Somewhere along the way, something happened to give art that crucial kick that gave life to still images: motion. The art of animation, both hand-drawn and computer-animated, has a long and rich history spanning nearly a century of experimentation and innovation. This book helps students understand the role innovation has played in the development of animation industry.
'A welcome counterpoint to the technopanic that screen time is causing a mental health crisis' Bruce Hood 'A rare mix of trustworthy science, practical advice, and human stories ... I'm going to recommend it to all the parents I know, and keep it handy for reference next time I see a scary headline about how technology is ruining our lives' Timandra Harkness 'Punctures some of the most pernicious myths about our smartphone and screen-dominated lives, while offering good advice about how to improve the time we spend with screens ... a must-read' New Scientist Most of us spend a significant part of the day in front of a screen. Our work and social lives play out through our computers, tablets and phones: on email, social media, video conference calls and gaming servers. But what is all this screen time doing to our health, our sleep, and our relationships? Professor Pete Etchells studies the way we use screens, and how they can affect us. In UNLOCKED, he delves into the real science behind the panic about our alleged device addiction and withering attention spans. Armed with the latest research, he reveals how little we have to fear, and the great deal we have to gain, by establishing a more positive relationship with our screens. That begins with asking ourselves some essential questions about how we use them. Instead of clamouring for us to ditch our devices (before guiltily returning to the same old habits), UNLOCKED is a sustainable, realistic and vital guide to transforming our connection with technology.
Folktales and fairy tales are living stories; as part of the oral tradition, they change and evolve as they are retold from generation to generation. In the last thirty years, however, revision has become an art form of its own, with tales intentionally revised to achieve humorous effect, send political messages, add different cultural or regional elements, try out new narrative voices, and more. These revisions take all forms, from short stories to novel-length narratives to poems, plays, musicals, films and advertisements. The resulting tales paint the tales from myriad perspectives, using the broad palette of human creativity. This study examines folktale revisions from many angles, drawing on examples primarily from revisions of Western European traditional tales, such as those of the Grimm Brothers and Charles Perrault. Also discussed are new folktales that combine traditional storylines with commentary on modern life. The conclusion considers how revisionists poke fun at and struggle to understand stories that sometimes made little sense to start with.
Four wide-eyed dolls rendered in the popular Japanese cartoon style come with more than 30 cute outfits representing an imaginative variety of roles, including astronaut, samurai, pirate, cowgirl, and soccer player.
With careers spanning eight decades, William Hanna and Joseph Barbera were two of the most prolific animation producers in American history. In 1940, the two met at MGM and created Tom and Jerry, who would earn 14 Academy Award nominations and seven wins. The growth of television led to the founding of Hanna-Barbera's legendary studio that produced countless hours of cartoons, with beloved characters from Fred Flintstone, George Jetson and Scooby-Doo to the Super Friends and the Smurfs. Prime-time animated sitcoms, Saturday morning cartoons, and Cartoon Network's cable animation are some of the many areas of television revolutionized by the team. Their productions are critical to our cultural history, reflecting ideologies and trends in both media and society. This book offers a complete company history and examines its productions' influences, changing technologies, and enduring cultural legacy, with careful attention to Hanna-Barbera's problematic record of racial and gender representation.
A decade after the first Canadian telecasts in September 1952, TV had conquered the country. Why was the little screen so enthusiastically welcomed by Canadians? Was television in its early years more innovative, less commerical, and more Canadian than current than current offerings? In this study of what is often called the 'golden age' of television, Paul Rutherford has set out to dispel some cherished myths and to resurrect the memory of a noble experiment in the making of Canadian culture. He focuses on three key aspects of the story. The first is the development of the national service, including the critical acclaim won by Radio-Canada, the struggles of the CBC's English service to provide mass entertainment that could compete with the Hollywood product, and the effective challenge of private television to the whole dream of public broadcasting. The second deals with the wealth of made-in-Canada programming available to please and inform vviewers - even commercials receive close attention. Altogether, Rutherford argues, Canadian programming reflected as well as enhanced the prevailing values and assumptions of the mainstream. The final focus is on McLuhan's Question: What happens to society when a new medium of communications enters the picture? Rutherford's findings cast doubt upon the common presumptions about the awesome power of television. Television in Canada, Rutherford concludes, amounts to a failed revolution. It never realized the ambbitions of its masters or the fears of its critics. Its course was shaped not only by the will of the government, the power of commerce, and the empire of Hollywood, but also by the desires and habits of the viewers.
Daytime Television Programming (1991) provides a practical understanding of daytime television formats, viewer demographics, and programming strategy. It compares daytime genres to their evening counterparts, discusses the effects of demographics on daytime programming, analyses investment yields, and highlights audience expectations. Discussions of specific daytime shows teach techniques necessary to overcome the enormous creative challenges in building a successful daytime lineup.
