Hood and his merry men;<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="margin: 0in 55.3pt 0.0001pt 0.5in; text-align: justify; line-height: 200%;"><span style="font-family:Arial;">“In a parody of the ‘bullet-time’ effect from the Matrix, Fiona freezes in midair as the camera rotates around her during a fight with Robin Hood’s merry men.”<o:p></o:p></span></p> <p class="MsoNormal" style="margin: 0in 55.3pt 0.0001pt 0.5in; text-align: justify; line-height: 200%;"><span style="font-family:Arial;">(Fordham J. 2002)<span style="color:red;"><o:p></o:p></span></span></p> <p class="MsoNormal" style="margin: 0in 55.3pt 0.0001pt 0.5in; text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">MTV’s, <i style=""><u>The Maxx </u></i>is a comic book adaptation of the first 11 issues of Sam Kieth’s cult comic book by the same name (published by Image Comics). The Maxx is complex multi layered story that rests firmly in the soil of psycho analysis</span><span style="font-family:Arial;"> <span lang="EN-AU">(Smith G. 1999)</span></span><span style="font-family:Arial;">. The Maxx parodies the genre of the super hero giving us a large muscle bound super-hero-looking man in a purple suit and mask who lives in two different dimensional worlds.<span style=""> </span>One world is the city and he is homeless, lives in a box and is under the care of a social worker named Julie. In the other world, which is a fantastic variation of the Australian outback, he is the jungle king and mighty protector of the leopard queen. The Maxx is often confused and personally out of control. This is a parody of the hero archetype of intelligence, strength and power </span><span lang="EN-AU" style="font-family:Arial;">(Smith G. 1999)</span><span style="font-family:Arial;">.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">There is also a self-reflexive parody of cartoons within the film where the Maxx enters into a dream of him as a Saturday morning cartoon character. His character modeling becomes simpler and all dialogue has elements of rhyme.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">It becomes evident that we can discuss each of these animated titles in regards to the post modern characteristics of parody, pastiche and appropriation as they are significant elements within the films. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Ambivalence to new technology and mass media, and an avoidance of the narrative 'closure' are post modern characteristics (</span><span lang="EN-AU" style="font-family:Arial;">Batorowicz</span><span style="font-family:Arial;"> B. 2003) which directly relate to the three animated titles in discussion.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><b style=""><u><span style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></b></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><i style=""><u><span style="font-family:Arial;">Fantasia 2000</span></u></i><span style="font-family:Arial;"> is a mixture of different animation styles but there maintains ambivalence to new technologies, in that there is a number of hand drawn two dimensional sections within the film. “Mickey’s misadventures with water and a broom still have the kind of magic that modern technology can’t always manage”. (Turan K. 1999). This statement suggests that there is ambivalence to new technologies within at least a few sections of the film.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><b style=""><u><span style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></b></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><i style=""><u><span style="font-family:Arial;">Fantasia</span></u></i><span style="font-family:Arial;"> was originally intended as an ongoing project that would have new segments continually added to it. This denies it the authority of a singular traditional narrative and although some elements may constitute a complete storyline or narrative, seen altogether it must be considered in its patchwork and segmented nature. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Ambivalence to new technology and mass media can reveal itself in a number of ways. In <i style=""><u>Shrek</u></i> it primarily reveals itself through the use of traditional live action filmic considerations.<span style=""> </span>The inclusion of “camera” moves and angles specific to live action film making, like dollying, panning, film focus techniques and the addition of lens flare effects become an aesthetic choice rather than an actual necessity (Fordman J 2001). Fordman propounds that these are incorporated as if to inform the viewer that this is indeed a live action movie. Given that in the production of 3D animation there is no actual physical camera there is an ability to create any viewing angle or sequence that could be imagined. This effectively renders obsolete the ‘need’ to consider camera based filmic devices (Fordman J. 2001).<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">The Maxx stands out in its ambivalence to new technologies and in it’s avoidance of the traditional narrative closure. The Maxx as a comic book adaptation has retained significant elements and aspects of the comic book format (Fig. 6). The Maxx uses, to a large degree, radical framing techniques to communicate its comic book origin. The picture frame often changes from the standard film dimension and incorporates long tall frames, frames that are cropped, either horizontally and or vertically, and other framing devices such as frames within frames, and decorated frames indicating changes of scenes. There is also a significant ambivalence to new technologies in that often the animation is limited particularly in regards to the lack of movement of characters hair. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">In addition,<i style=""> <u>The Maxx’s</u></i> storyline is more a psycho analytical investigation into the complex subconscious workings in relation to the repression of trauma other than a traditional narrative. This multifaceted story line does not come to a traditional narrative ‘closure’ in that not all questions are answered and not all plots are completely resolved.<span style=""> </span><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">In conclusion it can be said that characteristics of post modernism can be applied to the animated feature films; Shrek, Fantasia 2000, and the Maxx. It has been identified that there exists the characteristics of the fusion of high and low art as in the combination of Disney cartoons with classical music in ‘Fantasia 2000’. Parody, pastiche and appropriation are used to a large extent in ‘Shrek’s’ irreverent treatment of the fairy tale genre, and there is an ambivalence<span style=""> </span>to new technologies and mass media and an avoidance of the narrative closure in the animated adaptation of Sam Keith’s comic book, ‘The Maxx’. <span style=""> </span>Looking at these titles it is apparent that animation is a medium that can be discussed within a post modern context. <o:p></o:p></span></p> <p class="MsoNormal" style="line-height: 200%;"><span style=""><o:p> </o:p></span></p> <p class="MsoNormal" style="line-height: 200%;"><span style=""><o:p> </o:p></span></p> <p class="MsoNormal" style="line-height: 200%;"><span style=""><o:p> </o:p></span></p> <p class="MsoNormal"><span style=""><o:p> </o:p></span></p> <p class="MsoNormal"><span style=""><o:p> </o:p></span></p> <p class="MsoNormal"><span style=""><o:p> </o:p></span></p> <p class="MsoNormal"><span style=""><o:p> </o:p></span></p> <p class="MsoNormal"><span style=""><o:p> </o:p></span></p> <p class="MsoNormal"><span style=""><o:p> </o:p></span></p> <p class="MsoNormal"><span style=""><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><i style=""><span style="font-family:Arial;"><o:p> </o:p></span></i></p> <span style=";font-family:Arial;font-size:12;" lang="EN-AU" ><br /><ul style="margin-top: 0in;" type="disc"><li class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Beata Batorowicz</span><span lang="EN-US" style="font-family:Arial;">, (2003), <i style="">Classroom Tutorial,<span style="color:red;"> </span>20<sup>th</sup> century visual culture, modernism and post modernism<o:p></o:p></i></span></li></ul> </span> <p class="MsoNormal" style="text-align: justify;"><i style=""><span style="font-family:Arial;"><o:p> </o:p></span></i></p> <ul style="margin-top: 0in;" type="disc"><li class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Terry Lindvall and Matthew Melton (1994), <i style="">‘Toward a postmodern animated discourse: Bakhtin, intertextuality and the cartoon carnival’, in Animation Journal, Fall 1994, vol. 8, no.1, pp. 44 - 63 <o:p></o:p></i></span></li></ul> <p class="MsoNormal" style="text-align: justify;"><i style=""><span style="font-family:Arial;"><o:p> </o:p></span></i></p> <ul style="margin-top: 0in;" type="disc"><li class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;">Paul Wells (2002), ‘the animation auteur’, in <i style="">‘Animation, Genre & Authorship’</i>, Wallflower Press, </span><st1:city><st1:place><span lang="EN-AU" style="font-family:Arial;">London</span></st1:place></st1:city><span lang="EN-AU" style="font-family:Arial;">, pp. 72-111</span><i style=""><span style="font-family:Arial;"><o:p></o:p></span></i></li></ul> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <ul style="margin-top: 0in;" type="disc"><li class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;">Harry Benshoff (1992),’<i style="">Heigh-Ho, Heigh-Ho, Is Disney High or Low? From Silly Cartoons to Postmodern Politics’, in ‘Animation Journal’, vol. 1, no. 1, pp. 62-83</i></span><i style=""><span style="font-family:Arial;"><o:p></o:p></span></i></li></ul> <p class="MsoNormal" style="text-align: justify;"><i style=""><span style="font-family:Arial;"><o:p> </o:p></span></i></p> <ul style="margin-top: 0in;" type="disc"><li class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Kenneth Turan (1999), <i style="">film review, in </i></span><st1:city><st1:place><i style=""><span style="font-family:Arial;">Los Angeles</span></i></st1:place></st1:city><i style=""><span style="font-family:Arial;"> Times, in fantasia 2000, in Film review annual, year 2000, pp 510 - 515 <o:p></o:p></span></i></li></ul> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <ul style="margin-top: 0in;" type="disc"><li class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Joe Fordham <span style="color: rgb(0, 0, 0);">(2002), </span><i style="">‘Jowly Green Giant’, in Cinefex, no.88, pp. 47 – 64<o:p></o:p></i></span></li></ul> <p class="MsoNormal" style="text-align: justify;"><i style=""><span style="font-family:Arial;"><o:p> </o:p></span></i></p> <ul style="margin-top: 0in;" type="disc"><li class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Debra Kaufman (2001), <i style="">‘Shrek, DreamWorks’ upside down Fairy Tale’, in Animation Magazine, June 2001, pp 30 – 34<o:p></o:p></i></span></li></ul> <p class="MsoNormal" style="text-align: justify;"><i style=""><span style="font-family:Arial;"><o:p> </o:p></span></i></p> <ul style="margin-top: 0in;" type="disc"><li class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Lev manovich (1997), <i style="">‘Reality’ effects in computer animation, in A Reader in Animation Studies, John Libbey, </i></span><st1:place style="color: rgb(0, 0, 0);"><st1:city><i style=""><span style="font-family:Arial;">Sydney</span></i></st1:city><i style=""><span style="font-family:Arial;">, </span></i><st1:country-region><i style=""><span style="font-family:Arial;">Australia</span></i></st1:country-region></st1:place><i style=""><span style="font-family:Arial;"><span style="color: rgb(0, 0, 0);">,</span><span style=""> </span>pp 5 – 15<o:p></o:p></span></i></li></ul> <p class="MsoNormal" style="text-align: justify;"><i style=""><span style="font-family:Arial;"><o:p> </o:p></span></i></p> <ul style="margin-top: 0in;" type="disc"><li class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Julia Moszkowicz (2002), <i style="">To infinity and beyond: assessing the technological imperative in computer animation, in Screen, 43.3 Autumn 2002, pp. 293 - 314 <o:p></o:p></i></span></li></ul> <p class="MsoNormal" style="text-align: justify;"><i style=""><span style="font-family:Arial;"><o:p> </o:p></span></i></p> <ul style="margin-top: 0in;" type="disc"><li class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Erin Warner, Vicki Jensen, Andrew Adamson (2001), <i style="">Filmmakers commentary, in Special Features, in <u>Shrek</u> DVD, DreamWorks Home Entertainment.<o:p></o:p></i></span></li></ul> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <ul style="margin-top: 0in;" type="disc"><li class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;">Greg M. Smith (1999), ‘Shaping the Maxx: Adapting the comic book frame to television’,</span><i style=""><span style="font-family:Arial;"> in Animation Journal, <span style=""> </span>Fall 1999, vol. 8, no.1, pp. 32 -53 <o:p></o:p></span></i></li></ul> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;color:red;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;color:red;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;color:red;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;color:red;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;color:red;" lang="EN-AU"><o:p> </o:p></span></p> <span style=";font-family:Arial;font-size:12;color:red;" lang="EN-AU" ></span> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;"><span style="font-weight: bold;">Fig.1</span></span></p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivoZ8tg06U_9yNdCbr3XQ7CxAcYTT6PJliZWdd3HJaoXLcIC4A4WO1BO2T2JejNOoqT-4T6p5v-I8XzSsYb4Vo8qrmY9NQQEC82cVDbNKxuYA5cuKMnH-ILt4UfRRTyjpS_UzlFxfvwVBU/s1600-h/image002.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivoZ8tg06U_9yNdCbr3XQ7CxAcYTT6PJliZWdd3HJaoXLcIC4A4WO1BO2T2JejNOoqT-4T6p5v-I8XzSsYb4Vo8qrmY9NQQEC82cVDbNKxuYA5cuKMnH-ILt4UfRRTyjpS_UzlFxfvwVBU/s320/image002.jpg" alt="" id="BLOGGER_PHOTO_ID_5017975894920438002" border="0" /></a><p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p><span lang="EN-AU" style="font-family:Arial;">“The </span><st1:place><span lang="EN-AU" style="font-family:Arial;">Oregon Trail</span></st1:place><span lang="EN-AU" style="font-family:Arial;"> Illustrations”<o:p></o:p></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDSI8ZbpsaFFieoRlJGzyJGxCy4wE7YR3kbJCDP0Hc2D6_Aizs-13YFq04XR7TzTuh5nnX0gG48l2M9Yofhj-dTagmuvFRKlxcmoqbbJ6z1yEk1YIEC1n4dQfQMdeQqgEEd3KoHySHAf3D/s1600-h/image002.jpg"></a> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;">by N. C. Wyeth<o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;">http://xroads.virginia.edu/~hyper/OREGON/wyeth03.html<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;color:red;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;color:red;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;color:red;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;"><span style="font-weight: bold;">Fig. 2</span></span></p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnDFMyQoZRy7IIcwBZBPEdDcO_tb_kn7SDVZNdcYQZZetp6diWsF_-Aw9tBq9bQokfHhL-kVgIpLqIXzhJpx47IREQ7lnkiZcGh0nzM3IXXjfF9VTJ6Gxcp6kEZjV5EvTd178Z3qm2dHMq/s1600-h/image004.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnDFMyQoZRy7IIcwBZBPEdDcO_tb_kn7SDVZNdcYQZZetp6diWsF_-Aw9tBq9bQokfHhL-kVgIpLqIXzhJpx47IREQ7lnkiZcGh0nzM3IXXjfF9VTJ6Gxcp6kEZjV5EvTd178Z3qm2dHMq/s320/image004.jpg" alt="" id="BLOGGER_PHOTO_ID_5017975899215405314" border="0" /></a><p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p style="color: rgb(0, 0, 0);" class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;"><span style="color: rgb(0, 0, 0);"><blockquote></blockquote>Monet, Wheatstacks (End of Summer)</span> <o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;">1890-91 (190 Kb); Oil on canvas, 60 x 100 cm (23 5/8 x 39 3/8 in); The Art Institute of Chicago<o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;">online gallery<blockquote></blockquote><o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;">http://www.ibiblio.org/wm/paint/auth/monet/haystacks/wheatstacks.jpg<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;color:red;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;color:red;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;"><span style="font-weight: bold;">Fig. 3</span><o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;color:red;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQL42Ea35tvsEEWWbyItGlroXohmB9JLJIDkXOxBU6jHo31cNED8HVI8mmH74hhXjFTzpCn9Ny1uqkC1GNRjITWXJD5xmJj0giVJvQVu27MVBXIgV_7gzgZqgUHSREt74M_vGrB_fviFDq/s1600-h/image005.