Thursday 26 April 2018

Quote pratices

Quote Practicing

Exercise One: Use the source material as a quote in the main sentence. Try to use extracts from the sentence as well as the whole sentence.

1)The economy is looking much brighter.
"Millions of new jobs are emerging. Things are really on the upswing" (Frank Rank, A Cab Driver).
Solution
"Millions of new jobs are emerging", observes Frank Rank, a cab driver. The economy is looking brighter "Things are really on the uprising.".

2)It is more important than ever for Americans to forge a common identity.
"We need an identity that binds us together." (Frank Hairpiece, A Prominent Scholar).
Solution
It's more important than ever for Americans to forge a common identity. According to Frank Hairpiece, a prominent scholar "We need an identity that binds us together." By binding us together, it merges us to identity as a community.

3)Animal rights represent the next stage in human moral development.
"If we don't change our ways, future generations will judge us harshly. We need to achieve a higher state of consciousness and empathy." (Yoshi Om, A Philosopher)
Solution
Animal rights represent the next stage in human moral development. "If we don't change our ways, future generations will judge us harshly." Speculate Yoshi Om, a philosopher. Yoshi believes that "We need to achieve a higher state of consciousness and empathy.".


Exercise Two:Structure these sentences to integrate the quotes more elegantly.
1)Violent movies are popular for all kinds of surprising reasons. It is well known that they appeal mostly to teenagers, Holman Jenkins writes a column for the Wall Street Journal. He states that, "teenagers swarms to horror flick so the boys can demonstrate their manly unflappability and girls can demonstrate their vulnerable desirability. Boys and girls who fulfil these roles are rated as more sexually desirable than their peers" (2013, para.6). So perhaps horror films do not cater to a taste for violence, but rather to the desire to show off before the opposite sex.

Solution
It is well known that violent movies appeal mostly to teenagers for many reasons. Holman Jenkins, a column writer for the Wall Street Journal, proposes that "teenagers swarms to horror flick so the boys can demonstrate their manly unflappability and girls can demonstrate their vulnerable desirability.". Jenkins goes on to argue that "Boys and girls who fulfil these roles are rated as more sexually desirable than their peers".

2)Sociologists argue about whether or not violent television creates more violence in society. But maybe this strict cause-and-effect misses the point. "Sex and violence-drenched entertainment, can desensitize a whole society. It can drag us down to the point where nothing is morally unacceptable, where nothing makes us blush. What happens to an unblushing society? Central Park joggers get raped and beaten into comas. Sixth-graders sleep around. Los Angeles rioters burn down their neighborhoods and murders their neighbors. The Mendez boys blow off their parents' heads." Jeff Jacoby wrote this in the Boston Globe (2013, p.113). The point is that by overcoming our inhibitions, we lose an important protection against some of the terrible things that people are capable of

Solution
Sociologists argue about whether or not violent television creates more violence in society. But maybe this strict cause-and-effect misses the point. The Boston Globe featured this commentary by Jeff Jacoby in 2013 which discusses the topical effects of sex and violence-drenched entertainment on society. He argues that this exposure can desensitize a whole society to the point where nothing is morally unacceptable and nothing makes us blush. "What happens to an unblushing society? Central Park joggers get raped and beaten into comas. Sixth-graders sleep around. Los Angeles rioters burn down their neighbourhoods and murders their neighbors. The Mendez boys blow off their parents' heads.".

Essay Anylazing

Essay Body Analysis no. 5
Paragraph Twenty seven, Twenty eight, Twenty nine, Thirty, Thirty one, Thirty two,and  Thirty three
Analyzing Harry M. Benshoff's, Heigh-Ho, Heigh-Ho, Is Disney High or Low? From Silly Cartoons to Postmodern Politics
http://www.animationjournal.com/abstrats/essays/Benshoff/html 

Paragraph Twenty seven
Define
Neurotic fear: Neurotic = mind. Fear in the mind, mental state.
Counterparts: Counter = against. Opposite site/person. Opposition.
Exemplifies: Example of... Turns into example.
Theses: Plural of thsis. Thsis is the theory. Multiple theory's.
Concomitantly: Naturally partnered with. Along with.
Literally: Exacally, just happened. Perfect match.
Doctrine: Beliefs, message.
Simulacrum: Replicate.

