A History Of American Animated Cartoons Animation Essay

A History Of American Animated Cartoons Animation Essay Rotoscoping was invented by Max Fleischer in the year 1915 with the help of his brother Dave Fleischer. The first character created using the rotoscoping technique was KOKO the clown in 1917, with live reference being taken from his brother who dressed in clown suit. After his success in rotoscoping they started a company called Fleischer Studios. Fleischer Studios Initially, Fleischer started by producing his films for The Bray Studios and later in 1921, Max and his brother Dave established Fleischer Studios to produce animated cartoons and short films; Max was the producer in the beginning. Koko and Fitz are their outcome series from Fleischer Studios. Later it was Fleischer studios who invented even the bouncing ball technique. They used this technique for their animated series KoKo Song Car-Tune, in which a ball bounces from word to word to sing along the series. Fleisher made a 40-minute educational feature film for explaining Charles Darwins Theory of Evolution and Albert Einsteins Theory of Relativity in the year 1923 using live action animation and special effects. Fleischer Film Studioslocated at 1600 Broadway overlooking Times Square in New York City. In his several cartoons, he had soundtracks featuring live or rotoscoped image of the leading jazz performers of the time, most notably Cab Calloway, Louis Armstrong and Don Redman. After that, they used rotoscope in many of their later cartoons like Betty Boop in 1930 they did Cab Calloway dance using this technique. In Gulliver travel, 1939, they did Gullivers character using rotoscope technique, and in Superman cartoon, they animated Superman and the other characters in realistic movement. Betty boops Betty Boop made her first appearance on August 9, 1930 in the cartoon Dizzy Dishes, the sixth episode of Fleischers Talkartoon series. The character was modelled after a combination of the famous singer, Helen Kane and popular actress, Clara Bow of 1920. Clara became trademark of Betty because of her strong Brooklyn accent. Betty Boop became the star of the Talkartoon by 1932, and was given her own series in that same year beginning with Stopping the Show. Betty appeared in the first colour classic cartoon in Poor Cinderella Betty only theatrical colour appearance in 1934. Betty Boops was created by Fleischer studios and distributed by paramount star. Betty Boop as sex symbol Betty Boop is the first and most famous sex symbol on the animated screen. Bettys popularity was largely from adult audiences. It contains many sexual elements in the series like Talkartoon, Minnie and Moocher, Cab Calloway and his orchestra. The Talkartoon was replaced by the Betty boop series, which continued for 7 years. Betty Boop is the one of the important characters in the history of animation for being the first cartoon character to represent fully as sexualized woman. Betty boop wore short dresses showing cleavage, high heels and greater belt, with a certain girlish quality. In Betty Boops Bamboo Isle, she dressed hula topless, wearing only a lei and a grass skirt, which she repeated in her cameo appearance in the first Popeye cartoon, Popeye the Sailor (1933). Her Bamboo Isle performance was also included in the short Betty Boops Rise to Fame, featuring a staged interview with Max Fleischer. Walt Disney used the rotoscoping technique for their movie Snow White and the Seven Dwarf in 1937. After success of Snow White, the Disney used rotoscoping technique in many of their movies like Cinderella in 1950, in which they used the human character to animate Cinderella. Later on, they used this technique mainly to study human motion, animal motion, etc. Digital Rotoscoping The digital rotoscoping technique was invented by smoking car productions in the year 1994 for the creation of The last express adventures video game. The interpolated rotoscoping was invented by Bob Sabiston in the mid 1990s. He was an animator and a computer scientist at MIT media lab. Later director Richard Linklater used that technique to produce his feature film, Walking Life in 2001 and a scanner Darkley in 2006. He is the first director to use digital rotoscoping to create an entire feature film. When they first introduce the rotoscoping technique, a lot of animators opposed because they believed that the process stiffened the animation. A few believed that it could change the proportion of the animation, by giving a live action for the actors in it, to make the characters realistic and exaggerated. Reference Fleischer, Richard (2005): Out of the Inkwell: Max Fleischer and the Animation Revolution, University Press of Kentucky, ISBN 0-8131-2355-0 Maltin, Leonard (1987): Of Mice and Magic: A History of American Animated Cartoons. Penguin Books. http://bettyboopspenthouse.com/home.html Image reference In 1914,Max Fleischerinvented therotoscope http://www.animationarchive.org/labels/upa.html Popeye and Max Fleischer, animation genius. https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixfHYkFdcLxdNSIDnbwJKRJAFeuaJR7-qv72DpeQ-psZxfW8qtGBDa741d8onImAgQz2x9Dzn5KtatZ_r0NNtKq8SnOyQy5RJ3IrGFCFTIjZfFDR89bkvBQoJ5QT3upCr6cOj2zAK1ClU/s1600-h/popeye.jpg Fleischer Film Studios located at 1600 Broadway overlooking Times Square in New York City. http://bettyboopspenthouse.com/images/bettys_studio.jpg http://www.toondoctor.com/rotoscope01.htm