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQL42Ea35tvsEEWWbyItGlroXohmB9JLJIDkXOxBU6jHo31cNED8HVI8mmH74hhXjFTzpCn9Ny1uqkC1GNRjITWXJD5xmJj0giVJvQVu27MVBXIgV_7gzgZqgUHSREt74M_vGrB_fviFDq/s320/image005.jpg" alt="" id="BLOGGER_PHOTO_ID_5017975903510372626" border="0" /></a><span lang="EN-AU" style="font-family:Arial;"><br />A flamboyant yo-yo-playing flamingo stands apart from the flock in this interpretation of Camille Saint-Saëns' "Carnival of the Animals, Finale." <o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;">(© Disney Enterprises, Inc. All rights reserved.)<o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;">http://www.imagesjournal.com/issue09/reviews/fantasia2000/pic5.htm<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;color:red;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;color:red;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;color:red;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;"><span style="font-weight: bold;">Fig. 4</span><o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;color:red;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8nwCKkuxhp-pDLou8FDzIX03ctVOLsU7SBbF1nvNKaf3jNdBq9BZ9r8XPq6Y56Z0AXYBHDqaWeBTrEx5lYP62W0zMzzGgJbIv0VF2xj3R1lupbhAzKBclgQ8-VI2vh9q01xe1Eoe8070D/s1600-h/image007.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8nwCKkuxhp-pDLou8FDzIX03ctVOLsU7SBbF1nvNKaf3jNdBq9BZ9r8XPq6Y56Z0AXYBHDqaWeBTrEx5lYP62W0zMzzGgJbIv0VF2xj3R1lupbhAzKBclgQ8-VI2vh9q01xe1Eoe8070D/s320/image007.jpg" alt="" id="BLOGGER_PHOTO_ID_5017976058129195298" border="0" /></a></p><p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;">“cover of the original children’s book ‘Shrek’”<o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;">William Steig<o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;">http://www.amazon.com/exec/obidos/tg/detail/-/0374466238/ref=lib_rd_ss_TFCV/002-0091415-3513658?v=glance&s=books&vi=reader&img=1#reader-link<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;color:red;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;color:red;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;"><span style="font-weight: bold;">Fig. 5</span> <o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijywRe4uk1oF2k66d8jwD5FofeyVuvlK_e9Lkc25Eo-9CZXo7IqPglKdd5m4Y5hyApTeWrrnSXRaVVw26lG383thyphenhyphenesLhVtuG1yH0wTlIAOF2UNWkudZiNkrX44UNcSCIA0vr-HiAmk_wZ/s1600-h/image009.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijywRe4uk1oF2k66d8jwD5FofeyVuvlK_e9Lkc25Eo-9CZXo7IqPglKdd5m4Y5hyApTeWrrnSXRaVVw26lG383thyphenhyphenesLhVtuG1yH0wTlIAOF2UNWkudZiNkrX44UNcSCIA0vr-HiAmk_wZ/s320/image009.jpg" alt="" id="BLOGGER_PHOTO_ID_5017976058129195314" border="0" /></a><p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;">“Still from the animated feature ‘Shrek’”,<o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;">in Online Gallery at,<o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;">http://www.digitalmediafx.com/Shrek/shrekgallery.html<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;color:red;" lang="EN-AU"><span style=""> </span><o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;color:red;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;color:red;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;color:red;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;"><span style="font-weight: bold;">Fig. 6</span></span></p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjS4auklfsb62WeRxeapJ5vLY_Tzs8yKUSjfCO5egEvb6E4s1eFCoWSHPNMTOMLEBv6Lk74eI6kefUFW8ovZmRFToIfaDELrqE4Kk_XA_YZ0BkBTTrpBmawV92xKYLSm4V5DxdOF2c6vBM/s1600-h/image011.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjS4auklfsb62WeRxeapJ5vLY_Tzs8yKUSjfCO5egEvb6E4s1eFCoWSHPNMTOMLEBv6Lk74eI6kefUFW8ovZmRFToIfaDELrqE4Kk_XA_YZ0BkBTTrpBmawV92xKYLSm4V5DxdOF2c6vBM/s320/image011.jpg" alt="" id="BLOGGER_PHOTO_ID_5017976062424162626" border="0" /></a><p class="MsoNormal"><span style=";font-family:Arial;color:red;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;">“Scanned Cover, VHS, ‘The Maxx’”<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;color:red;" lang="EN-AU"><o:p> </o:p></span></p>Christian Salmonhttp://www.blogger.com/profile/05368205501588816032noreply@blogger.com1tag:blogger.com,1999:blog-7268289846678111000.post-80935972292408025832007-01-06T04:14:00.000-08:002007-01-06T05:14:43.614-08:00AUSTRALIAN ANIMATION<p class="MsoNormal" style="text-align: center;font-family:arial;" align="center"><span lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: center;font-family:arial;" align="center"><span lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: center;font-family:arial;" align="center"><span lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: center;font-family:arial;" align="center"><span lang="EN-AU"><o:p> </o:p></span></p><div style="text-align: center; font-weight: bold;"><span style="font-family:arial;">AUSTRALIAN ANIMATION </span><o:p style="font-family: arial;"></o:p><br /><span style=";font-family:Arial;font-size:100%;" lang="EN-AU" >IMAGES AND IDENTITY</span></div><p class="MsoNormal" style="text-align: center;" align="center"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkhwRgf0PpyqRaIdjDiejHRMIWopgEXcpCJc1jNTTVOh4TB5hj4RZpr8uCgSlFTAF5vvX32lesxESb-NPlxYEYDe-550NUaviO6WMnMQuaZ3ymBqbUGCFMT79KV-0aHvs7mJcUIkBkl2hr/s1600-h/bazLost600x300.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkhwRgf0PpyqRaIdjDiejHRMIWopgEXcpCJc1jNTTVOh4TB5hj4RZpr8uCgSlFTAF5vvX32lesxESb-NPlxYEYDe-550NUaviO6WMnMQuaZ3ymBqbUGCFMT79KV-0aHvs7mJcUIkBkl2hr/s320/bazLost600x300.jpg" alt="" id="BLOGGER_PHOTO_ID_5016900516713897634" border="0" /></a><br /><span style=";font-family:Arial;font-size:16;" lang="EN-AU" ><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: center;" align="center"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: center;" align="center"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;">This essay will explore the question of wether there is a typically Australian animated image that can be identified and wether it is necessary to develop a distinctly Australian identity for animation produced in this country (</span><st1:country-region><st1:place><span lang="EN-AU" style="font-family:Arial;">Australia</span></st1:place></st1:country-region><span lang="EN-AU" style="font-family:Arial;">).</span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;">By identifying uniquely Australian cultural references within locally produced animation it will be argued that there is a typically Australian animated image. “Cane Toad” (2002) <span style=""> </span>by Andrew Silke and Dave Clayton is an animation that draws on a distinctly Australian vocabulary<span style="color:black;">. </span></span><span lang="EN-AU" style="font-family:Arial;">Alan Froud (2003),</span><span style="color: rgb(85, 85, 85);font-family:Arial;font-size:9;" lang="EN-AU" > </span><strong><span style="font-weight: normal;font-family:Arial;color:black;" lang="EN-AU">Director of the National Gallery of </span></strong><st1:country-region><st1:place><strong><span style="font-weight: normal;font-family:Arial;color:black;" lang="EN-AU">Australia</span></strong></st1:place></st1:country-region><strong><span style="font-weight: normal;font-family:Arial;font-size:10;color:black;" lang="EN-AU" > </span></strong><strong><span style="font-weight: normal;font-family:Arial;color:black;" lang="EN-AU">states</span></strong><span style=";font-family:Arial;color:black;" lang="EN-AU"> “Australian culture and identity is often defined by its counterpoints. Things are either very Australian or un-Australian and people generally know what is meant by either.”<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style=";font-family:Arial;color:black;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN" style="font-family:Arial;">This paper will also make the argument that it is not necessary </span><span lang="EN-AU" style="font-family:Arial;">“</span><span lang="EN" style="font-family:Arial;">to develop a distinctly Australian identity for all animation produced in this country” so much as as to provide an environment that supports the realization of animation with a uniquely Australian vocabulary.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN" style="font-family:Arial;">This paper acknowledges that although one of the oldest</span><span lang="EN-AU" style="font-family:Arial;"> indigenous populations on the planet had been inhabiting the continent for over 50,000 years (some argue that it could be more like 150,000 years) they were not officially recognised and the principle of<span style=""> </span>“Terra Nullius”, a 17<sup>th</sup> century European Legal concept was enforced so as to </span><span lang="EN" style="font-family:Arial;">claim possession of the continent that would become Australia.<span style=""> </span>To this day no treaty has been signed with the indiginous people.</span><span lang="EN" style="font-family:Arial;"> </span><span lang="EN-AU" style="font-family:Arial;">It can be said that the lack of a civil treaty with the indigenous people of the Australian continent severely undermines the validity of a complete concept of Australian identity. For the purpose of this essay the Australian identity will be treated as it is prescribed by the mainstream Australian media sources. </span><b><span lang="EN" style="font-family:Arial;"><o:p></o:p></span></b></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;">Animated texts that can be read as Typically Australian draw upon and utilize a broad range of signs, stereo types, codes and conventions that form the visual language of the nebulous Australian national identity which is rooted in both the real and mythic history of </span><st1:country-region><st1:place><span lang="EN-AU" style="font-family:Arial;">Australia</span></st1:place></st1:country-region><span lang="EN-AU" style="font-family:Arial;"> and its people. It is an ever evolving amorphous complex relationship of images, cultural nuisances, personalities, and government policy. It is under pinned by key historical events and forever set against a backdrop of the Australian landscape with its unique flora and fauna. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;">One animation that can be read as typically Australian is Cane Toad (2003)</span><b><span lang="EN" style="font-family:Arial;">,</span></b><span lang="EN-AU" style="font-family:Arial;"> an award winning Australian short Film starring cane toads. It is an interesting text as it utilizes numerous typically Australian references to create a comedic look at some aspects of Australian culture. The world that the toads inhabit is depicted as typically Australian and the toads as stereo typical Australian personalities with distinct Australian accents. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;">The animation opens with a text description of the cane toad; “Poisonous pest introduced to </span><st1:country-region><st1:place><span lang="EN-AU" style="font-family:Arial;">Australia</span></st1:place></st1:country-region><span lang="EN-AU" style="font-family:Arial;">, now in plague proportions”. From the out set of the film the audience is made aware that the animation is located in </span><st1:country-region><st1:place><span lang="EN-AU" style="font-family:Arial;">Australia</span></st1:place></st1:country-region><span lang="EN-AU" style="font-family:Arial;"> through one of the most potent symbols of </span><st1:country-region><st1:place><span lang="EN-AU" style="font-family:Arial;">Australia</span></st1:place></st1:country-region><span lang="EN-AU" style="font-family:Arial;">, the word itself. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;">immediately after the opening titles the audience is introduced to a cane toad character ’Daza’, relaxing in a dog bowl with a bottle of beer, He is talking about his mate ‘Baza’ (fig. 1) who is wearing a blue shearers Singlet and stubbies shorts, this is a depiction of a certain stereotype of Australian male. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;">The use of iconic Australian language idioms is used throughout the text, beginning when ‘Daza’ addresses the audience “G’day mate”. This use of language continues throughout the animation with such expressions as; “Pickle me Grandmother”, “The silly old bugger”, “Seeing the bludger still owes me a six – pack”, “I’m happy to blow the froth of a few coldies”, He’d only have the time it takes to shot gun a tinny”, and “his ass is grass”. These expressions help define the characters as uniquely Australian as they are representative of unique National attitudes that have developed within the culture since the arrival of the first fleet.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;">There is also a use of iconic landscapes such as the ‘Aussie backyard’, and the dessert landscape of the outback (fig. 2), There is a classic Australian souvenir shop with a corrugated tin roof (fig. 3), Australian flags, didgeridoos, a stuffed koala and<span style=""> </span>boomerangs. There are other key signs that firmly place this animation in the realm of being typically Australian such as the images of the </span><st1:place><st1:placename><span lang="EN-AU" style="font-family:Arial;">Sydney</span></st1:placename><span lang="EN-AU" style="font-family:Arial;"> </span><st1:placename><span lang="EN-AU" style="font-family:Arial;">Harbour</span></st1:placename><span lang="EN-AU" style="font-family:Arial;"> </span><st1:placetype><span lang="EN-AU" style="font-family:Arial;">Bridge</span></st1:placetype></st1:place><span lang="EN-AU" style="font-family:Arial;"> and the Opera house.<span style=""> </span>There is also a Reference to the black stump, a famous Australian icon of historical relevance.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="color: rgb(0, 32, 49);font-family:Arial;" lang="EN-AU">Another significant sign that this is an Australian animation is the “product placement’ of an iconic Australian commercial product, the Victa lawnmower (fig.2). Victa is a brand of local origin that's still ‘proudly made in </span><st1:country-region><st1:place><span style="color: rgb(0, 32, 49);font-family:Arial;" lang="EN-AU">Australia</span></st1:place></st1:country-region><span style="color: rgb(0, 32, 49);font-family:Arial;" lang="EN-AU">’. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="color: rgb(0, 32, 49);font-family:Arial;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;">Andrew Silke (2003), one of the co-creators of Cane toad States “Cane-Toad is certainly an Australian film and the Australian audiences connect with the humour. And whilst Cane-Toad is doing well in the overseas festivals the reaction hasn't been quite the same as it is here in Oz.” This highlights the issue, that animations of a uniquely Australian vocabulary may not be well understood or well received by an international audience. Australian films then must operate within limited markets which in turn limits the profit that is able to be generated, which in turn negatively impacts the viability of actually producing Australian animation that may reach only a limited audience.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="color: rgb(0, 32, 49);font-family:Arial;" lang="EN-AU">There has, since the earliest days of animation in </span><st1:country-region><st1:place><span style="color: rgb(0, 32, 49);font-family:Arial;" lang="EN-AU">Australia</span></st1:place></st1:country-region><span style="color: rgb(0, 32, 49);font-family:Arial;" lang="EN-AU">, been a relationship between the development of the art of animation, and commercial interests. Both, the first cinema animations of Harry Julius and the first animated series for Australian TV, ‘Freddo Frog’ (fig. 4) </span><span style="color: rgb(0, 32, 49);font-family:Arial;" lang="EN-AU">(</span><span style="font-family:Arial;">Winkler 2002)</span><span style=""> </span><span style="color: rgb(0, 32, 49);font-family:Arial;" lang="EN-AU">where commercially motivated. </span><span lang="EN-AU" style="font-family:Arial;">The medium can be seen to be significantly informed by commercial interests. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style=";font-family:Arial;color:black;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN" style="font-family:Arial;">Australia has a relatively small population of consumers in terms of world screen <span style=""> </span>markets, 20,100,000 people compared with the USA which has 294,390,000 (US census beurea). Due to economies of scale, the notion of wether </span><span lang="EN-AU" style="font-family:Arial;">it is </span><span lang="EN" style="font-family:Arial;">necessary to develop a distinctly Australian identity for animation produced in this country is a question of cultural and political importance as the outcome is largely bound to the idealogical forces within the government<span style=""> </span>that determine implementation of government policy. As Australia is a democracy this question can only be answered to the extent that the Australian population of voting citizens value access to a sovereign Australian screen Culture. One that is created by a local Australian industry and that reflects themes and issues of National origin that tell Australian stories.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <h1 style="text-align: justify;"> </h1><p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;">Recently the Australian government attempted unsuccessfully to include </span><st1:country-region><st1:place><span lang="EN-AU" style="font-family:Arial;">Australia</span></st1:place></st1:country-region><span lang="EN-AU" style="font-family:Arial;">’s cultural industry into a long standing Free Trade agreement with the </span><st1:country-region><st1:place><span lang="EN-AU" style="font-family:Arial;">USA</span></st1:place></st1:country-region><span lang="EN-AU" style="font-family:Arial;">. The proposed agreement would have limited the jurisdiction of Australian Legal system to impose media content legislation within </span><st1:country-region><st1:place><span lang="EN-AU" style="font-family:Arial;">Australia</span></st1:place></st1:country-region><span lang="EN-AU" style="font-family:Arial;">.<span style=""> </span>The issue of wether it is </span><span lang="EN" style="font-family:Arial;">necessary to develop a distinctly Australian identity for animation produced in this country is complex as there are essentially two opposing forces. Coporate, cultural and economic Globalisation versus proponents of Soverign cultural identity directed and supported by the government. </span><span style="background: lime none repeat scroll 0% 50%; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial;font-family:Arial;color:black;" lang="EN"> </span><span style=";font-family:Arial;color:black;" lang="EN-AU"><o:p></o:p></span><span lang="EN-AU" style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;">On </span><st1:date year="2004" day="21" month="6"><span lang="EN-AU" style="font-family:Arial;">Monday 21 June 2004</span></st1:date><span lang="EN-AU" style="font-family:Arial;">, the House of Representatives Standing Committee on Communications, Information Technology and the Arts tabled its report entitled ‘From reel to unreal’, Future opportunities for </span><st1:country-region><st1:place><span lang="EN-AU" style="font-family:Arial;">Australia</span></st1:place></st1:country-region><span lang="EN-AU" style="font-family:Arial;">'s film, animation, special effects and electronic games industries. This report suggests film funding should be based more on market demands and less on cultural imperatives, that is, to tell Australian stories (Martin 2004).<o:p></o:p></span></p> <h1 style="text-align: justify;"><span style="font-weight: normal;font-family:Arial;font-size:12;" lang="EN" ><span style=";font-family:arial;font-size:100%;" ></span><o:p></o:p></span></h1> <p class="MsoNormal" style="text-align: justify;"><span lang="EN" style="font-family:Arial;">It becomes apparent that there is a complex relationship of opposing forces that are currently shaping the international media environment and that although there is </span><span lang="EN-AU" style="font-family:Arial;">a typically Australian animated image that can be identified,</span><b style=""><span lang="EN-AU" style="font-family:Arial;"> </span></b><span lang="EN" style="font-family:Arial;">that may be relevant locally there are serious economic questions that need to be addressed about a projects viability if it does not succeed in the international marketplace. It is not reasonable to force Australian content onto animation producers in Australia but it is resonable to support Ausralian production through financial assistance, tax benefits, and the maintenance of the already existing Australian content quota. </span><span lang="EN-AU" style="font-family:Arial;">There is the potential within animation in </span><st1:country-region><st1:place><span lang="EN-AU" style="font-family:Arial;">Australia</span></st1:place></st1:country-region><span lang="EN-AU" style="font-family:Arial;"> for a significant cultural dialogue to occur. It is a medium ideally suited to contributing contemporary myths and stories that could positively inform the evolving Australian identity.</span><span lang="EN" style="font-family:Arial;"><o:p></o:p></span></p> <h1 style="text-align: justify;"><span style="font-weight: normal;font-family:Arial;font-size:12;" lang="EN" ><o:p> </o:p></span></h1> <h1 style="text-align: justify;"><span style="font-weight: normal;font-family:Arial;font-size:12;" lang="EN" ><o:p> </o:p></span></h1> <h1 style="text-align: justify;"><span style="font-weight: normal;font-family:Arial;font-size:12;" lang="EN-AU" ><o:p> </o:p></span></h1> <h1 style="text-align: justify;"><span style="font-weight: normal;font-family:Arial;font-size:12;" lang="EN" ><o:p> </o:p></span></h1> <h1 style="text-align: justify;"><span style="font-weight: normal;font-family:Arial;font-size:12;" lang="EN" ><o:p> </o:p></span></h1> <p class="MsoNormal" style="text-align: justify;"><span style=";font-family:Arial;color:black;" lang="EN-AU"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <b style=""><u><span lang="EN" style="font-family:Arial;">REFERENCES</span></u></b><u><span lang="EN" style="font-family:Arial;"><o:p></o:p></span></u> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;">Andrew Silke (2003), retrospective, one year later,</span><span lang="EN-AU" style="font-family:Arial;"> </span><span lang="EN" style="font-family:Arial;"><a href="http://www.canetoad.com/">http://www.cane-toad.com</a><o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;">Wendy Keys, (1999), Childrens television: A Barometer of the Australian Media Policy Climate, Children’s Television Policy:International Perspectives, Media International Australia, Australian Key centre for cultural and media policy, faculty of arts, Giffith University, Nathan<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><br /></span><span lang="EN-AU" style="font-family:Arial;">Alan Froud - <strong><span style="font-weight: normal;font-family:Arial;color:black;" >Director, National Gallery of </span></strong></span><st1:country-region><st1:place><strong><span style="font-weight: normal;font-family:Arial;color:black;" lang="EN-AU">Australia</span></strong></st1:place></st1:country-region><span lang="EN-AU" style="font-family:Arial;"> (2003)<span style="color: rgb(255, 153, 0);"> </span>Culture and Identity, <strong><span style="font-weight: normal;font-family:Arial;color:black;" >Business Council of Australia,</span></strong></span><span lang="EN-AU" style="font-family:Arial;"> <a href="http://www.bca.com.au/content.asp">http://www.bca.com.au/content.asp</a></span><span style=";font-family:Arial;color:black;" lang="EN-AU"><o:p></o:p></span></p> <h1> </h1><p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;">Lauren Martin, (</span><st1:date year="2004" day="22" month="9"><span lang="EN-AU" style="font-family:Arial;">September 22 2004</span></st1:date><span lang="EN-AU" style="font-family:Arial;">) Film, Sydney Morning Herald, </span><st1:city><st1:place><span lang="EN-AU" style="font-family:Arial;">Fairfax</span></st1:place></st1:city><span lang="EN-AU" style="font-family:Arial;"> Digital<o:p></o:p></span></p> <h1><span style="font-weight: normal;font-family:Arial;font-size:12;" lang="EN" ><span style=";font-family:arial;font-size:100%;" ></span> <o:p></o:p></span></h1> <p class="MsoNormal"><span style="font-family:Arial;">Michael Winkler (</span><st1:date month="6" day="13" year="2002"><span style="font-family:Arial;">June 13 2002</span></st1:date><span style="font-family:Arial;">)<span style=""> Hopping back in time,</span> The AGE<o:p></o:p></span></p> <h1><span style=";font-family:Arial;font-size:12;" lang="EN" ><o:p> </o:p></span></h1> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;">Prime Time Animation<o:p></o:p><br /><br /><!--[if !supportLineBreakNewLine]--></span><b style=""><u><span lang="EN" style="font-family:Arial;">INTERNET REFERENCE<o:p></o:p></span></u></b></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><a href="http://www.aph.gov.au/house/committee/cita/film/report.htm">http://www.aph.gov.au/house/committee/cita/film/report.htm</a><o:p></o:p></span></p> <p class="MsoNormal" style="margin-left: 0.75in;"><span lang="EN-AU" style="font-family:Arial;">Parliamentary Inquiry into the future opportunities for </span><st1:country-region><st1:place><span lang="EN-AU" style="font-family:Arial;">Australia</span></st1:place></st1:country-region><span lang="EN-AU" style="font-family:Arial;">'s film, animation, special effects and electronic games industries</span><span lang="EN" style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><a href="http://www.cultureandrecreation.gov.au/articles/australianhistory/">http://www.cultureandrecreation.gov.au/articles/australianhistory/</a><o:p></o:p></span></p> <p class="MsoNormal" style="margin-left: 0.75in;"><span lang="EN" style="font-family:Arial;">Australian Government culture and recreation portal<o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><a href="http://www.census.gov/main/www/popclock.html">http://www.census.gov/main/www/popclock.html</a> <o:p></o:p></span></p> <p class="MsoNormal" style="margin-left: 0.75in;"><span lang="EN" style="font-family:Arial;">US Census Beureau</span><span lang="EN" style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><a href="http://www.canetoad.com/">http://www.cane-toad.com</a><o:p></o:p></span></p> <p class="MsoNormal" style="margin-left: 0.75in;"><span lang="EN" style="font-family:Arial;">Official site of <i style="">Cane Toad </i>animation<o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;"><a href="http://www.bca.com.au/content.asp">http://www.bca.com.au/content.asp</a><o:p></o:p></span></p> <p class="MsoNormal" style="margin-left: 0.75in;"><span lang="EN-AU" style="font-family:Arial;">Business Council of </span><st1:country-region><st1:place><span lang="EN-AU" style="font-family:Arial;">Australia</span></st1:place></st1:country-region><span lang="EN" style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <span style="font-weight: bold;font-family:Arial;font-size:12;" lang="EN" ><span style="font-size:100%;">IMAGES</span></span><b><span style=";font-family:Arial;font-size:12;" lang="EN" ><br /></span></b> <p class="MsoNormal"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmUkZIxUTeoCvI_FZzEIqzNXIc-xnGsbto3_myW_Qruv1J0nHI06682D4P9Zvh5nnjcgr0uNzVnFV6Blo2a-HP3pFLB0aLsJTZ3J-fhqEMd-q31ePlcCok-4QRPa8jQfqk_85KhFqLwFcp/s1600-h/lawnmower600x300.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmUkZIxUTeoCvI_FZzEIqzNXIc-xnGsbto3_myW_Qruv1J0nHI06682D4P9Zvh5nnjcgr0uNzVnFV6Blo2a-HP3pFLB0aLsJTZ3J-fhqEMd-q31ePlcCok-4QRPa8jQfqk_85KhFqLwFcp/s320/lawnmower600x300.jpg" alt="" id="BLOGGER_PHOTO_ID_5016903093694275298" border="0" /></a><span lang="EN-AU" style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;">Fig. 1<o:p></o:p></span></p> <p class="MsoNormal"><span style="color: rgb(0, 32, 49);font-family:Arial;" lang="EN-AU">Baz, the cane toad can be seen wearing a classic Aussie ‘Shearers singlet’ with a Victa Lawnmower in the background.</span></p><p class="MsoNormal"><br /><span style="color: rgb(0, 32, 49);font-family:Arial;" lang="EN-AU"> </span><span lang="EN" style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN-AU" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBEeXszOZxC7IctLNZoq76HjRv8KJXSAeMKzjN6Kdx0-E0Vx8UkymthCl2WmOmdkD6u5iT4X77mRvx6QLa5vwXxC5VaL9224gQpZ_VKw0xVM_Gg4AqNvYtq7saAFt9Ly0Ze9jWbmT1Rz5z/s1600-h/bazLost600x300.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBEeXszOZxC7IctLNZoq76HjRv8KJXSAeMKzjN6Kdx0-E0Vx8UkymthCl2WmOmdkD6u5iT4X77mRvx6QLa5vwXxC5VaL9224gQpZ_VKw0xVM_Gg4AqNvYtq7saAFt9Ly0Ze9jWbmT1Rz5z/s320/bazLost600x300.jpg" alt="" id="BLOGGER_PHOTO_ID_5016903089399307970" border="0" /></a><b><u><span lang="EN" style="font-family:Arial;"><o:p></o:p></span></u></b></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span lang="EN" style="font-family:Arial;">Fig. 2<o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;">Baz, lost ‘out past the Black Stump’ in an iconic Australian landscape</span></p><p class="MsoNormal"><br /><span lang="EN" style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCTOrKkQDF2gILpdM7jZMULoV4Mounl-u_E_4F6wUZLxAHu2QZhebvdG1HnOOdF0XPbPG8f_PmkxxRmJ-80uhUgegc6hRqFhSQ50CRu4ZZ5s8w2QAIdBBSLhT0zrvlOnZVhSXExLcVeN5m/s1600-h/touristShop600x300.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCTOrKkQDF2gILpdM7jZMULoV4Mounl-u_E_4F6wUZLxAHu2QZhebvdG1HnOOdF0XPbPG8f_PmkxxRmJ-80uhUgegc6hRqFhSQ50CRu4ZZ5s8w2QAIdBBSLhT0zrvlOnZVhSXExLcVeN5m/s320/touristShop600x300.jpg" alt="" id="BLOGGER_PHOTO_ID_5016903089399307986" border="0" /></a></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span lang="EN" style="font-family:Arial;">Fig. 3<o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;">An Aussie Souvenir shop complete with stereo typical iconic Australian imagery. Gum leaves in the foreground further enforce the Australianess of the scene</span></p><p class="MsoNormal"><br /><span lang="EN" style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb2CPjfANqtRvR2Dm9xHU93VSfujxxLl4t8R6MENlrTZj-gYt49GWT68sdCkPkqeS34LGnAyD4iIOahRQtlcfse4_hHf2W0EMw9tpDbO8dQRKa5WAgonaDlLdLf7Osu9zBAyoHFURpZV34/s1600-h/1930_freddo.gif"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb2CPjfANqtRvR2Dm9xHU93VSfujxxLl4t8R6MENlrTZj-gYt49GWT68sdCkPkqeS34LGnAyD4iIOahRQtlcfse4_hHf2W0EMw9tpDbO8dQRKa5WAgonaDlLdLf7Osu9zBAyoHFURpZV34/s320/1930_freddo.gif" alt="" id="BLOGGER_PHOTO_ID_5016903089399307954" border="0" /></a></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><br />Fig.4<o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;">An original image of the character Freddo frog who became the star of the first animated series on Australian television. A precedent of how commercial intersests have shaped Australian animation.