Questions

1) How is the modern appliances' "insecurity and neurotic fear stated" according to Benshoff?
"Stated by their continued nervous reassertion of being 'on the cutting edge.'".

2) Describe how the conflict between the old-fashioned and modern appliances exemplifies Baudrilled's theses on capitalism.
Modern appliances are about the status, identity with consumption. The new way. Old-fashioned are about the use-value that does the job. 



Paragraph Twenty eight and Twenty nine
Define
Satiric: Makes fun of something. Mocks in a mean way. Roasting
Schizophrenic: Adjective of Schizophrenia. Multiple personalities.
A-temporal: Time. No relation to time.
Referent: Referenced thing (noun).
Signified: Sign. Shown.
Hysteria: Manic. Panic!
La belle epoque: French for beautiful time. Western history (1871-1914).
Outmoded: Outmoded. Mode = french for fashion. Out of date. Not in fashion.
Anthropomorphized: Giving objects human characteristics.
Penultimate: Ultimate = Last stage. Pen = second. Second to last.

Questions

1) How is the "characteristic hysteria of our time" perfectly embodies according to Benshoff?
By the sale blurbs 'as seen on TV'.

2) Why are the old appliances forced out the window into the dumpster? In what way is their use-value outmoded according to Baudrillard?
Consumerism. Wanting the new. Not the old.

3) Describe the difference between use-value and exchange-value.
Use-value is valued for their usefulness. Exchange-value is comparing to other, is it cool.

4) How are these notions applied to human communities according to Benshoff?
The group of cars that "signifies a human character type of group who have been discarded, deemed worthless".

5) Benshoff says this is the film's "strongest critique of disposable American culture". Do you agree? Why/Why not?
Yes. Benshoff says why.

6) Explain how the verse in the song supports his assertion.

The car was working but left and said "Your Worthless.".



Paragraph Thirty and Thirty one
Define
Ethnic stereotypes: Race stereotypes.
Tar - baby licorice candies: Food. But if not food, Racist!
Industrial art text: Creating in large amounts. Machinery.
Streamlined: Slick. Smooth.
Nostalgic yearning: Yearning for the past.
Rigors: Chills of near death... Bad feels.

Questions

1) Benshoff suggests the depiction of the crushed pick-up truck is a far cry from ethnic stereotypes identifiable in the "Sillies". Explain what you think he means by this.
Super racist.

2) How and why might The Brave Little Toaster be read as "industrial art text about the slide from high modern art/production into postmodern art/production"?
The collapse of high and low. More about appealing to the masses.

3) How according to Benshoff can the appliances' confrontation with the high tech Japanese appliances be read as a nostalgic yearning for the days of high modernism?
Good old days of when people didn't need the 'latest' stuff.

4) How do you think the film's form celebrate[s] the collapse of high and low?
It seems to. More postmodern than other films.

5) What is the Western/modernist bias at work, according to Benshoff, and how might this extend to "the realm of animation art itself"?
Disney was threatened by Japanese animators new stuff. They made the Japaneses look like the bad guys.



Paragraph Thirty two & Thirty three (conclusion)
Define
Inception: Beginning. Creation. Starting point.
Dichotomy: Contrast between two things.
Per se: In itself. By itself. As such.
Encode: Include the code.

German Expressionist Films

German Expressionist Films (1919-1931)

German Expressionism is the fundamental basics to most horror films till this day. Expressionism is the opposite of Impressionism (surface reality). Expressionism is viewing the world based upon emotions or different perceptions.