Shakespeare with Professor Ken Tomkins

In at least four plays of the Shakespeare Canon, A Midsummer Night's Dream, As You Like It, Richard II, and Romeo and Juliet, the function of class structure and economics governs the conduct of the characters and provides a central conflict that moves each story towards it's climax. Shakespeare wrote these plays with the social class system in mind. Audiences from all economic levels of society viewed these plays, which included characters from each social set as well. The economic fortunes of certain classes is influenced by life at court and the political and social commentaries which are imbedded in particular plays reflect the injustices which were common practice during those times. Dutiful daughters, regarded as second-class citizens, rebel against advantageous marriages, kingdoms are overthrown, commoners discuss royal figures with derision, and characters reject court life and tyranny. Economics is a fine web that supports different characters and the destinies they are to fulfill. One not born to an economically advantaged world cannot fulfill that destiny. 1 We, as audience, are invited to court to learn the mannerisms of the nobility and we experience banishment into the â€Å"green world†2 countryside, with its resulting restoration of social order. Audience Audience is one key to understanding the function of class and economics in William Shakespeare's plays. We generally understand that he wrote his plays for economic gain as well as for artistic expression; therefore, we cannot afford to overlook his audience, and the potential impact they had upon his writing style. His audience was comprised of the three-tiered social structure and there had to be something in each play to charm them all. Class and economics determined the set-up of the theaters in that time, so it is not an issue that could be ignored by this playwright; rather he echoes it in his works. Separation from the masses was assured by the seating arrangements. The top tiers were reserved for royalty and the middle areas were for the landed gentry, while the floor seats where the â€Å"groundlings† viewed the proceedings resemble our modern-day mosh pits. In that time, it would have been unthinkable for the lowest class to be seated in seats above the other social strata and it is interesting that this seating arrangement has shifted over the centuries. Shakespeare made sure to guarantee his patron base by appealing to the people who financed his plays. Frequently the most important roles were kings and queens or nobles. The acting out of the schemes that take place in court life was undoubtedly familiar and welcome to members of that class. Shakespeare targeted women as consumers because they are historically strong patrons of the arts, while men probably enjoyed gambling and carousing more. In that patriarchal society, class, and expectations restricted women's actions. As characters in Shakespeare's dramas, they challenged their long- accepted roles. The â€Å"groundlings† were satisfied because they, like our society today, liked to see the nobility in disarray. There is an entire sub-culture of gossip publications and news shows that deal exclusively with the nobility of our time, Hollywood actors, and sports personalities. Much interest was generated to the same end in Shakespeare's time. The peasant class thrived on scandal that involved the nobility. Shakespeare made sure to include as much court-inspired strife as was possible, without ostracizing that particular set of patrons. He was able to get away with it because the lords and ladies, the middle-class, enjoyed gossip even more that the plebeians did. In As You Like It, and Richard II, he portrays the usurpers in an unflattering light, while the true Duke and King respectively, gain the audiences pity. This is a very delicate matter, groundlings can enjoy watching nobility fall, and the nobility can watch the usurpers get their own back. The plays satisfy a variety of audiences. Class Conflict Class conflict is a function of Shakespeare's work because, without it, there is no conflict to be resolved. It is the driving force behind many of his plays. Conflicts always start in the court setting, and cannot be resolved until the natural order of each monarchy is reinforced or put back in place. There can be no subversion at the end. The role of class in Romeo and Juliet reflects royal determinations regarding the family rivalry between the Capulets and the Montagues. The play opens with an angered prince and closes with one. Apparently, with both families on the same higher social level, the fighting between them is not something that should happen at this altitude. They are playing out their feud at the street level, which is demeaning to both families. â€Å"From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. † (1. P. 5). The word, â€Å"unclean,† suggests that they have tarnished their images. The prince re-emphasizes this image in his admonishment, â€Å"Profaners of this neighbour-stained steel-â€Å"(1. 1. 82). The prince is a minor character in this tragedy; he has not many lines to speak. It is clear to all that he controls the social order in the following quote. â€Å"And then will I be general of your woes, And lead you even to death. â€Å"(5. 3. 