<o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span lang="EN" style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p>Christian Salmonhttp://www.blogger.com/profile/05368205501588816032noreply@blogger.com0tag:blogger.com,1999:blog-7268289846678111000.post-45523926850728716992007-01-06T04:10:00.000-08:002007-01-08T21:20:41.475-08:00RAVE PARTY ANIMATION<div style="text-align: center;"><span style=";font-family:Arial;font-size:100%;" >CONTEMPORARY ANIMATION <o:p></o:p></span><span style=";font-family:Arial;font-size:100%;" ><br />AT ‘RAVE’ DANCE PARTIES</span><b style=""><span style=";font-family:Arial;font-size:16;" ><o:p></o:p></span></b></div> <p class="MsoNormal" style="text-align: center;" align="center"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: center;" align="center"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: center;" align="center"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: center;" align="center"><span style="font-family:Arial;"><o:p> </o:p></span></p><p class="MsoNormal" style="text-align: center;" align="center"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg50gCk1hBHii3FtwqRqh_QrJOK9LFzl99Y157EBhD3oZoUj0gTAu3uLxt2PnSgEsMHWvFhxFr_NCnBcAT_6tSCoXM4VsHgAMl2d_Z7LEWcpotZuboqA-NT_8DpwVtgm-iApVDq7ftCXceV/s1600-h/fract.gif"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg50gCk1hBHii3FtwqRqh_QrJOK9LFzl99Y157EBhD3oZoUj0gTAu3uLxt2PnSgEsMHWvFhxFr_NCnBcAT_6tSCoXM4VsHgAMl2d_Z7LEWcpotZuboqA-NT_8DpwVtgm-iApVDq7ftCXceV/s320/fract.gif" alt="" id="BLOGGER_PHOTO_ID_5017890828798172994" border="0" /></a></p><p class="MsoNormal" style="text-align: center;" align="center"><span style="font-family:Arial;"><o:p> </o:p></span></p><p class="MsoNormal" style="text-align: center;" align="center"><span style="font-family:Arial;"><o:p> </o:p></span></p><p class="MsoNormal" style="text-align: center;" align="center"><span style="font-family:Arial;"><o:p> </o:p></span></p><p class="MsoNormal" style="text-align: center;" align="center"><span style="font-family:Arial;"><o:p> </o:p></span></p><p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <span style="line-height: 200%;font-family:Arial;font-size:12;" ></span> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Dance Party or ‘Rave’ animation is a contemporary international animation art form that occurs just below the radar of the mainstream. Rave animation occurs within the underground ‘rave’ dance party sub-culture that started in England’s so called “Summer of Love in1988” (Jordan 2000).<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">This essay will explore the question of whether the phenomenon of Rave animation is a unique form of animation. Firstly, there will be an investigation of some key themes and sensibilities of the subculture of the Rave Dance party. These themes and sensibilities can be seen to significantly inform the visual language of the animation .There will also be an investigation of precedents and /or traditions of this type of animation that can account for aesthetic and theoretical concerns.<span style=""> </span>Lastly, there will also be an identification of the unique aspects of Rave animation as they differ from the Disney model of orthodox animation. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">The ‘rave’ sub-culture embodies a variety of non mainstream values, activities, and aesthetic codes, and expresses a complex mix of philosophies and sensibilities that has often put it at odds with mainstream institutions. Due to anti-establishment sentimentalities and the use of legal and illegal perception altering substances such as MDMA, LSD, and Mushrooms, the history of the rave party sub-culture, both overseas and in </span><st1:country-region><st1:place><span style="font-family:Arial;">Australia</span></st1:place></st1:country-region><span style="font-family:Arial;">, has been followed closely by law reforms that specifically target the activities of this group. Healy (2001), states that the International electronic music culture may be viewed as subordinate to mainstream culture, and therefore resistant. Healy (2001)<span style=""> </span>goes on to state that “While it is getting more difficult to classify the amorphous electronic music culture as a distinct subculture rather than an ecology of mutating, genre splintering cultures from the underground through to commercial culture, there is enough shared focal concerns, activities and values within this spectrum to group them together for the purpose of giving context to rave visuals.” <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Although ‘Rave’ Party Animation is not immediately available to the general public and there is scarce written material available about the role of visuals in a rave environment, the visual language of the rave sub culture can be seen to have influenced the main stream popular visual culture, primarily through its impact on the culture of advertising. This has been through high profile popular culture companies such as Levi Strauss and MTV utilizing the rave sub culture’s visual language and Viral marketing strategies to reposition them as “cool” (Jordan 2000) <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Rave Animation is a complex visual language with creative impulses and aesthetic interests outside the context of mainstream mass production. Paul Wells (1988) defines the terms and conditions of experimental animation as being; abstraction, specific non - continuity, interpretive form, evolution of materiality, multiple styles, presence of the artist and the dynamics of musicality. Using these terms, it can be noted that Rave animation is primarily an experimental animation form. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">This type of animation is diverse; drawing its visual syntax from many sources, significantly, the visual language and concerns of the psychedelic era of the 60’s and 70’s, (Jordan 2000). This complex visual language is informed by the aesthetic sensibilities of the underground ‘rave’ dance party sub-culture. Strauss (Jordan 2000) states that “One can trace raves back to the transgressive four arts balls in Paris in the 1920’s, the acid tests of Ken Keasey and the Merry Pranksters in San Francisco in the 60’s, or for those more mystically inclined, Native American religious ceremonies and the shamanistic rites of other tribal societies”.<span style=""> </span><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Common Themes that are often explored within Rave animation include; Technology, Metamorphosis, metaphysics, Rhythm and beat, Exploration of time and space, Shamanism and the use of perception altering Drugs. A<span style=""> </span>general Popularity in the “new Age” concepts of Metaphysics and spirituality has been <span style=""> </span>supported by the advent of new scientific discoveries and theories including, fractal geometry, quantum physics and the chaos theory, all of which, have contributed to the visual language of Rave party animations. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Rave animation often features visual imagery produced by computer programs, fractal generators and other algorithms such as Mandelbrot fractals (fig 1). Equally this animation form could include graphic manipulation of live footage (fig 4), and still images. 3D animation features prominently in this form of animation. Traditional 2D cell techniques appear to feature minimally. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span lang="EN" style="font-family:Arial;">Although this form of animation can be seen as unique it must be acknowleded that there is a rich tradition of experimental animation and animators, and there are visual precedents to this kind of visual form.</span><span lang="EN" style="font-family:Arial;"> </span><span lang="EN" style="font-family:Arial;">The language of Rave animation reflects some of the visual pioneers of experimental animation, such as Norman Mclaren and John Whitney. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span lang="EN" style="font-family:Arial;">“Norman McLaren was one of the most influential of all animators” states Grant (2001) and his restless inovation is recognized throughout the animation industry. McLaren set numerous visual precedents that have since been capitilized upon within the culture of rave animation. By comparing McLaren’s <i style="">“Pas De Deux”</i> (1969)(fig.3) with the animation by VJ Aix called “Dream of Jinni”(2002)(fig.4) <span style=""> </span>and,</span><span lang="EN" style="font-family:Arial;"> </span><span style="font-family:Arial;">‘Images from AREA 51’ (1990’s) (fig.5) by Daniel Forbus</span><span style="font-family:Arial;"> <span lang="EN">we can establish that there has indeed been precedents of visual elements within the rave animation form.<span style=""> </span>All three works explore the visual language of<span style=""> </span>multiple image. <o:p></o:p></span></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span lang="EN" style="font-family:Arial;">John Whitney was one of the foremost artist technicians working in the field of experimental animation from the 1940’s to the 1990’s and was a pioneer in the area of computer visualizations, his experiments </span><span style=";font-family:Arial;color:black;" >“balanced a cutting edge use of technology with a strong sense of artistic control and integrity” (digital Art Museum </span><span lang="EN" style="font-family:Arial;">1967) </span><i><span style=";font-family:Arial;color:black;" >Digital Harmony</span></i><span style=";font-family:Arial;color:black;" > (1988) </span><span style="font-family:Arial;">by <span style="color:black;">John Whitney <span style="">(fig.6)<i> </i></span></span></span><span lang="EN" style="font-family:Arial;">was produced with a digital computer under a IBM research grant. Whitney’s visual experiments can be seen to be reflected in the Rave animation </span><span style="font-family:Arial;">"Aix live mix excerpt A". Both animations are exploring the visual language of animated movement using digital technology. Both texts utilize a central motif of a circle/sphere to explore this movement. This further enriches the view that there have been visual precedents to the visual language of rave animation. <span style="color:black;"><o:p></o:p></span></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span lang="EN" style="font-family:Arial;">The pioneers of Abstract animation in turn can be seen to be part of a strong tradition of visual exploration of a non objective visual language and have a shared heritage back to the pioneering work of Wassily Kandisky.<span style=""> </span>Kandinsky not only provided the western world with the first abstract, non objective imagery he wrote a number of influential books theorizing the dynamics of non-objective image making. Interestingly Kandinsky connected non objective imagery to<span style=""> </span>concepts of spirituality in his book “Concerning the Spiritual in Art” and strived to create a visual language that reflected the purely abstract art of music. These are concerns that are explored within the forms and themes of rave animation today.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Although there have been historic precedents of the visual form of rave animation and a strong tradition of visual exploration as stated, Rave animation can still be considered unique. It differs from the endeavors of earlier experimental animators, in that the exploration and or creation of movement and color, is taking place in an entirely new space. This new space seems to have an ever expanding horizon in terms of the visual possibilities. Terence McKenna (2000), a psychedelics guru of the Rave culture states, </span><span style="font-family:Arial;">“There is the phenomenon of non-ordinary, or what I call visible language and this is very interesting to me. This is where technology, virtual-reality, cybernetics, human-machine interfacing can actually make an impact and explore a frontier. Visual language is a transformation of the physiological impulse towards syntax into a final product, speech, which is not heard with the ears, but beheld with the eyes.”</span><span style="font-family:Arial;"> Rave animation has embraced the exploration of synthetic technologies, the possibilities that they can create and the questions that they provoke.</span><span style="font-family:Arial;"> <span lang="EN"><o:p></o:p></span></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span lang="EN" style="font-family:Arial;">A unique aspect of rave animation is that it depicts a new complexity of visual signs that until the advent of the digital technologies were either not available or not easily obtainable. </span><span style="font-family:Arial;">This new space can be seen to be the virtual possibilities of the digital environment of the computer. Widespread availability of the new digital sound and image manipulation technologies enables individual artists to manipulate the experience of time and space both visually and audibly outside of the laws of dynamics that apply to non digital artifacts. It could be said that the primary concern of Dance party animation, is the intentional exploration of the possible parameters of synthesized animated movement within the context of the digital environment of the computer</span><span lang="EN" style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">A significant concern of Rave animation then arises that is to create a manipulation of vision and sound that extends to the explored parameters of the technology, utilizing a creative aesthetic to produce a personal and communal product/experience. McKenna (2000) states “It’s almost as though the project of communication becomes high-speed sculpture in a conceptual dimension made of light and intentionality” <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Rave animation can be accounted for in large part to the unique social, cultural and economic environments under which the animation has been created<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Two significant factors that have contributed to the uniqueness of Rave animation include, Firstly, Rave cultures unique relationship with digital technology, which is that it has embraced it wholly as a creative vehicle of expression. And secondly the rave party sub-cultures non – mainstream aspirations and practices. Significantly this includes the use of perception altering substances such as MDMA (Ecstasy) and LSD (Acid). <span style=""> </span><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="line-height: 200%;font-family:Arial;font-size:10;color:black;" lang="EN" ><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">This animation does not follow conventional strategies of commercial animation production nor does it rely on mainstream networks of distribution. </span><span style=";font-family:Arial;color:black;" lang="EN">The Disney model of animation production is challenged by the animation used at dance Parties. Rave animation, or simulted alternative visual reality is generally non narrative and often provides<span style=""> </span>the audience the opurtunity to internalize the non narrative visual input into a personal abstract visual journey. </span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style=";font-family:Arial;color:black;" lang="EN"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">The production concerns of Animation for dance parties seem to be significantly different to that of current commercial animation studios producing material for the TV and film market. Some of these concerns It seems that this form of animation is often produced in small personal studios by individuals or small groups of people who identify with Dance party culture.<span style=""> </span>This form of animation is generally produced for a limited display at a number of dance party events.</span><span lang="EN" style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style=";font-family:Arial;color:black;" lang="EN">Dance Party Animation Differs from Disneys orthodox<span style=""> </span>model of animation production and distribution in numerous ways. Rave animation’s relationship with sound differs significantly to the disney model in that generally Sound and music are made independently to the animation, There is little to no focus on dialouge within this animation form and generally The animations and visuals act to support the music and sounds. The disney model is concerned with primarily<span style=""> </span>producing Animation Timed to soundtrack, the Music and soundtrak are created to support the Animated materialit is dialog focused with Star personalities used for voice casting<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style=";font-family:Arial;color:black;" lang="EN"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style=";font-family:Arial;color:black;" lang="EN">Within this form of animation there is an exploration of the paremeters of animated movement. Mckenna (2000) states that digital visual language ihas a focus on ‘Animism’ as opposed to dynamism, the study of dynamics as exampled by the Disney studio’s immitation of the real. There is a focus primarily on naturalistic movement. Dynamism or the study of dynamics in the real world and transposing those into the formal visual language that Disney is famous for.