Expressionism used a particular style which involves artificial set worlds (often geometric), detailed costumes, unnatural/extreme makeup. The cinematography really emphasizes boldly dramatic contrasts between dark shadows and bright highlights. 
Image result for cabinet of dr caligari
'The Cabinet of Dr Caligari' image of actors on set. Image from YouTube
The films with expressionism often have distorted and exaggerated settings; made up of unnatural spaces; the use of skewed angles and nonparallel lines; a moving camera,;strange costumes, hairstyles and makeup; also having very stylized acting.
Related image
'The Cabinet of Dr Caligari' street view in the film. Image from YouTube
The films gene are horror and often show people experiencing extreme psychological states that reflect the movies extreme settings. The main key themes used are madness, criminality, and fracturing of identities.

The early German Expressionist films were based upon their view and feelings of how WWI came to an end and the punishment Germany had received. The government was seeking to change their image so they supported the film industry and created the UFA (Universe-Film AG).

This style of film is still used and is relevant to this present date, being used in the horror gene. Lot's of the techniques used are also used in many different styles of film, like the extreme angles in the background. 


Thursday 12 April 2018

More random drawing's

I drew work with both Silver and Oliver together
I have drawn, and coloured Oliver along side Silver Jewel. I can now see that Oliver has a orange base colour senescence, the opposite to Silver's colour senescence blue. I did this by accident, but it shows how these two people are in fact opposite to each other. One being intelligent, bold, confident, and serious, and the other being naive, shy, passive, and playful. Oliver's expression is perfect. He doesn't even want to associate with Silver being beside him and does not look his way. Silver on the other hand, is looking shyly at the viewer.

I drew them on an angle to have a dynamic feel, along with a more interesting/dramatic shot. I would prefer it if I had drawn their head smaller. I feel happy about this drawing. My next drawing will show some of Silver's hidden playfulness and also some of Oliver's frustration with Silver's games. Here is the starting sketches of this art work.
I'm not sure about Oliver's footing or how his hand reaches for Silver. Thank you for reading

Different ways to colour

I did a drawing on paper and decided to experiment with different ways to colour it












This is the base, pencil sketch of the drawing. I didn't know how I should colour it so I photocopied it and colored, shaded, and inked the drawing. First I outlines/inked the lines.

I thought that this was a good start, but I wanted to show that his face was not flat. I wanted to shade and shape his face a lot more than this. So next I shaded his shape with a pencil.
I was very happy how I could see the depth in his face, and get a small idea on the different colours darkness and how they contrast with his pale skin. But I then wanted to see his colour. His bright and shining eyes and silver hair. The very aspects that make him very unique.
I really like this. I am satisfied with how the colours look and stand out. The depth is there, the constant with the skin colour with the blues. I was still experimenting though. So I got some sharpies and colored the next piece with no black lines. 
I still like the depth, but I found the colours to bold, and that I had less control on the colours. The sharpies did bleed out from a nice clean line more often than I would have liked. But its still a really good piece with a different style and feel. I added some random lines beside him in this. I think that this is a nice effect. Kind of mysterious. This was the last experiment I drew.

I learned that I prefer to have control over the look and colours. I like having depth to my drawing as well as a nice clean line. Also to have the option to make it either soft of bold, not just bold. Maybe in my next experiment, I will do a Photoshop version of this drawing. Thanks for reading.

Character Development Biography No. 2


Oliver Moore’s Biography
General

Name: Oliver Moore
Gender: Male
DOB: 14 July. 24 years old
Type: Human
Occupation: Manager of the biggest company in the country
Height: 1.85 m
Weight: 77.8 kg

Characteristics:
Short black hair
Glasses
Brown eyes
Usually in formal attire
Regular smoker

Personality:
Serious
Intelligent
Overworked
Sarcastic
Apathetic

Family: Recently divorced, Oliver Moore has no interest in making any new commitments towards himself and others. He has one son who is 3 years old, called Stefan Moore. Oliver’s son lives with his ex-wife and he is not allowed to visit.

