A STUDY ABOUT HOW TO CREATE A MYTHICAL BEAST SUCCESSFULLY, FOCUSING ON THE EXAMPLE OF THE NINE-TAILED FOX IN EASTERN ART

Mythical beasts appear in many forms across multiple cultures throughout human history. Their narratives and visual designs express important beliefs and desires of a given culture. By focusing on the aesthetics and history of the nine-tailed fox, a Chinese mythological, this thesis will explore the constructions and artistic techniques that have given shape to the myth. This thesis will also discuss my thesis project named Classic of Mountains and Seas. The ultimate aim of my creative project has been to develop an animation of new mythical beasts, and this paper situates my creations within the much broader history that has inspired them. As a classic mythical beast, the nine-tailed fox is a popular and culturally significant one in East Asian art and literature. Through out the ages, the nine-tailed fox has been depicted in a large number of artworks across a wide variety of media, including painting, sculpture, fabric, and crafts. Additionally, there is a rich archive of records about the nine-tailed fox, indicating how pervasive this figure has been throughout history. It is precisely because of how its popularity and power have been maintained over such a long period of time that the nine-tailed fox will be regarded as an important reference for my own artistic practice as an animator

Death and the adorable orphan: Marcelino pan y vino (1954; 1991; 2000)

The Spanish journalist and writer José María Sánchez-Silva, unaware that he was adapting a folk tale about religious devotion rewarded, produced a complex narrative about the mother-son dyad: Marcelino pan y vino (1952). This was the basis of a popular Spanish film adaptation directed by Ladislao Vajda, released in 1954. It was then remade in 1991 as an Italian/Spanish/French co-production, directed by Luigi Comencini, and, recently, it has been translated into animation for television, the result of Spanish/Japanese/French collaboration in 2000. This article analyses how each version reveals shifting perceptions of childhood by focusing on the ideological function of the orphan child and the spectacle of the 'adorable boy'

Spartan Daily October 29, 2009

Volume 133, Issue 32https://scholarworks.sjsu.edu/spartandaily/1299/thumbnail.jp

Access, December 2012

https://scholarworks.sjsu.edu/accessmagazine/1009/thumbnail.jp

In God’s Land: Cinematic Affect, Animation and the Perceptual Dilemmas of Slow Violence

In this paper, I argue that Indian independent filmmaker Pankaj Rishi Kumar\u27s documentary In God’s Land (2012) blends animation and live-action to illuminate the destructive nuances of postcolonial literary scholar, Rob Nixon\u27s notion of slow violence. In turning to cinema, I also suggest that In God’s Land’s “aesthetic strategies” further eco-film scholarship’s recent interests in animation, which have tended to highlight the mode\u27s feel good affect. I draw attention to In God\u27s Land\u27s hybrid of dark, discordant animation spectacle interspliced in the documentary live-action to articulate the potential of eco-animation outside of this affect. Ultimately, the film not only draws attention to animation’s non-playful affect—its potentials and dilemmas, but I also suggest that reading such a film adds postcolonial understandings of cinema beyond the Western/Japanese center on with eco-animation scholars have so far focused

Developing Deadly Skies

The Canadian War Museum’s exhibition Deadly Skies – Air War, 1914-1918 examines the first air war from the perspective of nine international participants representing Canada, the United States, France, Great Britain, and Germany. Eschewing the romantic mythology of First World War aviation that focuses on the achievements of individual fighter pilots, the exhibition examines four key aspects of the air war: training, observation, bombing, and aerial combat. Adopting an interpretive approach that appeals to intergenerational audiences and that highlights personal experience in the war, the exhibition is presented as a series of life-sized graphic novels, supplemented with key artifacts, photos, audio clips, and videos. The historical and interpretative approaches together present a holistic and modern examination of the world’s first air war

The Legend of Hahoe Masks

Not Include

White Snake:A Representative Story of the West Lake

As one of the Four Classic Folktales of China, The Legend of the White Snake, which happened in Hangzhou, is a representative folktale of Chinese culture. The story has been developed for thousands of years and we see it as a reflection of Chinese history and culture. The first part of the thesis is going to trace the development of this story back to its origin and analyze the changes in the content of each story version of The Legend of the White Snake with respect to its cultural, religious, and social backgrounds. Secondly, it will focus on contemporary writer Gelin Yan\u27s rewrite of the story and analyze how her rewrite reflected her thoughts on feminism. In the third part, the thesis will explore the concept art of an animated modern adaptation of The Legend of White Snake. It will explain why the film lost the oriental[ Oriental is a term that has come to be considered offensive within critically conscious communities. The characterizer deemed more appropriate is Asian. If your use of the term Oriental is deliberate, and intended as an act of reappropriation, you may consider briefly unpacking that rhetorical move for readers or at least enclosing it in quotation marks to signal to readers that the choice is deliberate rather than ill-informed.] artistic conception of its original story. Finally, I will show my visual thesis based on stories that originated in Hangzhou. I will share how I researched each of the stories to build a connection between the art, the story, and the historical relics in Hangzhou

Expressions, Spring 2017

College of Humanities and the Arts Newsletter, Volume 1