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style=";font-family:Arial;color:black;" lang="EN"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style=";font-family:Arial;color:black;" lang="EN">Rave animation Does not utilize traditional narrative techniques. Narratives are reflexive, relating to , and reflecting on the technology that is producing the animated form. It could be said that The lack of narrative allows for an audience<span style=""> </span>participation that is different from the traditional models of animation screening. Personal interperatation of the animated material is enevitable. This more personal interperatation allows the audience to become the heroes or anti-hero’s of the real world by becoming an intergrated component within the meaning of the text.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style=";font-family:Arial;color:black;" lang="EN"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style=";font-family:Arial;color:black;" lang="EN">The concerns of Rave animation can be seen to challenge the Disney model in numerous ways. <span style=""> </span>These include: a recognition of <span style=""> </span>the individual artist/animator, the use of high end technology to create non-mainstream artifacts, small personal studio environments, and Insubstantial production budgets. Rave animation is disributied through non-mainstream networks, and is promoted utilizing alternative marketing stratergies such as Viral marketing. Where as The Disney model of animation production is is supported by <span style=""> </span>a Significant International Industry where the company name overshadows individual artistic work., There is a utilization of high end technology to produce mainstream poular culture texts for mass consumption. The Disney model is founded on the studio sysrtem of production with large production budgets. There is also a use of Established distribution networks and tradtional marketing stratergies.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style=";font-family:Arial;color:black;" lang="EN"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style=";font-family:Arial;color:black;" lang="EN">In conclusion it can be said that Rave animation is a unique contemporary animation art form. <span style=""> </span>The Rave party sub-culture can be seen as resistant to the mainstream yet the visual language of the sub-culture can be seen to have influenced mainstream visual dialouge. Although there have been precedents and a strong tradition of experimental animation, rave animation has it’s own uniqe sensiblities and visual form. Significantly, this can be seen to be a reflection of the rave sub-cultures non-mainstream philosophies <span style=""> </span>coupled with the advent of new digital imaging technologies available to the general public.<span style=""> </span><span style=""> </span><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style=";font-family:Arial;color:black;" lang="EN"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style=";font-family:Arial;color:black;" lang="EN"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style=";font-family:Arial;color:black;" lang="EN"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style=";font-family:Arial;color:black;" lang="EN"><o:p> </o:p></span></p> <b style=""><span style=";font-family:Arial;font-size:12;" ><br /></span></b> <p class="MsoNormal"><b style=""><span style="font-family:Arial;">REFERENCES</span></b><span style=";font-family:Arial;color:black;" lang="EN"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Paul Wells, (1998), Understanding Animation, Routlage, </span><st1:city><st1:place><span style="font-family:Arial;">London</span></st1:place></st1:city><span style="font-family:Arial;"> & </span><st1:state><st1:place><span style="font-family:Arial;">New York</span></st1:place></st1:state><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">R Russet & C Starr, (1976), Experimental Animation – An Illustrated Anthology, Litton Educational Publishing, Inc., </span><st1:country-region><st1:place><span style="font-family:Arial;">USA</span></st1:place></st1:country-region><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Alan Cholodenko, (1991) the Illusion of Life, Essays On Animation, Power Publications – Australian Film Commission, </span><st1:place><st1:city><span style="font-family:Arial;">Sydney</span></st1:city><span style="font-family:Arial;">, </span><st1:country-region><span style="font-family:Arial;">Australia</span></st1:country-region></st1:place><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Wassily Kandinsky, (1947), Point and Line To Plane, Solomon R. Guggenheim Foundation for Non-Objective Painting, </span><st1:city><st1:place><span style="font-family:Arial;">New York City</span></st1:place></st1:city><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">J. Jordan, </span><st1:place><span style="font-family:Arial;">S. Hoeckel</span></st1:place><span style="font-family:Arial;">, J. Jordan, (2000), Searching for the Perfect Beat,Watsin-Guptill Publications, </span><st1:place><st1:city><span style="font-family:Arial;">New York</span></st1:city><span style="font-family:Arial;">, </span><st1:country-region><span style="font-family:Arial;">USA</span></st1:country-region></st1:place><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">John Grant, (2001), Masters of Animation, BT Batsford, </span><st1:city><st1:place><span style="font-family:Arial;">London</span></st1:place></st1:city><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><b style=""><span style="font-family:Arial;">INTERNET REFERENCES<o:p></o:p></span></b></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style=";font-family:Arial;color:black;" >John Whitney, (1988), <i>Digital Harmony</i> </span><span style="font-family:Arial;">, The <span style="color:black;">John Whitney Biography Page, </span></span><st1:place><st1:placename><span style=";font-family:Arial;color:black;" >Digital</span></st1:placename><span style=";font-family:Arial;color:black;" > </span><st1:placetype><span style=";font-family:Arial;color:black;" >Art Museum</span></st1:placetype></st1:place><span style=";font-family:Arial;color:black;" >,(</span><st1:country-region><st1:place><span style=";font-family:Arial;color:black;" >USA</span></st1:place></st1:country-region><span style=";font-family:Arial;color:black;" >)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN" style="font-family:Arial;">http://www.siggraph.org/artdesign/profile/whitney/digiharmon.html,<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Terence McKenna,</span><span class="sub"><span lang="EN" style="font-family:Arial;"> (2000),</span></span><span style=";font-family:Arial;font-size:18;" lang="EN" > </span><span style="font-family:Arial;">Ordinary Language, Visible Language and Virtual Reality, <a href="http://deoxy.org/t_langvr.htm">http://deoxy.org/t_langvr.htm</a></span></p><p class="MsoNormal" style="text-align: justify;"><b style=""><span style="font-family:Arial;">IMAGES</span></b><br /><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <span style="background: fuchsia none repeat scroll 0% 50%; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial;font-family:Arial;font-size:12;" ></span> <p class="MsoNormal" style="text-align: justify;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg50gCk1hBHii3FtwqRqh_QrJOK9LFzl99Y157EBhD3oZoUj0gTAu3uLxt2PnSgEsMHWvFhxFr_NCnBcAT_6tSCoXM4VsHgAMl2d_Z7LEWcpotZuboqA-NT_8DpwVtgm-iApVDq7ftCXceV/s1600-h/fract.gif"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg50gCk1hBHii3FtwqRqh_QrJOK9LFzl99Y157EBhD3oZoUj0gTAu3uLxt2PnSgEsMHWvFhxFr_NCnBcAT_6tSCoXM4VsHgAMl2d_Z7LEWcpotZuboqA-NT_8DpwVtgm-iApVDq7ftCXceV/s320/fract.gif" alt="" id="BLOGGER_PHOTO_ID_5017890828798172994" border="0" /></a></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">(fig.1) Mandelbrot fractal. On </span><st1:date year="1980" day="1" month="3"><span style="font-family:Arial;">March the 1st, 1980</span></st1:date><span style="font-family:Arial;"> the Mandelbrot set was discovered<span style=""> by mathematician Benoit Mandelbrot</span>.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><a href="http://www.spiritart.org/FractalSurf/">http://www.spiritart.org/FractalSurf/</a><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Copyright © 1998 - 2003 by SpiritArt Org. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg43kFn6qw_JeoCG_gtV9iQDuUeZwTvAFbxvUaE-mpW-8m3pJqiOJLnQGrgI6Ct44Zw1F6VQXZvpBb7bsARNqyKa_10JZxVnVagsVgki3jvNW2suWuKl97WnBl2gzoSVFTVSYb0GRCyo0Wd/s1600-h/zoomer3.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg43kFn6qw_JeoCG_gtV9iQDuUeZwTvAFbxvUaE-mpW-8m3pJqiOJLnQGrgI6Ct44Zw1F6VQXZvpBb7bsARNqyKa_10JZxVnVagsVgki3jvNW2suWuKl97WnBl2gzoSVFTVSYb0GRCyo0Wd/s320/zoomer3.jpg" alt="" id="BLOGGER_PHOTO_ID_5017890828798173010" border="0" /></a></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">(fig.2) Algorithm based visual<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">From Internet, No details<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="background: fuchsia none repeat scroll 0% 50%; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial;font-family:Arial;" ><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxYMYDsp_Om9MzBQUhNWco9aHCT8krAOzXHzliCQdJ1kOtlkKNbPPW7L-e88RzIBVI4e_MRvkR-8avf2Z38fG58GGN9f7-wmRoPmAXs7FPlLaahSWTps9HHXCINiQiH00qp4HS_z1gHKfi/s1600-h/Mclaren_Pas_De_Deux.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxYMYDsp_Om9MzBQUhNWco9aHCT8krAOzXHzliCQdJ1kOtlkKNbPPW7L-e88RzIBVI4e_MRvkR-8avf2Z38fG58GGN9f7-wmRoPmAXs7FPlLaahSWTps9HHXCINiQiH00qp4HS_z1gHKfi/s320/Mclaren_Pas_De_Deux.jpg" alt="" id="BLOGGER_PHOTO_ID_5017890833093140338" border="0" /></a><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">(fig.3) Pas de Deux (1969) by Norman McLaren<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Experimental Animation (1976), R Russet & C Starr</span></p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIjAHqcglkwIdsC9GjwrtWmcL43eq_LfaRNjJ8W1qxesBvEEOeovvvvxfsdH4lsVZduUWY9xBV02-_yYZ4ch66l0CHY_Y76TpyFVxonC5-tZaojvl5fHahpPJFo0ZD-N7g3WkBI057sTbh/s1600-h/Dream_of_Jinni.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIjAHqcglkwIdsC9GjwrtWmcL43eq_LfaRNjJ8W1qxesBvEEOeovvvvxfsdH4lsVZduUWY9xBV02-_yYZ4ch66l0CHY_Y76TpyFVxonC5-tZaojvl5fHahpPJFo0ZD-N7g3WkBI057sTbh/s320/Dream_of_Jinni.jpg" alt="" id="BLOGGER_PHOTO_ID_5017890833093140322" border="0" /></a><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvH_x3yDExHUby6EmnIH_HmICMeizaI9a78ER-qjDkYfsMb7TABwafnR_sCs-QKF2-zkDewEzBgJqUGKh0Y7d0EOYjySASRIWFkCicMW8TkD-wksHO7kfaW48nf5ZrZ1wFbty03mYRKFAv/s1600-h/arms2.jpg"><br /></a></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;">(fig.4) Dream of the Jinni, (2002)<i style=""> by VJ Aix</i><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">TranceVideo Clips, <a href="http://www.trancevideo.com/vidclip003.html">http://www.trancevideo.com/vidclip003.html</a>, (1 minute, 320 x 240, 15fps, 11.8MB QUICKTIME format)<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><i style=""><span style="font-family:Arial;">Dream of the Jinni is a 7-minute video-art composition by VJ <o:p></o:p></span></i></p> <p class="MsoNormal"><i style=""><span style="font-family:Arial;">Aix which was recognized as a finalist at the screening of the 7th<o:p></o:p></span></i></p> <p class="MsoNormal"><i style=""><span style="font-family:Arial;">Annual NOT STILL ART Festival in </span></i><st1:state><st1:place><i style=""><span style="font-family:Arial;">New York</span></i></st1:place></st1:state><i style=""><span style="font-family:Arial;">, April, 2002. Music "Shadai" <o:p></o:p></span></i></p> <p class="MsoNormal"><i style=""><span style="font-family:Arial;">By Ken Hata and Madoka of Jiyuujidai (</span></i><st1:country-region><st1:place><i style=""><span style="font-family:Arial;">Japan</span></i></st1:place></st1:country-region><i style=""><span style="font-family:Arial;">)<o:p></o:p></span></i></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvH_x3yDExHUby6EmnIH_HmICMeizaI9a78ER-qjDkYfsMb7TABwafnR_sCs-QKF2-zkDewEzBgJqUGKh0Y7d0EOYjySASRIWFkCicMW8TkD-wksHO7kfaW48nf5ZrZ1wFbty03mYRKFAv/s1600-h/arms2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvH_x3yDExHUby6EmnIH_HmICMeizaI9a78ER-qjDkYfsMb7TABwafnR_sCs-QKF2-zkDewEzBgJqUGKh0Y7d0EOYjySASRIWFkCicMW8TkD-wksHO7kfaW48nf5ZrZ1wFbty03mYRKFAv/s320/arms2.jpg" alt="" id="BLOGGER_PHOTO_ID_5017890837388107650" border="0" /></a></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;">(fig.5) Images from AREA 51 by Daniel Forbus<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;">This is an example of images produced from a live camera and real-time image manipulation (1990’s)<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><a href="http://users3.ev1.net/%7Eforbus/rave01i.html">http://users3.ev1.net/~forbus/rave01i.html</a>,<o:p></o:p></span></p> <p class="MsoNormal"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWXLvztjvzB4-ZX3wFTV0iaGg6HF_r5peETZL5cP6nH42XT5N2hWbcrVks5ivB6PgLc4tvs4S31x9EPtfPZdwrMayktBOh_uMIlsTHU9_BcXLxKrJONc7FH_uvV6ST71DP-2pkYRIfTBXG/s1600-h/swirly.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWXLvztjvzB4-ZX3wFTV0iaGg6HF_r5peETZL5cP6nH42XT5N2hWbcrVks5ivB6PgLc4tvs4S31x9EPtfPZdwrMayktBOh_uMIlsTHU9_BcXLxKrJONc7FH_uvV6ST71DP-2pkYRIfTBXG/s320/swirly.jpg" alt="" id="BLOGGER_PHOTO_ID_5017893719311163282" border="0" /></a></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style=";font-family:Arial;color:black;" >(fig.6)<i> Digital Harmony</i></span><span style=";font-family:Arial;color:black;" > </span><span style="font-family:Arial;"><span style=""> </span>by <span style="color:black;">John Whitney, (1988) </span><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">The <span style="color:black;">John Whitney Biography Page, </span></span><st1:place><st1:placename><span style=";font-family:Arial;color:black;" >Digital</span></st1:placename><span style=";font-family:Arial;color:black;" > </span><st1:placetype><span style=";font-family:Arial;color:black;" >Art Museum</span></st1:placetype></st1:place><span style=";font-family:Arial;color:black;" >,(</span><st1:country-region><st1:place><span style=";font-family:Arial;color:black;" >USA</span></st1:place></st1:country-region><span style=";font-family:Arial;color:black;" >)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN" style="font-family:Arial;"><a href="http://www.siggraph.org/artdesign/profile/whitney/digiharmon.html">http://www.siggraph.org/artdesign/profile/whitney/digiharmon.html</a>, <o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN" style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidCOm1L6CzYjaVN4TveR6gxr-R4xiRn5t8omFRpMw0I0WbVqevMeYpyRiaBhgdDLm6Qt5dP9j9vOO9srCXgyLsCCCVqNT6uj5DQ0Y9pOM0rx3nCGERNrPyhjsRjcGRftBBSkacNmyhJnH8/s1600-h/Aix.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidCOm1L6CzYjaVN4TveR6gxr-R4xiRn5t8omFRpMw0I0WbVqevMeYpyRiaBhgdDLm6Qt5dP9j9vOO9srCXgyLsCCCVqNT6uj5DQ0Y9pOM0rx3nCGERNrPyhjsRjcGRftBBSkacNmyhJnH8/s320/Aix.jpg" alt="" id="BLOGGER_PHOTO_ID_5017893723606130610" border="0" /></a></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;">(fig.7) "Aix live mix excerpt A"<i style=""> by VJ Aix</i><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">TranceVideo Clips, <a href="http://www.trancevideo.com/vidclip002.html">http://www.trancevideo.com/vidclip002.html</a>, <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">(1 minute, 320 x 240, 15fps, 10.3MB QUICKTIME format)<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh84Qsuq9ow8XD3N4uNlkv3VLigc4DczAc46NkfPrA0G0dW2FdDtQ9uoX4vEpiv_f78LFxsLOm3eL37qV95DeKAS1G96xomZV2O4EnEofH8Nna42jxlFuluK1oqqVg2b-UlThgZ55dw4OSW/s1600-h/shell3.