Whoever Said Change Was Good: The Transforming Body of the Disney Villainess

This dissertation examines female figures in Disney animation through the lens of Laban Movement Analysis (LMA), a system for observing and articulating movement qualities. Drawing from six major films released between 1937 and 2010, I focus my inquiry on how the bodies and movement of Disneys villainesses reflect and/or perpetuate cultural imaginaries of women. I identify the influence of several cultural tropes of femininity, including fairy-tale archetypes, ballet conventions, and the Hollywood femme fatale, and explore how they constellate social understandings of age, beauty, and desirability. Coalescing around the theme of physical transformation, the study investigates how consistent movement patterns both support character animation and reflect gender ideologies encoded in the bodies of these wicked women. Through a methodology grounded in LMA and drawing from dance studies, feminist theory, and Disney scholarship, I interrogate popular conceptions of women and evil, articulate how movement contributes to cultural meaning, and demonstrate LMAs value to cultural analysis and animation

Tale As Old As...Feminism? The (re)making Of Beauty And The Beast

In this thesis, I investigate Disney’s positioning of the live-action Beauty and the Beast as feminist. Up to this point, Disney’s animated Beauty and the Beast has both been hailed as presenting audiences with an empowered princess and criticized for the Beast’s aggressive behavior and the positioning of Belle as a woman meant to propel the Beast’s story forward. I provide an assessment of the gender politics depicted in Disney’s live-action Beauty and the Beast, and I problematize the tendency to classify texts as either entirely feminist or utterly antifeminist. As a whole, this thesis provides an in-depth analysis of the gender politics of Disney’s live-action Beauty and the Beast to address the importance of acknowledging that popular culture texts are complex and cannot be reduced to an either/or binary opposition between progressive and retrograde. To label a film such as Disney’s live-action Beauty and the Beast as purely feminist or strictly antifeminist ignores the potential for contradictory messages to be communicated

The Art of Movies

Movie is considered to be an important art form; films entertain, educate, enlighten and inspire audiences. Film is a term that encompasses motion pictures as individual projects, as well as — in metonymy — the field in general. The origin of the name comes from the fact that photographic film (also called filmstock) has historically been the primary medium for recording and displaying motion pictures. Many other terms exist — motion pictures (or just pictures or “picture”), the silver screen, photoplays, the cinema, picture shows, flicks — and commonly movies

Electronic Imaging & the Visual Arts. EVA 2018 Florence

The Publication is following the yearly Editions of EVA FLORENCE. The State of Art is presented regarding the Application of Technologies (in particular of digital type) to Cultural Heritage. The more recent results of the Researches in the considered Area are presented. Information Technologies of interest for Culture Heritage are presented: multimedia systems, data-bases, data protection, access to digital content, Virtual Galleries. Particular reference is reserved to digital images (Electronic Imaging & the Visual Arts), regarding Cultural Institutions (Museums, Libraries, Palace - Monuments, Archaeological Sites). The International Conference includes the following Sessions: Strategic Issues; New Sciences and Culture Developments and Applications; New Technical Developments & Applications; Museums - Virtual Galleries and Related Initiatives; Art and Humanities Ecosystem & Applications; Access to the Culture Information. Two Workshops regard: Innovation and Enterprise; the Cloud Systems connected to the Culture (eCulture Cloud) in the Smart Cities context. The more recent results of the Researches at national and international are reported in the Area of Technologies and Culture Heritage, also with experimental demonstrations of developed Activities

