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
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
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
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