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh84Qsuq9ow8XD3N4uNlkv3VLigc4DczAc46NkfPrA0G0dW2FdDtQ9uoX4vEpiv_f78LFxsLOm3eL37qV95DeKAS1G96xomZV2O4EnEofH8Nna42jxlFuluK1oqqVg2b-UlThgZ55dw4OSW/s320/shell3.jpg" alt="" id="BLOGGER_PHOTO_ID_5017893723606130594" border="0" /></a></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;">(fig.8) 3-Dimensional Rave Animation Visual<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;">From Internet, no details<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p>Christian Salmonhttp://www.blogger.com/profile/05368205501588816032noreply@blogger.com0tag:blogger.com,1999:blog-7268289846678111000.post-44938097326675225822007-01-04T04:39:00.000-08:002007-01-08T22:24:59.091-08:00WALT DISNEY<p class="MsoNormal" style="margin: 0in 0in 0pt; text-align: left;"><span style=";font-family:Arial;font-size:10;" ></span><b style=""><span style="font-family:Arial;">NUMEROUS AUTHORITIES HAVE DISCUSSED THE <span style=""><span style=""><span style=""> </span></span></span>CONTRIBUTION THAT WALT DISNEY HAS MADE TO THE EVOLUTION OF 20<sup>TH</sup> CENTURY VISUAL ART PRACTICE<o:p></o:p></span></b></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><b style=""><span style="font-family:Arial;"><o:p></o:p></span><span style=";font-family:Arial;color:red;" ><o:p></o:p></span></b><span style="font-family:Arial;">Walt Disney is arguably one of the most significant and influential figures within the canon of animation history. Disney began his career in animation in 1919 and is known for releasing the first animated feature length movie, ‘Snow White’ in 1937. The Disney studio still produces animated feature films and other material even after Walt Disney’s death in 1966. The Disney company has become an entertainment empire and is today one of the largest media companies in the world. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">This essay will compare and contrast the writings of three different authorities, Paul Wells (2002), Leonard Maltin (1987), and Harry Benshoff (1992) who have written about Walt Disney and his contribution to the animation industry. All three authorities have identified Walt Disney as a key and pioneering figure and agree that he has both affected and shaped the industry. The main comparison will investigate the notion that Walt Disney was an animation auteur. Auteur is a word that is derived from the French language and has a connotation to the ‘high art’ of literary authorship. It has come to mean;<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="margin-right: 0.5in; margin-left: 0.5in; text-align: justify;"><i style=""><span style="font-family:Arial;"><span style=""> </span>“A filmmaker, generally a director, who creates a body of work with a unified sensibility that reveals, through the interplay of themes and styles, a personal worldview’, it has also come to mean ‘any filmmaker who performed or was intimately involved in all aspects of the movie making process (writing, directing, producing, editing etc)” (</span></i><span style="font-family:Arial;">The Internet Movie Database, movie terminology glossary<i style="">)</i><b><span style="color:black;"><o:p></o:p></span></b></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Popular culture animation can be seen as a hybrid art form, that is, animation involves a combination of drawing, painting (traditional or digital), story-telling, and music and is generally manufactured in a studio/factory by a large number of highly creative and skilled individuals. The work is created by many people through many stages of development over an extended period of time. The assumption that the person whose name is attached to the cartoon was the person who executed the drawings has been already been proven incorrect (Wells 2002). This highlights the problem in determining who the work should be credited to, and who has the primary claim of authorial ownership, in relation to the final artistic vision.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Walt Disney’s resolve to fully establish authorial ownership was a direct result of having one of his first successful creations ‘Oswald the Rabbit’ taken from him and given to other lesser animators in 1927(Maltin1987). Disney stated that he would “never relinquish ownership of his films or creations again” (Maltin 1987, p33). After this incident Walt Disney stopped drawing and developed his most famous character Mickey Mouse. Disney did not draw or animate Mickey Mouse; this was done initially by Ub Iwerks (see fig. 1) and later by many other animators, (see fig. 2), (Maltin 1987, p33). The relationship between Disney and Iwerks represents at a small scale the authorial role that Disney established for himself, this later developed into a much lager hierarchical infrastructure with Disney as the key instigator and producer of work (Wells 2002).<span style=""> </span><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Paul Wells (2002) argues that Disney should be seen as an auteur. In the factory workings of the Disney studio Walt Disney asserted his principle auteurist role “by making personal Authorial decisions and corrections on behalf of others in the execution of his vision” (Wells 2002, p83).<span style="color: rgb(51, 102, 255);"> </span>Wells (2002) investigates the complex notion of authorship in animation and presents a framework to determine auteur status upon an individual by looking at how they were engaged in the production process. He uses Walt Disney as a case study and argues that he is an auteur. Wells (2002, p77) states that “Walt Disney is the key pioneering figure in the creation of the art, commerce and industry of animation and that he is the most written-about individual in the field”<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Similarly, Leonard Maltin (1987) takes a very positive view of Disney’s authorial role and refers to<span style="color: rgb(51, 102, 255);"> </span>him as<span style="color: rgb(51, 102, 255);"> </span>the ‘spark plug’ and states that he is generally considered to be the motivating force behind all significant achievements in his company and under his name until his death. Walt wielded the final power of veto over all animation material and used this power constantly and consistently in keeping with the development of his vision. Disney one day scrapped five months of work on the Pinnocchio film because it “Just wasn’t right” (Maltin 1987, p58). <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Maltin (1987,p29) suggests “It is impossible to overstate the impact that Walt Disney had on the development of animated cartoons” and goes on to clarify how he did this by defining industry standards, perfecting ideas and techniques and basically changing the course of animation production. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">In support of Maltin and Wells, Harry Benshoff (1992) in his article <i style="">“Heigh-Ho, Heigh-Ho, Is Disney High or Low? From Silly Cartoons to Postmodern Politics” </i>attributes all the decisions to include high art forms into the Disney animations, to Walt Disney himself. In Benshoff’s writing there is interchangeability between Disney the man and Disney the company which intrinsically implies Walt Disney’s authorial position.<i style=""> </i>There is not such a direct evaluation of Walt Disney’s authorial claims but there is a consistent underlying acknowledgement of them as in the reference to ”The Disney style,” which began to develop in the 1930’s and has since become the popular measure of the quality of all other commercial animations”(Benshoff, p63). The Disney style can be seen to be based on the realistic recreation of natural movement within a pictorial frame work reminiscent of European “high art’ traditions including Southern European fairytale illustrations (Maltin 1987).<b style=""> </b>This style was achieved by Disney’s drive for technical perfection in animation and a visual style that he found personally fulfilling (Wells 2002) Benshoff’s argument and examination of the ideological implications of stylistic change, and the Disney companies positioning in the high – low continuum does not at all challenge the position of Disney as the authorial figure head. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><b style=""><span style=";font-family:Arial;color:red;" ><o:p> </o:p></span></b></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">In conclusion, it is fair to state that from the three authorities referred to in this essay, that Disney’s contribution to the evolution of 20<sup>th</sup> century visual art practice, particularly in the animation industry is considered significant. It is apparent that even though he did not draw or animate any significant work after 1927 he was the key personality responsible for the Disney style. Walt Disney’s position as the “auteur” of the Disney animated cartoons is at least, un-challenged and at most, a certainty.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal" style="margin-right: 0.5in;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="margin-right: 0.5in;"><span style="font-family:Arial;"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-right: 0.5in;"><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="margin-right: 0.5in;"><b style=""><span style="font-family:Arial;">References</span></b><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="margin-right: 0.5in; margin-left: 0.25in;"><span style="font-family:Arial;">Auteur, in ‘letter – A’, in ‘Movie Terminology Glossary’, in ‘The Internet Movie Database’, [Online], Available:<span style="color:black;"> <a href="http://us.imdb.com/Glossary/A#auteur">http://us.imdb.com/Glossary/A#auteur</a><o:p></o:p></span></span></p> <p class="MsoNormal" style="margin-right: 0.5in; margin-left: 0.25in;"><span style="font-family:Arial;">Harry Benshoff (1992),’<i style="">Heigh-Ho, Heigh-Ho, Is Disney High or Low? From Silly Cartoons to Postmodern Politics’, in ‘Animation Journal’, vol. 1, no. 1, pp. 62-83</i><span style="color:black;"><o:p></o:p></span></span></p> <p class="MsoNormal" style="margin-right: 0.5in; margin-left: 0.25in;"><span style="font-family:Arial;">Leornard Maltin (1987), ‘Walt Disney’, in<i style=""> ‘Of Mice and Magic, A history of American Animated Cartoons’, revised edn. </i></span><st1:place><st1:city><i style=""><span style="font-family:Arial;">Penguin</span></i></st1:city><i style=""><span style="font-family:Arial;">, </span></i><st1:country-region><i style=""><span style="font-family:Arial;">USA</span></i></st1:country-region></st1:place><i style=""><span style="font-family:Arial;"> </span></i><span style=";font-family:Arial;color:black;" ><o:p></o:p></span></p> <p class="MsoNormal" style="margin-right: 0.5in; margin-left: 0.25in;"><span style="font-family:Arial;">Paul Wells (2002), ‘the animation auteur’, in <i style="">‘Animation, Genre & Authorship’</i>, Wallflower Press, </span><st1:city><st1:place><span style="font-family:Arial;">London</span></st1:place></st1:city><span style="font-family:Arial;">, pp. 72-111<o:p></o:p></span></p> <p class="MsoNormal" style="margin-right: 0.5in;"><b style=""><span style="font-family:Arial;">IMAGES<o:p></o:p></span></b></p> <span style="font-family:Arial;"><i style=""></i></span><p class="MsoNormal" style="margin-right: 0.5in; margin-left: 0.25in;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQtXMmJ-TuN4Fbi3m9L6gWxCsuycGuMfuj_jFS-OHoJu0RAQh0t9jeWBy29Tmt3E2N1ZXEvBUIWeqsI9J54M-RT7nvu0FGPLtxhd977AWdtJAzFRZgWjLqjTCwoPYIV1euEM8EqG4oE2n7/s1600-h/Mickey_Ub.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQtXMmJ-TuN4Fbi3m9L6gWxCsuycGuMfuj_jFS-OHoJu0RAQh0t9jeWBy29Tmt3E2N1ZXEvBUIWeqsI9J54M-RT7nvu0FGPLtxhd977AWdtJAzFRZgWjLqjTCwoPYIV1euEM8EqG4oE2n7/s320/Mickey_Ub.jpg" alt="" id="BLOGGER_PHOTO_ID_5017901566216413122" border="0" /></a></p> <p class="MsoNormal" style="margin-right: 0.5in; margin-left: 0.25in;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="margin-right: 0.5in; margin-left: 0.25in;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="margin-right: 0.5in; margin-left: 0.25in;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="margin-right: 0.5in; margin-left: 0.25in;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="margin-right: 0.5in; margin-left: 0.25in;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="margin-right: 0.5in; margin-left: 0.25in;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="margin-right: 0.5in; margin-left: 0.25in;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="margin-right: 0.5in; margin-left: 0.25in;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="margin-right: 0.5in; margin-left: 0.25in;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="margin-right: 0.5in; margin-left: 0.25in;"><span style="font-family:Arial;">Figure 1, <i style="">an early drawing of Mickey Mouse by Ub Iwerks</i>, in <i style="">‘Disney Animation, the Illusion of Life’</i>, ed. </span><st1:place><span style="font-family:Arial;">W. Rawls</span></st1:place><span style="font-family:Arial;"> 1981, Walt Disney Productions, </span><st1:country-region><st1:place><span style="font-family:Arial;">Japan</span></st1:place></st1:country-region><span style="font-family:Arial;">, p.56 <o:p></o:p></span></p><p class="MsoNormal" style=""><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieoP_zRasb9qDtNdUkyXGv98V8AgBVEPHTsETEL5-BsFGumJ5vzyfo2B-3xckDXyjCb59ac2_uDYSm2zcm1JXgnCUsvvSMtPKI-UpvJoz5qu84IUQf7Xt4z7hqwh_fYUBxxlR4jGglVleK/s1600-h/mickry_character.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieoP_zRasb9qDtNdUkyXGv98V8AgBVEPHTsETEL5-BsFGumJ5vzyfo2B-3xckDXyjCb59ac2_uDYSm2zcm1JXgnCUsvvSMtPKI-UpvJoz5qu84IUQf7Xt4z7hqwh_fYUBxxlR4jGglVleK/s320/mickry_character.jpg" alt="" id="BLOGGER_PHOTO_ID_5017901566216413138" border="0" /></a></p> <p class="MsoNormal" style="margin-right: 0.5in;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="margin-right: 0.5in;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="margin-right: 0.5in;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="margin-right: 0.5in;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="margin-right: 0.5in;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="margin-right: 0.5in;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="margin-right: 0.5in;"><span style="font-family:Arial;"><br /></span></p><span style="font-family:Arial;"></span><p class="MsoNormal" style="margin-right: 0.5in; margin-left: 0.25in;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="margin-right: 0.5in; margin-left: 0.25in;"><span style="font-family:Arial;">Figure 2, <i style="">Mickey Mouse</i>, ‘from Disney studio archives’, in <i style="">‘Animation, Genre & Authorship’</i>, Wallflower Press, </span><st1:city><st1:place><span style="font-family:Arial;">London</span></st1:place></st1:city><span style="font-family:Arial;">, p.78<o:p></o:p></span></p> <p class="MsoNormal"><i style=""><span style="font-family:Arial;"><o:p> </o:p></span></i></p> <p class="MsoNormal"><i style=""><span style="font-family:Arial;"><o:p> </o:p></span></i></p> <p class="MsoNormal"><i style=""><span style="font-family:Arial;"><o:p> </o:p></span></i></p> <p class="MsoNormal"><i style=""><span style="font-family:Arial;"><o:p> </o:p></span></i></p> <p class="MsoNormal"><i style=""><span style="font-family:Arial;"><o:p> </o:p></span></i></p> <p class="MsoNormal"><i style=""><span style="font-family:Arial;"><o:p> </o:p></span></i></p> <p class="MsoNormal"><i style=""><span style="font-family:Arial;"><o:p> </o:p></span></i></p> <p class="MsoNormal"><i style=""><span style="font-family:Arial;"><o:p> </o:p></span></i></p> <p class="MsoNormal"><i style=""><span style="font-family:Arial;"><o:p> </o:p></span></i></p> <p class="MsoNormal"><i style=""><span style="font-family:Arial;"><o:p> </o:p></span></i></p> <p class="MsoNormal"><i style=""><span style="font-family:Arial;"><o:p> </o:p></span></i></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p>Christian Salmonhttp://www.blogger.com/profile/05368205501588816032noreply@blogger.com0tag:blogger.com,1999:blog-7268289846678111000.post-15649273615055446202007-01-04T04:32:00.000-08:002007-01-08T22:31:58.050-08:00MY NEIGHBOUR TOTORO<div style="text-align: center;">Semiotic Analysis<br /><br />“My Neighbor Totoro”<br />Hayao Miazaki<br /><br /></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhxLJP8NLfqHi1V-IIywKlyJ-g5O4LEeICYEPTPj8DB0eaJbpgegfCLS14HnCJUePm2CZAACWaNRCMx2ZAEsee3nfZ0yajroC0gw1RJNDZDYd9egSswkkatuuGmjWVwiNjch_5cHDDbSaO/s1600-h/images.