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Thanks to modern technology, we are now living in an age of multiplatform fictional worlds, as television, film, the Internet, graphic novels, toys and more facilitate the creation of diverse yet compact imaginary universes, which are often recognisable as brands and exhibit well-defined identities. This volume, situated at the cutting edge of media theory, explores this phenomenon from both theoretical and practical perspectives, uncovering how the construction of these worlds influences our own determination of values and meaning in contemporary society.
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Magic, Monsters, and Make-Believe Heroes looks at fantasy film, television, and participative culture as evidence of our ongoing need for a mythic vision-for stories larger than ourselves into which we write ourselves and through which we can become the heroes of our own story. Why do we tell and retell the same stories over and over when we know they can't possibly be true? Contrary to popular belief, it's not because pop culture has run out of good ideas. Rather, it is precisely because these stories are so fantastic, some resonating so deeply that we elevate them to the status of religion. Illuminating everything from Buffy the Vampire Slayer to Dungeons and Dragons, and from Drunken Master to Mad Max, Douglas E. Cowan offers a modern manifesto for why and how mythology remains a vital force today.
Fantasy films. --- Fantasy games. --- Fantasy. --- dystopia. --- fairy tales. --- fantasy culture. --- fantasy novels. --- fantasy world. --- fantasy. --- grimm. --- heroes. --- heros journey. --- imaginary. --- joseph campbell. --- king arthur. --- magical creature. --- mists of avalon. --- monsters. --- morality. --- myth. --- mythic hero. --- mythic imagination. --- mythology. --- religion. --- religious studies. --- storytelling. --- the hobbit. --- world building.
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In Pixar and the Aesthetic Imagination, Eric Herhuth draws upon film theory, animation theory, and philosophy to examine how animated films address aesthetic experience within contexts of technological, environmental, and sociocultural change. Since producing the first fully computer-animated feature film, Pixar Animation Studios has been a creative force in digital culture and popular entertainment. But, more specifically, its depictions of uncanny toys, technologically sublime worlds, fantastic characters, and meaningful sensations explore aesthetic experience and its relation to developments in global media, creative capitalism, and consumer culture. This investigation finds in Pixar's artificial worlds and transformational stories opportunities for thinking through aesthetics as a contested domain committed to newness and innovation as well as to criticism and pluralistic thought.
Motion pictures --- Animated films --- Animated cartoons (Motion pictures) --- Animated videos --- Cartoons, Animated (Motion pictures) --- Motion picture cartoons --- Moving-picture cartoons --- Caricatures and cartoons --- Abstract films --- Animation (Cinematography) --- Animation cels --- Aesthetics --- Aesthetics. --- Psychological aspects. --- Pixar (Firm) --- Pixar Animation Studios --- Disney Pixar (Firm) --- Toy story (Motion picture) --- Monsters, Inc. (Motion picture) --- Incredibles (Motion picture) --- Ratatouille (Motion picture) --- Disney Pixar Monsters, Inc. (Motion picture) --- Monsters, Incorporated (Motion picture) --- History and criticism. --- aesthetics. --- animated feature. --- animated film. --- animated movies. --- animated. --- animation theory. --- animation. --- animator. --- art. --- artistic. --- character development. --- childrens movies. --- computer animated. --- consumer culture. --- creativity. --- culture. --- digital culture. --- digital. --- environment. --- film art. --- film philosophy. --- global media. --- media studies. --- performing arts. --- philosophy. --- pixar animation studios. --- pixar. --- pop culture. --- popular culture. --- sociocultural. --- sociology. --- storytelling. --- technology. --- toys. --- world building.
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