You Can\u27t Get There from Here: Movement SF and the Picaresque

This dissertation examines the crisis of authenticity in postmodern culture and argues that contemporary science fiction, specifically the subgenre of Movement SF, has evolved a unique answer to this crisis by adopting, perhaps spontaneously, the picaresque narrative structure. Postmodern fiction has a tenuous relationship with the issue of authenticity, such that the average postmodern subject is utterly without true authenticity at all, alternately victim to the socioeconomic conditions of his or her culture and to the elision of the self as a result of the homogenizing effects of advertising, television, etc. Postmodern SF also carries this bleak perception of the possibility of agency; William Gibson\u27s Sprawl and Bridge trilogies are rife with negations of human agency at the metaphorical hands of various aspects and incarnations of what Fredric Jameson terms the technological sublime. This dissertation puts forth the argument that a group of post-Eighties SF texts all participate in a spontaneous revival of the picaresque mode, using the picaresque journey and related motifs to re-authenticate subjects whose identity and agency are being erased by powerful social and economic forces exterior to and normally imperceptible by the individual. This dissertation is organized around three loosely connected parts. Part 1 attempts to define Movement SF by separating the various, often confusing marketing labels (such as cyberpunk, postcyberpunk, etc.) and extracting a cluster of core characteristics that have shaped the genre since its inception in the early 80s. Part 1 further examines how these core characteristics (or premises) of Movement SF provide fertile ground for picaresque narrative strategies. Part 2 describes in detail the picaresque as it appears in Movement SF, examining worldbuilding strategies, the persistence and evolution of tropes and motifs common to the traditional picaresque, and the generation of new tropes and motifs unique to Movement picaresques. Part 3 examines the spatial tactics used in Movement picaresque narratives to enable picaresque marginality in totalized, globalized environments. Furthermore, Part 3 examines the use of psychological plurality as an internal tactic to escape closed environments

University of San Diego News Print Media Coverage 2008.04

Printed clippings housed in folders with a table of contents arranged by topic.https://digital.sandiego.edu/print-media/1063/thumbnail.jp

La animación, proceso alquímico y práctica contemplativa para la transformación y la comunicación consciente: Neuro Animáticas