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhxLJP8NLfqHi1V-IIywKlyJ-g5O4LEeICYEPTPj8DB0eaJbpgegfCLS14HnCJUePm2CZAACWaNRCMx2ZAEsee3nfZ0yajroC0gw1RJNDZDYd9egSswkkatuuGmjWVwiNjch_5cHDDbSaO/s320/images.jpg" alt="" id="BLOGGER_PHOTO_ID_5017914627211960450" border="0" /></a><br />In this essay there will be a semiotic analysis of a five and a half minute section of the Japanese animated feature film ‘My Neighbor Totoro’. The film is directed by master animator, Hayao Miazaki whose film ‘Spirited Away’ won the Academy award for animation in 2003. My Neighbor Totoro is not well known or readily available in Australia although it is a classic in Japan. The film is in Japanese language with English sub-titles. The film utilizes the traditional techniques of 2D animation. In this style of animation all the characters or elements that need to drawn repeatedly have an outline and are filled with a solid colour within the outlines. The backgrounds are hand painted to an almost photographic finish with a lot of detail. The film is richly colored and the animated movement has a naturalistic movement. The imagery is crisp and clear resulting in highly defined and identifiable characters, objects and environments. Miazaki achieves the illusion of depth and space within this text through the use of perspective and visual depth cues.<br /><br />In the text there are a number of dominant codes. Codes are made up of a series of signs, either visual or audible that combine to establish a significant meaning or meanings. Signs are the smallest element of meaning within the text, and are comprised of a signifier and a signified. The signifier is the recognizable and understandable visual or audible element and the signified is the meaning that is implied by the signifier.<br /><br />The dominant codes in the text My Neighbor Totoro are; a family code, a code for a warm night, a code for nature, growth and life, and a code for magic and fantasy.<br /><br />The first key signifier in this film is the title “My Neighbor Totoro”. A neighborly relationship of some kind is signified, it indicates a proximity of main characters within a specific location, that of there homes. We can read that in some way this movie will be an exploration of the neighbor who is Totoro. In the context of a non Japanese audience the word Totoro has little to no literal meaning yet in Japan it is derived from a child’s mispronunciation of the word for Troll. In the context of Japan it would conjure up both the subjective associations of the magic world of Trolls and also of young children. Immediately a Japanese audience would have access to a possible meaning within the film. It could be understood that the title also signified the connection between the world of children and the magic and fantastic world of trolls.<br /><br />In reading this text it becomes apparent that there is a dominant code that allows us to understand and experience meanings of family and we are able to place the characters into family groups and to understand there relationship to each other.<br />It is signified to us through the key signifier of a man preparing bedding for two young girls that refer to him as Dad that they are a family. We easily understand that he is the father and that they are his daughters.<br /><br />Another key signifier is there size relationship to one another. We are able to establish the signified meaning of age and responsibility within the family from the signifier of the characters sizes and activities, The father is the largest character works in his office after the girls have fallen asleep and it is signified that he is the oldest and takes responsibility over his two daughters, Satsuki is the larger older daughter and it is signified that she has responsibilities over Mei who is the smallest and youngest daughter.<br /><br />This size relationship extends to the non human characters, the Totoro’s who also appear as a family unit. There is a large Totoro, a small one and an even smaller one. The largest Totoro leads the two smaller ones in a prayer dance ritual and he is responsible for taking the others flying.<br /><br />The sound of Satsuki and Mei laughing and playing is a sign within the code of the family. Joy, happiness and fun within the family home is signified by the laughing which is the signifier. Another key sign is the Japanese style house which they inhabit. The house is the signifier, the family home, safety, security, familiarity and comfort is signified.<br /><br />Another important code system allows us to establish a clear understanding within the text of a warm night. The first sign for this is an ornate electric light that is suspended within the house, small insects fly around it. We are able to read from this that it is night time, and that it is warm enough to support insect life. The insects further reinforce that it is night as they are only attracted to lights at night, not during the day.<br /><br />Other signs that it is a warm night include that the children are in light bed clothes and have light bedding. They are not fully under the covers which further indicate that it is a warm night. The father says “night night” to his daughters as he turns out the light.<br /><br />Another key signifier is the colour palette used, which has been reduced to mainly blues with a reduced tonal contrast. Other important signs are the starry night sky and the full moon. Strong sound effects of insects and frogs add to our sense of meaning that it is a warm night.<br /><br />There is a dominant code of nature, growth and life within this text. From the first scene we are confronted with the sign of mosquitoes inside the house. Another sign is the very obvious nature sound effects of insects and frogs. The family home is set within a lush rural environment with forests in the backgrounds. The starry night sky indicates a lack of both smog and light pollution.<br /><br />There is a significant sign in the dialogue from the youngest daughter Mei, with the signifier being “that’s where we planted the seeds”. Seeds are a metonym for plants and a metaphor for the potential natural growth of all living things. In this context it also signified the natural growth of the two daughters.<br /><br />There is a climatic point in this text when the seedlings sprout magically from the soil of the garden bed and grow into a forest and then join together into an impossibly giant tree that stretches high above the family home. This growth process is a metaphor for life itself and the growth of all living things. There are connotations to the mystic nature traditions that use imagery of a “world tree”, or the “tree of Life”<br /><br />Fantasy and magic is one of the most important dominant codes within the text. The first key signs we see in regards to magic and fantasy is when the two daughters awake to see three non human beings, the Totoros, slowly marching around there garden bed a rhythmical, ritualistic way. There is a large Totoro followed by two smaller ones. The large Totoro is carrying an open umbrella which adds to the fantastical nature of the scene, the two smaller Totoros carry large leaves resembling the umbrella. Twice the Totoros fly over the garden bed to the other side where they continue there March. The Girls leave the safety of there beds and excitedly rush to join the Totoros. All five characters stop and begin to bow to the garden followed by raising there hands up above there heads.<br />There is a brief moment where there is a close up of the large Totoro, beads of sweat on his brow as he pushes his arms upwards; this is a metonym for the internal effort that he is using in this activity. As he does this a seedling bursts from the ground with a significant popping sound effect. The characters continue this activity and many seedlings sprout and grow. They keep growing rapidly into large trees which join together and magically grow into a giant tree. This magical growing tree reminds us of such classic fairytales as ‘Jack and the Beanstalk’, and the ‘Magic Far Away Tree’<br /><br />Other signs that enable us to understand meanings of magic and fantasy is The large Totoro’s levitating spinning top, on which the large Totoro balances. The others cling to his furry belly and fly up through the tree and over the landscape. Flying on a humming spinning top with imaginary creatures is the signifier and magic and fantasy is what is signified.<br /><br />Through a semiotic reading of My Neighbor Totoro, it is possible to establish understandings and meanings within the text, and to determine that it is of a fantasy genre for family entertainment alongside other animated features such as “Alice in Wonderland” by Walt Disney.Christian Salmonhttp://www.blogger.com/profile/05368205501588816032noreply@blogger.com0tag:blogger.com,1999:blog-7268289846678111000.post-5398665881537412442007-01-04T04:25:00.000-08:002007-01-08T22:33:21.944-08:00LAPUTA – CASTLE IN THE SKY<div style="text-align: center;">SEMIOTIC ANALYSIS OF THE<br /></div><div style="text-align: center;">LEAD CHARACTER, SHEETA<br />IN THE ANIMATED FEATURE FILM<br />“LAPUTA – CASTLE IN THE SKY”<br /></div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiey7PIlwzQllRRB1TZrmVrWzG6AiTGvLR60KvUUmYHuCUHc9hwhUQ5EVm52uT23pPfinhbwOIVSt8NsXANBOJJyVvSmhSBMulqFnMp2c85xmsYDNkM4XgDiMnLiUY52958owp9qrV1yman/s1600-h/image016.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiey7PIlwzQllRRB1TZrmVrWzG6AiTGvLR60KvUUmYHuCUHc9hwhUQ5EVm52uT23pPfinhbwOIVSt8NsXANBOJJyVvSmhSBMulqFnMp2c85xmsYDNkM4XgDiMnLiUY52958owp9qrV1yman/s400/image016.jpg" alt="" id="BLOGGER_PHOTO_ID_5017911573490212962" border="0" /></a><br /><p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">This paper will be a semiotic analysis of the lead female character Sheeta (fig1) from “<i style="">Laputa – Castle in the Sky” (1986)</i>. Directed by master animator Hayao Miayzaki, this Japanese animated feature film is not well known or readily available in </span><st1:country-region><st1:place><span style="font-family:Arial;">Australia</span></st1:place></st1:country-region><span style="font-family:Arial;"> although it is a classic in </span><st1:country-region><st1:place><span style="font-family:Arial;">Japan</span></st1:place></st1:country-region><span style="font-family:Arial;">. The film was produced in Japanese language, the copy that will be studied for this essay is one dubbed in English for Japan Airlines. In the film <i style="">“Laputa – Castle in the Sky” (1986</i>), Miayzaki utilizes cinematic codes and conventions, both Japanese and western, Fusing dominant aesthetic models drawn from both live action cinema and other pictorial arts, with an extensive vocabulary of the animated form that adapts the hyper realist designs and narration strategies used in the Disney features (Wells 1997). By identifying key signs, codes and systems of meaning that are present within the text; it will be shown that there are a number of feminist ideological issues which are raised.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">“<i style="">Laputa – Castle in the Sky” (1986)</i> is a complex text and it is evident that there are significant meanings that can be established reflecting feminist ideology. The dominance of a patriarchal authority is established through numerous signs and codes within the text yet it is not embraced, rather it is confronted. The Binary oppositions that define the concerns of feminist ideology such as men are powerful and women are weak, are challenged, and patriarchal stereotypes, gender distinctions and the male gaze are also disputed.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">The film <i style="">“Laputa – Castle in the Sky” (1986)</i> follows the story of a young girl, Sheeta, as she struggles against pursuit from a patriarchal military regime. Sheeta possesses a magic levitation stone that she inherited from her mother. Initially unaware of its power it is revealed that it is the key to the discovery and control of a legendary kingdom that floats in the sky and is far advanced in its science and technology, called Laputa (fig 2). Laputa has a highly advanced weapons system including an army of flying robots. The floating castle fortress Laputa is covered with ancient gardens, a giant tree towers over the kingdom and is a key sign that can be seen as a metaphor for spiritual knowledge (fig 2).<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><span style=""> </span>Secret agent Muska (Fig 3) who commands the military is determined to obtain the stone at any cost so as to become king of the floating castle with its advanced weaponry, and then ruler of the world. Sheeta is assisted in her journey by a young boy, Pazu, and a Matriarchal pirate family led by Dola, who is their leader and mother (Fig 5). The film’s climax is when Sheeta with the help of Pazu (fig 3) chooses to destroy Laputa than let it be used by Muska as a tyrannical weapon. The destruction process annihilates the man-made portions of the floating kingdom, which falls into the Ocean, The giant tree remains, liberated from the buildings of man it slowly ascends into the sky (Fig 7). Sheeta, Pazu and the Pirate family are the only survivors and fly off into the sunset laden with treasure.<span style=""> </span><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Although<i style=""> “Laputa – Castle in the Sky” (1986)</i> clearly depicts the issues of gender and exploitation, the use of violence to suppress women’s powers and the control and subordination of women bodies it offers an alternative narrative that supports the concerns of feminism and challenges patriarchal gender roles and outcomes. Wells (1997), states<span style="color: rgb(51, 102, 255);"> </span>that<span style="color: rgb(51, 102, 255);"> </span>“Miayzaki establishes his authorial tendencies by<b style=""> </b>refuting the tenets of live action films constructed on masculine terms. His use of feminine discourse is a way of subverting established patriarchal agendas both in the practice of filmmaking and the art of story telling.”<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">There are numerous signs and codes within the film that inform the audience that the world depicted is in fact patriarchal. Patriarchy is a system of values which establishes and maintains a male authority. It most often refers to the political power and authority of males in a society but can also refer to the power of fathers within families.<span style=""> </span>As Rowbotham (1981, p116) states “Patriarchal authority is based on male control over the woman; over her person”. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">In the text Patriarchy is most significantly realized in the depiction of the military and there are numerous signs such as soldiers, guns, canons, armored vehicles, a coastal fortress (Fig 4), and a giant air ship that signifies associations with the military. By further utilizing codes specific within a familiar military culture, such as a dress code for soldiers and camouflage colour code on such things as the coastal fortress (Fig 4), air ship and armed train we are informed that the power base and authority in this land is indeed patriarchal. The exploitation of Sheeta by the patriarchy is represented by the militaries determination to obtain it’s outcomes against her will and at the expense of her life<span style=""> </span><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Muska is a significant patriarchal character in the text and most fully symbolizes patriarchal aspirations as he leads the military in there pursuit of the Sheeta’s stone.<span style="color: rgb(51, 102, 255);"> </span>Sheeta is constantly confronted by the patriarchal regime that assumes the authority to obtain and control her powerful levitation stone. The stone can be seen as a metaphor for Sheeta’s own personal feminine power. This power along with her ‘true’ name was bequeathed to her by her mother; this is a potent symbol of an alternative matriarchal paradigm where power and heritage is handed from mother to daughter as opposed to, from farther to son. <span style="color: rgb(51, 102, 255);"><o:p></o:p></span></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Sheeta’s relationship to Muska becomes an even more significant metaphor of patriarchy when it is revealed towards the end of the film that he is also a distant relative of Sheeta, bringing the patriarchal model into context of the family making the threat to Sheeta all the more intimate and disturbing.