Spartan Daily November 4, 2009

Volume 133, Issue 35https://scholarworks.sjsu.edu/spartandaily/1302/thumbnail.jp

From the 'cinematic' to the 'anime-ic': Issues of movement in anime

This is the author's accepted manuscript. The final published article is available from the link below.This article explores the way that movement is formally depicted in anime. Drawing on Thomas Lamarre's concepts of the `cinematic' and the `anime-ic', the article interrogates further the differences in movement and action in anime from traditional filmic form. While often considered in terms of `flatness', anime offers spectacle, character development and, ironically, depth through the very form of movement put to use in such texts.The article questions whether the modes of address at work in anime are unique to this form of animation.Taking into account how the terms `cinematic' and `anime-ic' can be understood (and by extension the cinematic and animatic apparatus), the article also begins to explore how viewers might identify with such images

Mise en Seine

In Paris there is no experience more enchanting than wandering along the Seine on an Autumn afternoon, stopping every now and then to rifle through the stands of a bookiniste, only to discover a treasure: a 17th century map, a book of poems by Jacques Prévert, France’s most pleasing poet of the mid-20th century. While travellers might be intoxicated with the music of Parisian streets or awed by the ornate architecture, the city can appear cold and frustrate with its inaccessible beauty and the seeming remoteness of its people. The best way into French culture is through its literature. Enjoy a potent moment alone in a crammed café sipping a chocolat and dip into one of the delights of French literary history. ISSN: 1446-697

The Cowl - v.78 - n.12 - Dec 5, 2013

The Cowl - student newspaper of Providence College. Volume 78 - No. 12 - December 5, 2013. 24 pages

Unveiling the implicit message: A look at racial, Hispanic/Latino, and Mexican portrayals on Sesame Street

In this master\u27s thesis I analyzed Sesame Street, a well-known and popular model for many children\u27s educational television programs as well as a racially sensitive show, by way of a content analysis. I documented all races represented by the people and human-looking, animated characters and puppets. Furthermore, my study proposed to look at the portrayal of the Hispanic/Latino group and Mexican group; My findings revealed that the population on Sesame Street did not mirror the United States population distribution. Other results revealed the Hispanic/Latino group very rarely reflected their cultural customs, were mostly female and the majority was portrayed in lower class settings. Only eight characters of Mexican origin were portrayed and therefore the data outcomes had no extensive analysis. Yet, the resulting small number of Mexican characters supports the finding that Sesame Street seems to reduce the portrayal of Hispanics/Latinos to a very flat dimension

Volume 11, Issue 23: March 28, 2011

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Spartan Daily September 30, 2009

Volume 133, Issue 17https://scholarworks.sjsu.edu/spartandaily/1285/thumbnail.jp

I was a nigger, still : Black and White Bodies in the Gay Art of the Twentieth Century

“It’s amazing to me that even the rampant homophobia in the South doesn’t put a dent in the sense of racial privilege presumed by the white gay men who patronize this clear example of racism and misogyny disguised as entertainment.” Lecia Brooks, the education director for the Civil Rights Memorial Center in Montgomery, Alabama, gave this statement to Rolling Stone magazine in 2007 to explain her protests against comedian Charles Knipp, known on stage as Shirley Q. Liquor. While Knipp’s jokes are racist, the major issue with his performances, as Brooks tells us, is his use of blackface minstrelsy as his act. Knipp, a white gay man, dons a large muumuu and masquerades as “a welfare mother with nineteen kids who guzzles malt liquor, drives a Caddy and says in an ‘ignunt’ Gulf Coast black dialect, ‘I’m gonna burn me up some chitlins and put some ketchup on there and aks [sic] Jesus to forgive my sins.’

The Economic Impact of Racism in the Entertainment Industry

My topic discusses about The Walt Disney Company being an example of how decisions in the entertainment industry are made based on economic forecasts rather than appropriate representation of characters and cultures