Oliver misses his son so he closes off his own desires and feeling to avoid getting hurt.

Childhood: Raised with an alcoholic father and an overworked mother, Oliver Moore has always had expectations placed onto him to be the best at everything without failure. He felt, at a young age, that he was the only hope to help his poor mother and has worked hard ever since. Oliver married his high school sweetheart and rushed into starting a family.

Oliver meet Silver Jewel when he accidentally ran him over because he was smoking while driving. Feeling responsible for Silver’s possible injuries, he helped him out and allowed him to stay a few nights when he discovered that he had been followed home by Silver. He now, cannot get rid of Silver and doesn’t have time for Silver’s fun and games.

Silver Jewel Poster

I have created a poster for my short animanic


With this poster, it features the first appearance's of both Oliver and the Pharmacist.
Now everyone can see what they both look like but without their colours. I have done a lot of character development on Silver Jewel, but not so much the other two. But with doing Silver's character development, I now have an art style to draw with, making the drawing/development stages run a lot faster.

I have also done one piece of concept art (in five minutes).

It features Oliver with some basic colours in his bed. Silver is standing beside him holding the medicine that he has to get. I had forgotten that concept art was an important part of my assignment. Due to this misunderstanding, I didn't do this piece of work until the very last minute and rushed the results. Next time, I will make sure I know all the tasks I must do well before it is due. I will also start to draw in my own time, some concept art's (even if not needed or necessary).

Monday 2 April 2018

Essay Anylazing

Essay Body Analysis no. 4
Paragraph Twenty, Twenty one, Twenty two, Twenty three, Twenty four, Twenty five, and Twenty six
Analyzing Harry M. Benshoff's, Heigh-Ho, Heigh-Ho, Is Disney High or Low? From Silly Cartoons to Postmodern Politics
http://www.animationjournal.com/abstrats/essays/Benshoff/html 

Paragraph Twenty & Twenty one
Define
Foci: Plural for Focus.
Active spectator ship: Actively watching.
Problematized: A lot of problems.
Disseminate: Spread.
Oppositional: Opposing, opposite, other.
Encoding: Including the code. Understand code.
Subsequent: Follows on effects. Adding. Also this happened...
Dominant: Powerful. Main. Boss.
Decodings: Dis including the code. Not understanding.
Multiplicity: Many. Lots of.
Theatrical release: In the theater's release.
Subsumed: Observed. Consumed.
Multinational: Many nations.

Questions

1) What has, according to Benshoff, undermined Adorno's assertion that "progress in the culture industry ... remains the disguise of an eternal sameness"?
Recent focus on reception communities and models of active spectator ship.

2) Do you think it is possible for the industry to disseminate "oppositional" ideologies? Why? How do you think this might impact profit motive?
Yes. It's less about the money. More about message. But different these day's. E.g. Frozen.

3) What does Benshoff say is "easy enough to find" that supports his assertion?
"Texts that actually endorse a formerly subsequent ideology with their encode and subsequent dominant decodings.".

4) What is the case Benshoff makes for The Brave Little Toaster being a marketable example "that actually endorses a formerly subaltern ideology"?
"In it's production alone, the film reflects the multiplicity of origins that is typical of postmodern practice.".

5) What does the fact that the film was not widely theatrically released have to do with his argument?
Its was against things so it didn't go into theater. But when home videos, became popular, it became popular.



Paragraph Twenty two
Define
Novella: A type of book. Longer than a short story. Shorter than a novel.
Superficially: On the surface. Appears too...
Anthropomorphized: Humanize. Give human characteristic's.
Confreres: Conrad's. Partners. Peers. Friends.
Foregrounded: In the front. Not the background.
Expose: French for expossed. Highlighted. There
Consumer capitalist culture: Culture is driven by consumers. They buy a new one.
Critique: Criticize, judge, evaluate stuff.
High-tech inflated exchange value: Inflated = Bigger than it should be.
Global corporate capitalism: World wide businesses dominate.