219). The drama that occurs in his kingdom is subject to Royal will and dictates. A Midsummer Night's Dream starts in the human court and ends with the balance of power in the Fairy court. Social order always returns to whoever was the rightful owner. We can make an argument that in the end of Richard II, the wrong king is in power, but we must remember that Richard himself upset the divine right of succession by stealing away Bullingbrook's inheritance and name. Richard upset the class system, and he pays the price. It is interesting that these Henriad plays focus on placing the â€Å"Ideal Christian King† in power. Richard, while the object of pity in the end, obviously was not such a king because he was the catalyst for change, and he paved the way for the â€Å"New Man. â€Å"3 The fortunes of all in Richard II depend upon who is in power; indeed, the change of power changes not only the economics, but also the life status of the characters Bushy and Green. This theme is still prevalent today, the change in power structure extends down the power line, only now instead of losing one's life, administrative employees lose their positions, which in political life, is the death of one's career for a time. Class, Social Rank & Freedom Class serves the function of determining degrees of wealth and freedom in many plays. Mapped out, it looks something like the following: 1. Royalty & Nobility- (ruling-class) they enjoy great power and authority that is limited only by the expectations of their subjects. The magnificence of these offices is sadly linked to the loss of freedom. They are subject to the severe maxims that govern this class, which include their personal conduct, lines of succession, and ability to marry. The role that government fulfills also affects the economic stability of their subjects. When speaking to one another they use the more formal poetry, and when they speak to someone below their station, they tend to resort to a simpler prose form of speech. As rulers, they are also targets, everyone will come out of the woodwork to overthrow them or create stress for them. Duke Sr. in As You Like It, holds forth, † Hath not old custom made this life more sweet Than that of painted pomp? † Are not these woods More free from peril than the envious court? † (2. 1. 2-4). 2. Middle-ranks- (landed gentry and merchants) The survival of the middle ranks depends upon the survival of the highest ranks, that is changes in power are reflected at this level because they are the supporting class. As gentry, their lives can be forfeit or spared, their lands can be confiscated or returned, and their titles bestowed or revoked. As merchants or citizens, they can experience economic changes that can enhance or deplete their fortunes. Their speech patterns also vary according to their conversations, just as we use different language with our bosses than we do with our peers, so did they use prose when speaking with lower classes and poetry with those in the upper ranks. 3. Lower-ranks- (peasants and laborers)- This class of society â€Å"enjoys the most freedom and their lives are the least bruised† by whoever is in power, as they never alter their position in society. No matter who is in power, their privileges and fortunes do not change. They have the least expectations placed upon them and do not have to strive to impress any one outside of their social class other than the people who employ them (Reynolds). 4 In each of these plays, the complicating action starts in the court as the ruling classes that will affect the families and country around them, make catalytic decisions. Since Shakespeare introduces most of his characters in the first act, the complicating actions hinge upon the fact that the primary characters never resist the opportunity to make a better outcome for themselves. Luckily, they forge ahead on their ill-advised paths; otherwise, there would be no end to the first plateau of each play. In A Midsummer Night's Dream, we have two sets of Royals: the King and Queen of the fairies, and the Duke, Theseus and soon-to-be Duchess of Athens. Egeus needs permission to send his wayward daughter to a nunnery or her death, for her refusal to marry Demetrius. Her refusal is a blatant upset in the social order, mirrored in the fairy world by Tatania disobeying Oberon. Only when the conflict is resolved in the fairy world can it be resolved in the human world. 5 In this particular play, the Fairy King and Queen are the uppermost level of classes. Their actions are affecting those classes below. The decision made by the Duke forces the young characters departure from the court to the â€Å"green world. † The tension begins with his proclamation: â€Å"For you, fair Hermia, look you arm yourself To fit your fancies to your fathers will; Or else the law of Athens yields you up (Which by no means we may extenuate) To death or vow of single life. â€Å"(1. 1. 120). â€Å"Extenuate† is a very important word in this passage, as it explains the rules that the upper classes must live by. Theseus seems to care about Hermia, and almost appears to be pleading with her to make the right decision, because he cannot mitigate the rules. Bound by the traditions of his office, he cannot resolve the problem. Once the Fairy world is back in order, and the lovers are in love with their rightful partners, then only can Theseus pardon their behavior. It is an empty pardon, for the highest ruling class already resolved the conflict. Another line that reveals the importance of class is, â€Å"Know of your youth, examine well your blood. â€Å"(1. 