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><span style=""> </span>Muska’s desire to obtain and exploit the power that Sheeta rightfully inherited from her mother exposes a deep concern of feminist ideology. Muska presumes the patriarchal authority to use violence to obtain and control Sheeta’s inherited power and is supported by both the government of the land and its all male military. Muska has no regard for “the girl” yet is eager to exploit the power that she has<span style="color:red;"> </span>and would objectify her as his queen so as to exploit her powers to his own destructive ends.<span style="color:red;"> </span>An interesting point though is that Muska, the male, does not naturally have access to the power he desires. The power is with the girl. This in itself undermines the patriarchal rhetoric. To obtain the power Muska must subordinate and control Sheeta’s body first and only then may he possess the power he craves. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Binary oppositions that are of concern to feminist ideologies are also present in the text and are those that provide support for the dominance of a patriarchal model. Almost in every binary opposition female corresponds to the weaker, powerless, negative one. For example: Activity/ Passivity, Sun/ Moon, Culture/ Nature, Day/ Night, Father/ Mother, Head/ Emotions, Intelligible/ Sensitive, Logos/ Pathos. It becomes apparent that both the components can not thrive at one time – one has to die or become passive. Invariably the female plays that role (Toril Moi 1985)<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">In the text these binary oppositions are challenged. In the first section of the text we are introduced to the young girl Sheeta wearing a blue dress, in the code of colour, blue is signified as a boys color.<span style=""> </span>Sheeta signifies her challenge to the patriarchal model by aggressively asserting herself against her patriarch captor Muska, knocking him unconscious with a glass bottle and escaping. By Sheeta not remaining passive to Muska we are confronted with a challenge to patriarchal authority.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Another challenge to the binary oppositions that support patriarchy is the relationship with the powerful matriarch Dola, who is the mother and leader of a pirate family. Dola (Fig 5) signifies this challenge by being physically bigger than the other male pirates, who are her sons, and twice as big as her husband. Dola is loud, strong and aggressive; she is also cunning and fearless. Dola and her pirate family operate in contrast to a patriarchal paradigm and acts to challenge the binary oppositions presented by the patriarchy.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">One of the ways that patriarchy operates is through an assumption of pre–determined stereo types and Gender roles, In “<i style="">Laputa – Castle in the Sky” (1986) </i>these assumptions are challenged.<span style=""> </span><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Patriarchy uses stereotypes to systematically inform and categorize individuals into general hierarchical groupings that support the patriarchal values of maintaining male authority. <span style=""> </span>Gender is the determining of the role and behaviors of an individual by there biological sex and is used to emphasize the distinctions between males and females, placing men into an arena of power and authority and women into positions of subservience and powerlessness. Sex-associated behavior is challenged<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">The character Sheeta can be seen to challenge these stereotypes and gender roles of patriarchy. A key sign is that Sheeta inherits the levitation stone, her true name and powerful magic spells from her mother, the female lineage of her family. This challenges the patriarchal stereotype that the father is the head of the family, a matriarchal model is signified denoting an existing alternative to the patriarchal paradigm. Another significant sign of the challenge to the patriarchal stereotype is the depiction of the defeat of Muska, by Sheeta. In a patriarchal paradigm girls do not rise up against and defeat there older male relatives. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Dola is another significant character that challenges Patriarchal stereotypes and gender roles. Working against and outside the patriarchal law; Dola is the mother and leader of a pirate family, a wild and heavy set Matriarch that leads her pirate sons into confrontations with the military and in the pursuit of treasure. <span style=""> </span>Dola wears a blue jumpsuit, a colour and outfit generally ascribed to the male while her all male crew wears pink outfits a colour generally ascribed to girls. Dola’s husband further enforces this observation as he is half Dola’s size, softly spoken and is seen primarily in the background. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><span style=""> </span><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">The concept of the male gaze is disputed and undermined within this text. “in a patriarchal world men are considered the ideal spectators and women are designed to flatter him” (Berger year). <span style=""> </span>Miayzaki presents the female characters in this text as challenging and ultimately usurping male authority. Dola is an almost grotesque character who is substantially bigger than both her husband and her sons. Her dress code is one of utility and her character is in no way designed to flatter men so much as to confront and take from them. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">Sheeta’s character development is one of ultimately reclaiming her inherited power back from the patriarchal Muska. In the final confrontation between the two Muska shoots off Sheeta’s pig tails, demanding that she deliver to him the levitation stone. This event signifies Sheeta’s passage to womanhood and though there is a sense of sexual violation here the proper focus of the incident is that this is the moment which insists upon sheeta becoming mature and assuming responsibility, a challenge which she responds to in adversity (Wells 1997). <span style=""> </span>Sheeta destroys Laputa and with it all of the aspirations of the patriarchal regime. The patriarchy is thoroughly defeated with the annihilation of the entire military and Muska. It becomes apparent that this text has not been created to flatter men or support the concept of the male gaze. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 200%;"><span style="font-family:Arial;">In conclusion it has been shown through a semiotic analysis of the lead female character Sheeta that there are a number of feminist ideological issues which are raised in the visual text “<i style="">Laputa – Castle in the Sky” (1986)</i>. Although the concerns of feminist ideology are explored in the text, this being primarily the dominance of a culture of patriarchal authority, we are offered an alterative narrative that challenges the assumptions of patriarchy. The Binary oppositions that define the concerns of feminist ideology have been identified, discussed and challenged; patriarchal stereotypes, gender distinctions and the male gaze have also been investigated and are disputed. <o:p></o:p></span></p><br /><br /><br /><br /><span style="font-weight: bold;">BIBLIOGRAPHY</span><br />Feminism - Microsoft® Encarta® Encyclopedia 2002. © 1993-2001 Microsoft Corporation<br />Monica Sjöö and Barbara Mor (1987), The Great Cosmic Mother – Rediscovering the religion of the earth, Harper Collins Publishers, New York<br />Michele Barrèt (1980), Woman’s oppression today, Problems in Marxist Feminist Analysis,<br /><br /><span style="font-weight: bold;">REFERENCES</span><br />Toril Moi (1985), Sexual/ Textual Politics: Feminist Literary Theory<br /><br />Paul Wells (1997), Art & Design Vol.12, Art &Animation No.3/4, Hayao Miayzaki: Floating Worlds, Floating Signifiers<br /><br />Sheila Rowbotham (1973) p116, Penguin Books<br /><br />John Berger (Year?), penguin (Viking Press)<br /><br /><span style="font-weight: bold;">IMAGES<span style="font-weight: bold;"></span></span><br /><br />From: The Hayao Miyazaki Web, Films, “Laputa - The Castle in the Sky”, http://www.nausicaa.net/miyazaki/<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5U2Fqx-LL0BHFwLef9F43Ri6mKGMVXWaMCfvFrJTa69EW_m5Yf547HyJXl0vvGQLTH6NH9CUbPMpd3GbJ0iTr1xZ5U-N4T8VBOsmtaCzS1BG1shMJjg4SwHFUtBvQ1AvrmrBWGWhlKwbP/s1600-h/image002.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5U2Fqx-LL0BHFwLef9F43Ri6mKGMVXWaMCfvFrJTa69EW_m5Yf547HyJXl0vvGQLTH6NH9CUbPMpd3GbJ0iTr1xZ5U-N4T8VBOsmtaCzS1BG1shMJjg4SwHFUtBvQ1AvrmrBWGWhlKwbP/s320/image002.jpg" alt="" id="BLOGGER_PHOTO_ID_5017909919927803874" border="0" /></a><!--[endif]--><span style="font-family:Arial;"><o:p></o:p></span> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Fig.1<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Sheeta, the main female character<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoOR_uBazOQyjNotbL_hucPuc2qHNTLUs8ELyqdqxJV9yHZeyriKXWvLe3bbBkk_OQxPFKtCPCvu5jLFJnaFFecH5HM9M35sSyL5Uc7nKU5Y2fPUlYEojbP4DrD8-3l14I047L4NDAlu_m/s1600-h/image004.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoOR_uBazOQyjNotbL_hucPuc2qHNTLUs8ELyqdqxJV9yHZeyriKXWvLe3bbBkk_OQxPFKtCPCvu5jLFJnaFFecH5HM9M35sSyL5Uc7nKU5Y2fPUlYEojbP4DrD8-3l14I047L4NDAlu_m/s320/image004.jpg" alt="" id="BLOGGER_PHOTO_ID_5017909919927803890" border="0" /></a></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Fig. 2 <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Laputa, the floating Castle <o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivSw9PqDgTRJiq2p5JRgbC7_fWeFB5OFbCg5liR2A-3yyMZSrGxYcu-k2uOILkCdWYsR9tyKecG7jUjKkOQ7HlsAZFlcWiGVbWK9DjFAc0uKNVRz3EO1MbTM83ealVupL88-TeIf99_7tM/s1600-h/image006.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivSw9PqDgTRJiq2p5JRgbC7_fWeFB5OFbCg5liR2A-3yyMZSrGxYcu-k2uOILkCdWYsR9tyKecG7jUjKkOQ7HlsAZFlcWiGVbWK9DjFAc0uKNVRz3EO1MbTM83ealVupL88-TeIf99_7tM/s320/image006.jpg" alt="" id="BLOGGER_PHOTO_ID_5017909924222771202" border="0" /></a></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Fig 3<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Secret agent Muska, Sheeta’s distant patriarchal relative<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><!--[if gte vml 1]><v:shape id="_x0000_i1027" type="#_x0000_t75" style="'width:306pt;height:252.75pt'"> <v:imagedata src="Document1_files/image007.jpg" title="laputa16"> </v:shape><![endif]--><!--[if !vml]--><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2O6cxWQSZOK28fHAZt2K4ry2ErcKR02fBYfM03dKav1gP6zSLVzIn0GUrACfst_39WIztJnCyFv7QHQxigw4Ko8j8OuSYd2cUX73Bz7j66RuPjvbMURzoUcBLWgPJJd3aetsqmyYaUT-7/s1600-h/image008.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2O6cxWQSZOK28fHAZt2K4ry2ErcKR02fBYfM03dKav1gP6zSLVzIn0GUrACfst_39WIztJnCyFv7QHQxigw4Ko8j8OuSYd2cUX73Bz7j66RuPjvbMURzoUcBLWgPJJd3aetsqmyYaUT-7/s320/image008.jpg" alt="" id="BLOGGER_PHOTO_ID_5017909924222771218" border="0" /></a><!--[endif]--></p> <p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;">Fig 4<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;">The Coastal military base with camouflage<o:p></o:p></span></p> <p class="MsoNormal"><!--[if gte vml 1]><v:shape id="_x0000_i1029" type="#_x0000_t75" style="'width:324pt;height:243pt'"> <v:imagedata src="Document1_files/image009.jpg" title="12"> </v:shape><![endif]--><!--[if !vml]--><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSx2AbQiBsMZ52P9CHa8sm_wp7blmzv5VQS3-GdvT6AhKT3NLIoSKkxqzbKVrysbedGlP4IjsCLvP2gz8qnziU9z3DFWTEYWlvgb6Jl6UAHI2Nm6KSBY7FpRqo7MGjWDfZBaR_lZDO_97o/s1600-h/image010.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSx2AbQiBsMZ52P9CHa8sm_wp7blmzv5VQS3-GdvT6AhKT3NLIoSKkxqzbKVrysbedGlP4IjsCLvP2gz8qnziU9z3DFWTEYWlvgb6Jl6UAHI2Nm6KSBY7FpRqo7MGjWDfZBaR_lZDO_97o/s320/image010.jpg" alt="" id="BLOGGER_PHOTO_ID_5017909924222771234" border="0" /></a><!--[endif]--></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;">Fig 5<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;">Dola, the pirate mother (left) and Pazu </span></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal" style="text-align: justify;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPgMV2crE0nqomvGQOo_wwTNUGCRZ3yjGH3Gto9kwLKjObxZW-Z6nf1vxJmoIdEYRIt1MfvIs6hRvB8ja8YEr7u9G-G6AgBFApJtll_JqWCpur6FcmVqoZGI2nvLMgvpdSq4ct9zOmaO9s/s1600-h/image012.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPgMV2crE0nqomvGQOo_wwTNUGCRZ3yjGH3Gto9kwLKjObxZW-Z6nf1vxJmoIdEYRIt1MfvIs6hRvB8ja8YEr7u9G-G6AgBFApJtll_JqWCpur6FcmVqoZGI2nvLMgvpdSq4ct9zOmaO9s/s320/image012.jpg" alt="" id="BLOGGER_PHOTO_ID_5017910405259108402" border="0" /></a></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;">Fig 6<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;">Sheeta (right), with </span><span style="font-family:Arial;">Pazu says the spell that will destroy Laputa. Sheeta has short hair, her pig tails have been shot off by Muska.<o:p></o:p></span></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal" style=""><!--[if gte vml 1]><v:shape id="_x0000_i1031" type="#_x0000_t75" style="'width:323.25pt;height:243.75pt'"> <v:imagedata src="Document1_files/image013.jpg" title="tree"> </v:shape><![endif]--><!--[if !vml]--><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3nhpUTwtYBVc4nogr6qLbi-gy0Jybfn5O1NytjqLJACY1DiTCYJpsx0oj2rOIwBxxx0F7ZBV1DyibwgB3Gd1klWzvuKehYjD92_A_ydQHgLZ8XaxifMt5DCl881hZiaVB2x9NgZ-PSu0g/s1600-h/vincy-laputa.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3nhpUTwtYBVc4nogr6qLbi-gy0Jybfn5O1NytjqLJACY1DiTCYJpsx0oj2rOIwBxxx0F7ZBV1DyibwgB3Gd1klWzvuKehYjD92_A_ydQHgLZ8XaxifMt5DCl881hZiaVB2x9NgZ-PSu0g/s320/vincy-laputa.jpg" alt="" id="BLOGGER_PHOTO_ID_5017910409554075730" border="0" /></a><!--[endif]--></p> <p class="MsoNormal" style=""><o:p> </o:p></p> <p class="MsoNormal" style=""><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style=""><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style=""><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style=""><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style=""><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style=""><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style=""><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style=""><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style=""><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal" style=""><span style="font-family:Arial;">Fig 7<o:p></o:p></span></p> <p class="MsoNormal" style=""><span style="font-family:Arial;">Laputa rising into the sky, liberated from the scientific and technological man made structures<o:p></o:p></span></p> <p class="MsoNormal" style=""><o:p> </o:p></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><!--[if gte vml 1]><v:shape id="_x0000_i1032" type="#_x0000_t75" style="'width:178.5pt;height:252pt'"> <v:imagedata src="Document1_files/image015.jpg" title="cover"> </v:shape><![endif]--><!--[if !vml]--><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOMf6pSuyA-E4w-Qe_RIqHPCvg1gjjo_m1t0hZbrE9HvdBufUOoZQlKp-wlJFprYNVVmR7pQLIeXoN6Z5UVON5NJmGFyw2yC5DPcoQ25PiTLRXYe0bBUFoRUr_kq2pSPXAcCKTjFBVtev7/s1600-h/image016.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOMf6pSuyA-E4w-Qe_RIqHPCvg1gjjo_m1t0hZbrE9HvdBufUOoZQlKp-wlJFprYNVVmR7pQLIeXoN6Z5UVON5NJmGFyw2yC5DPcoQ25PiTLRXYe0bBUFoRUr_kq2pSPXAcCKTjFBVtev7/s320/image016.jpg" alt="" id="BLOGGER_PHOTO_ID_5017910405259108418" border="0" /></a><!--[endif]--></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:Arial;">Fig 8<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;">Cover of the DVD “<i style="">Laputa – Castle in the Sky” (1986)</i> </span></p>Christian Salmonhttp://www.blogger.com/profile/05368205501588816032noreply@blogger.com2