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
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 Out of date.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.
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.
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