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Sociology of literature --- Graphic arts --- Literary semiotics --- Disney, Walt --- Comic books, strips, etc. --- Propaganda, American --- Propaganda, Capitalist --- #SBIB:309H241 --- Capitalist propaganda --- Capitalism --- Propaganda, Anti-communist --- American propaganda --- History and criticism. --- Andere media: functies, genres, historiek --- Walt Disney Productions --- Disney (Walt) Productions --- Walt Disney Studio --- Walt Disney Studios (1929-1986) --- Disney Productions --- Ṿolṭ Disni (Firm) --- Ulpane Ṿolṭ Disni --- Ulpene Ṿolṭ Disni --- Disney Film Recording Company --- Disney Studios --- אולפני וולט דיסני --- אלפני וולט דיסני --- וולד דיסני --- וולט דיסני --- סרטי וולט דיסני --- Disney Brothers Studio --- Walt Disney Enterprises --- Liled Realty and Investment Company, ltd. --- Walt Disney Company --- Propaganda, American. --- Propaganda, Capitalist. --- Comic books, strips, etc --- History and criticism --- Walt Disney Productions.
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The Walt Disney Company offers a vast universe of movies, television shows, theme parks, and merchandise, all carefully crafted to present an image of wholesome family entertainment. Yet Disney also produced one of the most infamous Hollywood films, Song of the South. Using cartoon characters and live actors to retell the stories of Joel Chandler Harris, SotS portrays a kindly black Uncle Remus who tells tales of Brer Rabbit, Brer Fox, and the “Tar Baby” to adoring white children. Audiences and critics alike found its depiction of African Americans condescending and outdated when the film opened in 1946, but it grew in popularity—and controversy—with subsequent releases. Although Disney has withheld the film from American audiences since the late 1980s, SotS has an enthusiastic fan following, and pieces of the film—such as the Oscar-winning “Zip-a-Dee-Doo-Dah”—remain throughout Disney’s media universe. Disney’s Most Notorious Film examines the racial and convergence histories of Song of the South to offer new insights into how audiences and Disney have negotiated the film’s controversies over the last seven decades. Jason Sperb skillfully traces the film’s reception history, showing how audience perceptions of SotS have reflected debates over race in the larger society. He also explores why and how Disney, while embargoing the film as a whole, has repurposed and repackaged elements of SotS so extensively that they linger throughout American culture, serving as everything from cultural metaphors to consumer products.
Race relations in motion pictures. --- African Americans in motion pictures. --- Stereotypes (Social psychology) in motion pictures. --- Motion picture audiences --- Convergence (Telecommunication) --- Walt Disney Productions. --- Song of the South (Motion picture) --- Telecommunication --- Film audiences --- Filmgoers --- Moviegoers --- Moving-picture audiences --- Performing arts --- Stereotype (Psychology) in motion pictures --- Motion pictures --- Afro-Americans in motion pictures --- Negroes in moving-pictures --- Race films --- Audiences --- Disney (Walt) Productions --- Walt Disney Studio --- Walt Disney Studios (1929-1986) --- Disney Productions --- Ṿolṭ Disni (Firm) --- Ulpane Ṿolṭ Disni --- Ulpene Ṿolṭ Disni --- Disney Film Recording Company --- Disney Studios --- אולפני וולט דיסני --- אלפני וולט דיסני --- וולד דיסני --- וולט דיסני --- סרטי וולט דיסני --- Disney Brothers Studio --- Walt Disney Enterprises --- Liled Realty and Investment Company, ltd. --- Walt Disney Company --- Uncle Remus (Motion picture)
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Soon after the birth of Mickey Mouse, one animator raised the Disney Studio far beyond Walt's expectations. That animator also led a union war that almost destroyed it. Art Babbitt animated for the Disney studio throughout the 1930s and through 1941, years in which he and Walt were jointly driven to elevate animation as an art form, up through Snow White, Pinocchio, and Fantasia. But as America prepared for World War II, labor unions spread across Hollywood. Disney fought the unions while Babbitt embraced them. Soon, angry Disney cartoon characters graced picket signs as hundreds of animation artists went out on strike. Adding fuel to the fire was Willie Bioff, one of Al Capone's wiseguys who was seizing control of Hollywood workers and vied for the animators' union. Using never-before-seen research from previously lost records, including conversation transcriptions from within the studio walls, author and historian Jake S. Friedman reveals the details behind the labor dispute that changed animation and Hollywood forever.