[ES] La Animación como Arte alquímico y práctica contemplativa mindfulness, es un potenciador de la transformación del "ser" y su consciencia, desarrollando la comunicación consciente y la autorregulación hacia el bienestar. A través del proceso creativo y alquímico de las películas animadas, se puede cultivar la atención plena y una visión holística, fomentando con ello el pensamiento crítico, reflexivo y creativo en busca de la coherencia en las historias que vivimos y las que recreamos. El objetivo principal de esta Tesis Doctoral, es mostrar a la comunidad, la animación como un lenguaje alternativo y práctica mediadora y preventiva, tanto para los individuos como para la sociedad, desde las Artes y la Educación, frente a la desinformación, desorientación y manipulación mediática que actualmente vivimos. La animación así concebida, favorece una mente despierta, atenta, sensible y equilibrada, con un corazón sabio y el animador, se convierte en un un artista chamánico consciente, en un alquimista, cuyo arte será mediador desde el individuo a la comunidad, estableciendo un diálogo abierto para el cuidado emocional y la autorreflexión. Nuestra perspectiva plantea un cambio, pasando de usar la animación como forma de entretenimiento, a utilizarla como una herramienta de aprendizaje neuro artístico, introduciendo aspectos de la Neurociencia en el proceso creativo y transformándola así en un arte neuro plástico, que promueve la neuroplasticidad autodirigida y la inteligencia emocional. Con esta metodología se estimulan valores como la compasión, la empatía y la resiliencia, donde el proceso alquímico de transformación individual, invita a realizar un viaje introspectivo y purificador, conectando la mente y el cuerpo, el individuo con el grupo y la comunidad con el mundo, a través de las historias animadas. Narrativas que pueden idear nuevos héroes y heroínas, independientes y compasivos, que nos ofrezcan otros modos de enfrentar los desafíos de la vida con humor y sabiduría. En el campo del arte en general y dentro de la industria del cine en particular, por el poder que el audiovisual tiene hoy en día sobre la población, es vital cultivar artistas conscientes de los contenidos que producen, por el impacto e influencia que ejercen en ellos mismos/as, y en la sociedad que los consume y cultura a la que los dirigen. La animación es un lenguaje ancestral y fuente de sabiduría que ofrece un espacio sagrado desde el yo para la comunicación e intercambio de información con el otro; puente entre la ciencia y el arte, lo visible y lo oculto, lo espiritual y lo terrenal, lo análogo y tecnológico, donde el límite lo pone solo la imaginación. Entrar en el mundo animado, es entrar en el mundo de los sueños y la Alquimia espiritual, donde todo es posible.[CA] L'Animació com a Art alquímico i pràctica contemplativa mindfulness, és un potenciador de la transformació de el "ser" i la seua consciència, desenrollant la comunicació conscient i la autorregulación cap al benestar. A través del procés creatiu i alquímico de les películes animades, es pot cultivar l'atenció plena i una visió holística, fomentant en això el pensament crític, reflexiu i creatiu en busca de la coherència en les històries que vivim i les que recreem. L'objectiu principal d'esta Tesis Doctoral, és mostrar a la comunitat, l'animació com un llenguage alternatiu i pràctica mediadora i preventiva, tant per als individus com per a la societat, des de les Arts i l'Educació, front a la desinformació, desorientación i manipulació mediàtica que actualment vivim. L'animació aixina concebuda, favorix una ment desperta, atenta, sensible i equilibrada, en un cor sapient i l'animador, es convertix en un un artiste chamánico conscient, en un alquimiste, l'art del qual serà mediador des del individuo a la comunitat, establint un diàlec obert per al conte emocional i la autorreflexión. La nostra perspectiva planteja un canvi, passant d'usar l'animació com a forma d'entreteniment, a utilisar-la com una ferramenta d'aprenentage neuro artístic, introduint aspectes de la Neurociencia en el procés creatiu i transformant la aixina en un art neuro plàstic, que promou la neuroplasticidad autodirigida i l'inteligència emocional. En esta metodologia s'estimulen valors com la compassió, l'empatia i la resiliencia, a on el procés alquímico de transformació individual, invita a realisar un viage introspectivo i purificador, conectant la ment i el cos, l'individu en el grup i la comunitat en el món, a través de les històries animades. Narrativa que poden idear nous héroes i heroïnes, independents i compassius, que nos oferixquen atres modos d'enfrontar els desafius de la vida en humor i saber. En el camp de l'art en general i dins de l'indústria del cine en particular, pel poder que l'audiovisual té hui en dia sobre la població, és vital cultivar artistes conscients dels continguts que produïxen, per l'impacte i influència que eixercixen en ells mateixos/as, i en la societat que els consumix i cultura a la que els dirigixen. L'animació és un llenguage ancestral i font de saber que oferix un espai sagrat des del yo per a la comunicació i intercanvi d'informació en l'atre; pont entre la ciència i l'art, lo visible i lo amagat, lo espiritual i lo terrenal, lo anàlec i tecnològic, a on el llímit ho posa solament l'imaginació. Entrar en el món animat, és entrar en el món dels somis i l'Alquímia espiritual, a on tot és possible.[EN] Animation as an alchemical art and mindfulness contemplative practice, is an enhancer of the transformation of the "self" and its consciousness, developing conscious communication and self-regulation towards well-being. Through the creative and alchemical process of animated films, mindfulness and a holistic vision can be cultivated, thereby fostering critical, reflective and creative thinking in search of coherence in the stories we live and those we recreate. The main objective of this Doctoral Thesis is to show the community, animation as an alternative language and mediating and preventive practice, both for individuals and for society, from the Arts and Education, against misinformation, disorientation and the media manipulation that we currently live. The animation thus conceived, favors an awake, attentive, sensitive and balanced mind, with a wise heart and the animator, becomes a conscious shamanic artist, an alchemist, whose art will mediate from the individual to the community, establishing an open dialogue for emotional care and self-reflection. Our perspective proposes a change, going from using animation as a form of entertainment, to using it as a neuro-artistic learning tool, introducing aspects of Neuroscience in the creative process and thus transforming it into a neuroplastic art, which promotes self-directed neuroplasticity and emotional intelligence. With this methodology, values such as compassion, empathy and resilience are stimulated, where the alchemical process of individual transformation invites us to go on an introspective and purifying journey, connecting the mind and the body, the individual with the group and the community with the world, through animated stories. Narratives that can create new heroes and heroines, independent and compassionate, that offer us other ways to face life's challenges with humor and wisdom. In the field of art in general and within the film industry in particular, due to the power that the audiovisual has today over the population, it is vital to cultivate artists who are aware of the content they produce, due to the impact and influence they exert on themselves, and in the society that consumes them and the culture to which they are directed. Animation is an ancient language and source of wisdom that offers a sacred space from the self for communication and exchange of information with the other; bridge between science and art, the visible and the hidden, the spiritual and the earthly, the analogous and technological, where the limit is set only by the imagination. Entering the animated world is entering the world of dreams and spiritual Alchemy, where everything is possible.Carpe Pérez, IC. (2023). La animación, proceso alquímico y práctica contemplativa para la transformación y la comunicación consciente: Neuro Animáticas [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/19368