Can we please stop talking about the Simpsons?: Using Bob's Burgers and Hanna-Barbera to recenter conversations about television animation

This thesis examines the historical connecting threads between legacy and contemporary forms of television animation. I argue that Bob’s Burgers has been neglected by animation studies due to its incomparability to the established fulcrum of television animation: The Simpsons (1989-). However, by analyzing Bob's Burgers through a historical lens that reaches beyond The Simpsons, we can begin to see what the field of animation studies has overlooked when it has dismissed animated texts that were not comparable to The Simpsons. This thesis will utilize Bob's Burgers as a primary case study and draws connecting threads between the series and Hanna-Barbera cartoons to make this argument

How Cartoons Became Art: Exhibitions and Sales of Animation Art as Communication of Aesthetic Value

Animation has risen from a commercially and aesthetically marginalized medium to one that is gaining recognition as an art form worthy of adult appreciation. Three realms of this recognition are: the Museum of Modern Art\u27s film department, which has supported animation in a variety of ways since its inception in 1935; exhibitions of the art contributing to Disney animation, which began in 1932; the market for artworks related to animation, which has grown from early gallery sales in the late 1930s to a broad base of collectors in the 1980s and 1990s. Exhibit materials, critical reviews, news coverage, and interviews with animation art market participants provided a basis to analyze these sites of aesthetic legitimation in terms of the barriers to acceptance animation faced, the strategies employed to overcome them, and the effects of legitimacy on the current state of animation. Curators, critics, and dealers have overcome prejudices that animation is merely a children\u27s mass medium by locating original pieces of production art within animation that are like fine art. Some have argued that animation\u27s basis in technology and mass production should not disqualify it from serious attention as art, nor should emotional satisfaction be a lesser aspect of aesthetic appreciation than disinterested analysis of form. Whereas commercially produced animation has gained both respect and economic vitality, independent and foreign animation has primarily gained prestige within the boundaries of festivals, museums, and art house theaters

Visual communication and entertainment through animation

Virtual animation is used today for everything including entertainment in motion pictures and video games, advertising on television and the internet, virtual animated videos used for industrial teaching aids, and project approvals for major building construction. Many modem companies are now insisting that new products are created using 3-D modeling and occasionally animation before approving funds for further development. The research question in this work centers around thoughts and visions being effectively communicated so others can comprehend and share in the same perspective. This research will show the use of technology in answering this important question: Exploration of the literature will describe the early beginnings and the slow progression followed by the movement into the current \u27\u27high tech era of virtual reality

Johns Hopkins University News-letter, Volume 72, Number 20 (1968 March 22)

Digital content from the Johns Hopkins University News-letter records, RG.14.050

Vista: October 16, 1986

https://digital.sandiego.edu/vista/1990/thumbnail.jp

October 15, 1998

The Breeze is the student newspaper of James Madison University in Harrisonburg, Virginia

Disney's women: changes in depictions of femininity in Walt Disney's animated feature films, 1937-1999.

The animated films of Walt Disney have played an important role in American culture. Most Americans, either during childhood or adulthood, have been exposed to at least some of them. The films themselves have, in some respects, reflected American society and culture. They may also, at least to some extent, have influenced them. As academic scholarship on the history of Hollywood film has grown, various aspects of Disney's influence and cultural position have likewise come to be the focus of study. In recent decades, also, there has been a continually greater interest in the role of women in American society and how that role is constructed. Uniting both these scholarly interests, this thesis analyses how Disney films depict femininity, and the ways in which such depictions correspond with those in the larger arena of Hollywood film. To make these issues more comprehensible, it describes the beginnings of animated film in the United States, together with the early career and works of Walt Disney. In order to cast light on the manner in which such portrayals have changed over time, the films examined are analysed in relation to three particular time periods: 193 7-67, 1967-89, and 1989-99. By examining the depictions to be found within individual films, and comparing these depictions both with one another and with selected live-action, mainstream Hollywood films of the same eras, a better understanding of the make-up of the Disney films as a body of work is achieved, and a corrective offered to some of the misconceptions of Disney to be found within American society in general

MSU Update, 1997

MSU Update Newsletters for 1997

Bowdoin Orient v.135, no.1-25 (2005-2006)

https://digitalcommons.bowdoin.edu/bowdoinorient-2000s/1006/thumbnail.jp