Animators --- Strikes and lockouts --- animatiefilm --- animatie --- filmgeschiedenis --- Disney, Walt --- Disney --- stakingen --- vakbonden --- werknemers --- arbeidsvoorwaarden --- 799.91 --- film --- filmproductie --- Verenigde Staten --- 791.46 --- Cartoon makers --- Animation (Cinematography) --- Combinations of labor --- Lockouts --- Work stoppages --- Direct action --- Labor disputes --- Strikebreakers --- Labor unions --- History --- Motion picture industry --- animatiefilm, geschiedenis --- Disney, Walt, --- Babbitt, Art, --- Babbitt, Arthur, --- Babitsky, Arthur Harold, --- Walt Disney Company. --- Walt Disney Productions --- Disney Film Recording Company --- Disney Productions --- Disney Studios --- Disney (Walt) Productions --- Ulpane Ṿolṭ Disni --- Ulpene Ṿolṭ Disni --- Ṿolṭ Disni (Firm) --- Walt Disney Studio --- Walt Disney Studios (1929-1986) --- אולפני וולט דיסני --- אלפני וולט דיסני --- וולד דיסני --- וולט דיסני --- סרטי וולט דיסני --- Disney Brothers Studio --- Walt Disney Enterprises --- Liled Realty and Investment Company, ltd. --- Walt Disney Company --- Disney Studio --- 迪斯尼公司 --- Mei guo di shi ni gong si --- 美國迪士尼公司 --- 21st Century Fox (Firm) --- History. --- Employees. --- Employers and workers organisations --- anno 1930-1939 --- anno 1940-1949 --- Los Angeles [California]
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"Although its early films featured racial caricatures and exclusively Caucasian heroines, Disney has, in recent years, become more multicultural in its filmic fare and its image. From Aladdin and Pocahontas to the Asian American Russell in Up, from the first African American princess in The Princess and the Frog to 'Spanish-mod' Buzz Lightyear in Toy Story 3, Disney films have come to both mirror and influence our increasingly diverse society. This essay collection gathers recent scholarship on representations of diversity in Disney and Disney/Pixar films, exploring not only race and gender, but also newer areas of study, particularly sexuality/queer studies, masculinity studies and disability studies. Covering a wide array of films, from Disney's early days and ""Golden Age"" to the Eisner era and current fare, these essays highlight the social impact and cultural significance of the entertainment giant."-- Publisher's description
Animated films --- Animated films. --- Animerad film --- Animerad film. --- Disabilities in motion pictures. --- Ethnicity in motion pictures. --- Gender and the cinema. --- Handicapped in films. --- Könsroller i filmen. --- Motion pictures --- People with disabilities in motion pictures. --- People with disablities in motion pictures. --- Personer med funktionshinder i filmen. --- Race and the cinema. --- Race in motion pictures. --- Race relations in motion pictures. --- Rasrelationer i filmen. --- Sex in films. --- Sex role in motion pictures. --- History and criticism --- Historia. --- Pixar (Firm). --- Walt Disney Productions. --- Förenta staterna. --- Race in motion pictures --- Ethnicity in motion pictures --- Sex role in motion pictures --- Disabilities in motion pictures --- People with disablities in motion pictures --- 799.90 --- kunsteducatie --- animatie --- animatiefilm --- Disney --- diversiteit --- inclusiviteit --- queer --- homoseksualiteit --- seksualiteit --- gehandicapten --- Etnische minderheden --- representatie --- 799.91 --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- animatiefilm, productiehuizen --- animatiefilm, geschiedenis --- Pixar (Firm) --- Pixar Animation Studios --- Disney Pixar (Firm) --- Disney (Walt) Productions --- Walt Disney Studio --- Walt Disney Studios (1929-1986) --- Disney Productions --- Ṿolṭ Disni (Firm) --- Ulpane Ṿolṭ Disni --- Ulpene Ṿolṭ Disni --- Disney Film Recording Company --- Disney Studios --- אולפני וולט דיסני --- אלפני וולט דיסני --- וולד דיסני --- וולט דיסני --- סרטי וולט דיסני --- Disney Brothers Studio --- Walt Disney Enterprises --- Liled Realty and Investment Company, ltd. --- Walt Disney Company --- LGBTQ+ (lesbian, gay, bisexual, transgender, queer and others)
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The emergence of these media enables new modes of perception that create 'special' sensations of wonder, astonishment, marvel and the fantastic. Such affections subsequently become mined by consumer industries for profit, thereby explaining the connection between media and consumerism that today seems inherent to the culture industry. Such modes and their affections are also translated into ideology, as American culture seeks to make sense of the sociocultural changes accompanying these new media, particularly as specific versions of American Dream narratives. Special Affects is the first extended exploration of the connection between media and consumerism, and the first book to extensively apply Deleuzian film theory to animation. Its exploration of the connection between the animated form and consumerism, and its re-examination of twentieth-century animation from the perspective of affect, makes this an engaging and essential read for film-philosophy scholars and students.