1. 68). Said by Theseus to Hermia, it is telling that bloodlines are important and come with a specific set of expectations that must be fulfilled. Hermia and Juliet struggle from the dictums of their class, they are pre-destined to execute their duty under the patriarchal system, and they go to extreme measures to escape their restrictive environments. Juliet blithely wishes that Romeo would deny his name and fate, because she wants to eat her cake and still have it. If he were to refuse his name, she could avoid the â€Å"dutiful daughter† restraints, and retain her true love. Montague wishes his daughter to have a few more years on the planet before she is married off, but he submits to Paris' request because of the social climbing nature of society. Both he and his wife wish to make the most advantageous match for their daughter, and would marry her off immediately after the death of a kinsman no matter how socially unseemly it is. The nurse character in Romeo & Juliet appears strangely unbound by the traditions of this level of society. Her place in the family is assured, as she has raised Juliet. Her place in the class system is as a â€Å"Natural†. She speaks of sex and practical matters and is viewed as a â€Å"bawdy character,† according to Tomkins. 6 Lady Montague seems to have a bit of trouble deciding weather or not this woman is worthy of joining in on family discussions of Juliet's future, but the nurse feels confident enough to meddle in their affairs. Expectations of this character are mixed according to the players on the stage. Tatania also strays from the expectations of fairy society by taking a clown with an Asses head as lover, but this was not by choice, but rather by trickery. This is a blatant upset of social order. Bottom represents the lower human kingdom, the lower class, and the lowest of all possible levels, an animal used for the most menial tasks. Bottom, while not the lowest class of human, but close to it, is affected by the decisions of King Oberon and for a brief while enjoys being pampered, cosseted and loved by the Fairy Queen. As an actor, Bottom's economic fortune is dependant upon the Duke picking the play of â€Å"Pyramus and Thisby† to view as his wedding's entertainment. We never find out if the rustics are paid for their work, but it is suggested that they gain something of value for being chosen. Banishment Romeo is destroyed by his banishment from Verona; it represents his banishment from his economic base as well as his social milieu. He equates banishment with death, â€Å"And world's exile is death; then banished Is death misterm'd. (3. 3. 21). Banishment suggests rustication, or the stripping away of all economic and family scaffolding, typically in a country setting. In Shakespeare, all of important society lives in cities, certainly not in the country. 7 In As You Like It, not only is the Duke exiled from his duchy, he is exiled from comfort and he is leading the life of a different social order. Shakespeare, by his choice of speeches, shows us that court life is truly preferable in terms of creature comforts. Orlando complains of his treatment by his brother Oliver, † For my part, he keeps me rustically at home, † and â€Å"Stays me here at home unkept; for call you that keeping for a gentleman of my birth, that differs not from the stalling of an Ox? â€Å"(1. 1. 7-11). Duke Sr. complains in a roundabout way, † Here feel we not the penalty of Adam, The seasons difference, as the icy fang And churlish chiding of the winter's wind-â€Å"(2. 1. 7). The symbols of office are of important economic importance in Richard II and represent something of a crisis to Bullingbrook. Without the symbols of office, he is not truly king. He needs to secure those symbols because without them his character is still one exiled from his country and disinherited from his family line. He is a man without any social class at all without that crown (4. 1. 175-80). The young gentry in A Midsummer Night's Dream act strangely once they are out of the court setting. They, under the spell of the fairy kingdom, fight and act rudely towards one another. Lysander said, â€Å"Get you gone you dwarf; You minimus, of hind'ring knot-grass made; You bead, you acorn. It appears that with the removal of the trappings of court, or higher society, former members of high society experience a breakdown of manners and class characteristics (3. 2. 327-9). The four plays that are discussed in this essay have countless references to the expectations of social class; however, it would take a much longer document to include them all. For our purposes, it is clear from the examples above, that Shakespeare deliberately used social class and economics as a function to move story lines along and to satisfy the needs of his audience. According to Tomkins, â€Å"Silliness is not a class thing, it crosses gender and nobility lines. 8 The role that the ruling class played is most important, because it usually establishes the outcome of all the players in each performance. In the end, each character fulfills their own personal destiny according to the dictums of their identifiable economic sphere. It is also clear that Shakespeare's audience was aware of, and possible approved the preference of the court over the â€Å"green world. † If the â€Å"green world† were a preferable locale, story lines would end in that vicinity.