Questions

1) Who is Thomas M. Disch and where do you think he might fit in the context of Benshoff's high/low argument?
Thomas M. Disch was a poet, critic, and author. He was self-consciously literary and ambitious. He fits into Benshoff's argument because he wrote the children's book The Brave Little Toaster which Disney used to make their film. (1)

2) What does The Brave Little Toaster have in common with the "Silly Symphonies" according to Benshoff?
It has a Utopian society with living objects. Also with one main goal they want to achieve.

3) How does Benshoff suggest The Brave Little Toaster differs from the "Sillies"?
No gender labels. No realationships or Hetrosexual romance.

4) How does The Brave Little Toaster "critique the notion of high-tech inflated exchange value in the postmodern age" according to Benshoff?
It shows the old objects as good guys and also as the victims in many different scenarios. New is 'better'.



Paragraph Twenty three
Define
Intertextuality: Relationships in between texts.
Predominant: Dominant.
Ruptures: Breaks, explodes, implode.
Diegesis: Narrative or plot.
Reassuringly: Reassure, comfort, reinforce, backup.
Quips: Witty, funny, clever, remarks.
Inflections: Impersonations. Pretending to be...
Milieu: French for environment.
Geometric: Shapes, lines, geometry.
Spectacularized: Amazing!
Allusion: Refferencing without saying. Points too...
Homage: French for pay respect, honor.

Questions

1) How does The Brave Little Toaster "reward the spectator for being a good consumer of popular culture" according to Benshoff?
References. Their references were relevant at the time.

2) What is the difference between homage and critique?
One is respecting all criticism. One is judging.

3) Explain how, according to Benshoff, The Brave Little Toaster could be seen as a critique rather than a homage?
Because it make's out that it is wrong to throw away broken stuff. That newer isn't better. Seem judgy towards new stuff.



Paragraph Twenty four & Twenty five
Define
Salvaging: Scavenging. Saving. Reuse.
Sutured: Stitched to. Connected.
Mutlated: Appliances (object) cutup
Dismember: Take it apart.
Implications: Implying.
Enterprise: Buisness
Referent: Referenced thing (noun).
Animated family film genre: Type of film. Family friendly.
Reflexive: Reflecting. Highlighting inner bits. Showing thing.
Hybrid: Mixed things into one.

Questions

1) Why, according to Benshoff, is the viewers "interest and sympathy" clearly with the toaster and his pals when captured by a shop keeper?
They are the good guys.

2) How is the shop keeper portrayed? Do you think this supports Benshoff's argument that The Brave Little Toaster is a critique? In what way?
Evil, scary, obese. Eats all he wants (over-consumption). Takes what he wants.

3) How is music used in the scene and why? How does this fit with Benshoff's high/low argument?
Highlight the scary horror feel.

4) What prevents the direct represantation of real cepitlist horrors according to Benshoff - do you agree?
Kid movie. Yes I do.

5) How can the monstrous appliances be seen postmodern art objects according to Benshoff?
They are mixed media.

6) Benshoff says "The hybrid appliances are frightening to the toaster and his pals in a B-movie kind of way". Explain what you think he means by this?
He means that it is not that scary. B-rated.



Paragraph Twenty six
Define
Citified: City, urban.
Deceptively: Deceiving.

Questions

1) How are the "citified" appliances characterised according to Benshoff and why do you think this?
"negatively, thugs, gossips..." to keep the good guys good.

2) Why must pure use-value according to Adorno "be replaced by pure exchange-value"?
Consumerism want better things. Not old stuff.



References

http://www.animationjournal.com/abstrats/essays/Benshoff/html 

1) https://www.telegraph.co.uk/news/obituaries/2271007/Thomas-M-Disch.html