Motion pictures --- Animated films --- Consumption (Economics) --- Affect (Psychology) --- Popular culture --- Economic aspects --- Social aspects --- Walt Disney Productions. --- Consumer demand --- Consumer spending --- Consumerism --- Spending, Consumer --- Demand (Economic theory) --- Emotions --- Psychology --- 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 --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- Disney (Walt) Productions --- Walt Disney Studio --- Walt Disney Studios (1929-1986) --- Disney Productions --- Ṿolṭ Disni (Firm) --- Ulpane Ṿolṭ Disni --- Ulpene Ṿolṭ Disni --- Disney Film Recording Company --- Disney Studios --- אולפני וולט דיסני --- אלפני וולט דיסני --- וולד דיסני --- וולט דיסני --- סרטי וולט דיסני --- Disney Brothers Studio --- Walt Disney Enterprises --- Liled Realty and Investment Company, ltd. --- Walt Disney Company --- Deleuze, Gilles, --- United States. --- Deleuze, G. --- Deleuze, Gilles --- Delëz, Zhilʹ, --- Delezi, Jier, --- Dūlūz, Jīl, --- ABŞ --- ABSh --- Ameerika Ühendriigid --- America (Republic) --- Amerika Birlăshmish Shtatlary --- Amerika Birlăşmi Ştatları --- Amerika Birlăşmiş Ştatları --- Amerika ka Kelenyalen Jamanaw --- Amerika Qūrama Shtattary --- Amerika Qŭshma Shtatlari --- Amerika Qushma Shtattary --- Amerika (Republic) --- Amerikai Egyesült Államok --- Amerikanʹ Veĭtʹsėndi͡avks Shtattnė --- Amerikări Pĕrleshu̇llĕ Shtatsem --- Amerikas Forenede Stater --- Amerikayi Miatsʻyal Nahangner --- Ameriketako Estatu Batuak --- Amirika Carékat --- AQSh --- Ar. ha-B. --- Arhab --- Artsot ha-Berit --- Artzois Ha'bris --- Bí-kok --- Ē.P.A. --- É.-U. --- EE.UU. --- Egyesült Államok --- ĒPA --- Estados Unidos --- Estados Unidos da América do Norte --- Estados Unidos de América --- Estaos Xuníos --- Estaos Xuníos d'América --- Estatos Unitos --- Estatos Unitos d'America --- Estats Units d'Amèrica --- Ètats-Unis d'Amèrica --- États-Unis d'Amérique --- ÉU --- Fareyniḳṭe Shṭaṭn --- Feriene Steaten --- Feriene Steaten fan Amearika --- Forente stater --- FS --- Hēnomenai Politeiai Amerikēs --- Hēnōmenes Politeies tēs Amerikēs --- Hiwsisayin Amerikayi Miatsʻeal Tērutʻiwnkʻ --- Istadus Unidus --- Jungtinės Amerikos valstybės --- Mei guo --- Mei-kuo --- Meiguo --- Mî-koet --- Miatsʻyal Nahangner --- Miguk --- Na Stàitean Aonaichte --- NSA --- S.U.A. --- SAD --- Saharat ʻAmērikā --- SASht --- Severo-Amerikanskie Shtaty --- Severo-Amerikanskie Soedinennye Shtaty --- Si͡evero-Amerikanskīe Soedinennye Shtaty --- Sjedinjene Američke Države --- Soedinennye Shtaty Ameriki --- Soedinennye Shtaty Severnoĭ Ameriki --- Soedinennye Shtaty Si͡evernoĭ Ameriki --- Spojené obce severoamerické --- Spojené staty americké --- SShA --- Stadoù-Unanet Amerika --- Stáit Aontaithe Mheiriceá --- Stany Zjednoczone --- Stati Uniti --- Stati Uniti d'America --- Stâts Unîts --- Stâts Unîts di Americhe --- Steatyn Unnaneysit --- Steatyn Unnaneysit America --- SUA --- Sŭedineni amerikanski shtati --- Sŭedinenite shtati --- Tetã peteĩ reko Amérikagua --- U.S. --- U.S.A. --- United States of America --- Unol Daleithiau --- Unol Daleithiau America --- Unuiĝintaj Ŝtatoj de Ameriko --- US --- USA --- Usono --- Vaeinigte Staatn --- Vaeinigte Staatn vo Amerika --- Vereinigte Staaten --- Vereinigte Staaten von Amerika --- Verenigde State van Amerika --- Verenigde Staten --- VS --- VSA --- Wááshindoon Bikéyah Ałhidadiidzooígíí --- Wilāyāt al-Muttaḥidah --- Wilāyāt al-Muttaḥidah al-Amirīkīyah --- Wilāyāt al-Muttaḥidah al-Amrīkīyah --- Yhdysvallat --- Yunaeted Stet --- Yunaeted Stet blong Amerika --- ZDA --- Združene države Amerike --- Zʹi͡ednani Derz͡havy Ameryky --- Zjadnośone staty Ameriki --- Zluchanyi͡a Shtaty Ameryki --- Zlucheni Derz͡havy --- ZSA
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