Is There Nowhere Else Where We Can Meet ?

The story begins with a clever prophetic metaphor, ‘reversal of elements' where the white sky is blackened by smoke. This speaks of the role reversal that is about to take place between the races of the boy and the girl. It warns us that there is going to be meeting and it won't be a particularly pleasant one. The title itself incurs thoughts of a romantic meeting, similar to the title of a Hollywood film. This gives the reader a clue that there is a sexual theme in this story.II)an initiation story1) Little red riding hood : journey/ hostile nature / sexual threat / big bad wolf Particular attention should be drawn to smells, they play vital role inthis story. e.g. the strong smell of old sweat burned at her nostrils, a filthy rag,a dusty green scent, he was clean, unhuman, the smell of him choked her.2) A regression process : turning into an idiot (absence of speech)3) Balance and imbalanceViolence is contained by fear.III) (south-african white) girl meets (black) boy : a tale of racial, spacial, sexual, social segregation :1) Irrational instinctive reaction on the girl's part2) Sense of place/displacement3) Fear of the UnknownThe story gets complicated with every minute, the heroine sees some red eyes, she does not knowwhether they belong to a dog or to a person. These red eyes evoke fear andsome interest, her hurt starts beating faster and faster. The author on purpose did not give any names because she wanted to generalize thatsituation and foreground some oppositions: white and black ( racial  context ), educated – uneducated, civilization – veld.

Character Comparison in Tim OBriens The Things They...

The central theme of the story is the age-old conflict of life and death. On a more personal level with First Lieutenant Jimmy Cross, the round character and protagonist of The Things They Carried, it is a conflict of love, his antagonist and of war. The author, Tim OBrien, is writing about an experience of a tour in the Vietnam conflict. This short story deals with inner conflicts of some individual soldiers and how they chose to deal with the realities of the Vietnam conflict, each in their own individual way as men, as soldiers. There were certain items or supplies that each soldier needed to possess that aided in their survival. Other items were discretionary or optional, not entirely important for the†¦show more content†¦The only distinct change that he goes through is a change from being alive to being dead. He does not know he has changed. I believe that this is a form of dramatic irony. The feeling of being scared to die is Lavenders antagonist. Kiowa, it would seem was Indian, conceivably, Kiowa. He carried an illustrated New Testament, given to him by his father, a Sunday school teacher. On night missions he carried moccasins, for silence. He also carried his grandfathers feathered hatchet and his grandmothers distrust of the white man. Kiowa was also a very religious Baptist. I think that Kiowa would be defined as a stock character. I, maybe wrong, but I believe that is stereotypical to correlate Indians with hatchets, war, feathers, moccasins and the dislike or distrust of the white man. I do not think it is in distaste when Indians are described like this. Perhaps it is done out of respect or with awe, for a culture with warrior pride, traditions and beliefs. Perhaps this is why Kiowa could not feel for Lavender the same way that Lt. Cross seemed to be grieving for him. As a warrior, Kiowa knows that life is fragile and death is to be met. Maybe seeing Lavender die, while zipping up was an eye opener for the Native, showing him that death can be lurking around the corner, not only in combat but anywhere. I do not see any antagonists for Kiowa. He may be described as one of the strongest characters in the story. Oppositely,Show MoreRelatedHeroism In Tim OBriens The Things They Carried1684 Words   |  7 PagesRyan and American Sniper. However, the glorified heroism that is depicted in these films is far from the reality that is war. A more realistic rendition of war is seen in Tim O’Brien’s short story, The Things They Carried. Throughout the story, O’Brien uses metafictional characters to portray the physical and emotional burdens carried by American soldiers who were forced to conform to societal expectations upon being drafted for the Vietnam War. 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