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Purpose: Investigating the effect of visual distraction using animated video cartoons (AVCs) on anxiety of children during class I class I glass-ionomer cement (GIC) restoration procedures. Patients and Methods: This randomized clinical trial, 42 children between the ages of 5–6 years were enrolled. These participants were divided into two groups: Group 1, consisting of 21 individuals (AVCs), who were exposed to a cartoon as a visual distraction tool, and Group 2, a control group with 21 participants who did not receive any form of distraction during their first visit. Both groups underwent class I GIC restoration procedures that were conducted in a consistent manner. To evaluate the anxiety levels of the children, measurements of their pulse rate (PR) were taken at the beginning and end of the treatment. Additionally, patient behavior was assessed using the Frankl behavior rating scale (FBRS) as well as validated self-reported dental anxiety scale, the Visual Analog Scale – Anxiety (VAS-A) score. Results: In the control group, postoperative PR increased significantly, while the AVC group experienced a decrease compared to their preoperative PR levels. Additionally, audio-visual distraction had a notable impact on FBRS scores compared to the standard approach. Similarly, the VAS-A score displayed a significant reduction when patients received audio-visual distraction compared to the control condition. Subgroup analysis by gender showed that girls tended to be more responsive to AVCs than boys when evaluated by PR and FBRS, but such findings were not observed using VAS-A. Patients with deeper caries had higher VAS-A scores than those with shallower ones. Despite the caries depth, those who received AVC seemed to be calmer, especially to those with deeper lesions, as indicated lower postoperative VAS-A scores compared to their preoperative levels, unlike the control group. Conclusion: Our study suggests that the use of AVCs can be an effective method for reducing anxiety in children undergoing class I GIC restoration procedures. [ABSTRACT FROM AUTHOR]

The text focuses on the legacy of Theodor Adorno and Max Horkheimer in their contemporary times. The initial point is Adorno - Horkheimer's ideas regarding the critique of change in the social space. These changes are caused by a whole range of factors - the separation from nature, technological progress and the associated increase of consumerism, the dumbing down of society due to movies or cartoons etc. These changes bring phenomena that can be called morbid symptoms. These symptoms are an integral part to the interregnum. Morbid symptoms described by Adorno and Horkheimer are identical to those manifested nowadays. These symptoms are presented by the Czech philosopher Michael Hauser. The pivotal aim of the text is to point out the connection between the ideas of Theodor Adorno and Max Horkheimer whose legacy is still alive in the social space, and the contemporary interregnum presented by Michael Hauser. [ABSTRACT FROM AUTHOR]

Enhancing student motivation to manage their learning process and attain selftransformation in Oral English learning presents a notable challenge. This study emerged from a Role Play Oral English Course (RPOEC) which utilizes English cartoon film clips to enhance primary students' oral English skills through role play, facilitating meaningful language input and output. Implemented in a Chinese context where English language exposure is limited, this qualitative case study, combined with action research, explores how autonomous learning is fostered through RPOEC. The study engaged a Grade Six class of 30 students (25 girls and 5 boys) in northern China, investigating strategies to trigger learners' interests and form their independent learner identities autonomously, empower learners in their educational journey, encourage reflective practices in oral English learning, and involve learners in evaluative processes. Data, collected through a combination of observations, focus group discussions, and document analysis for three months, were thematically analyzed across four intertwined perspectives: situated learning, interactive communication, cooperative learning, and evaluative discussions. The paper posits that the outlined curricular approach can be tailored to educators' needs aiming to cultivate students' oral English skills within a situated, interactive, and collaborative learning environment, pushing learners towards autonomous engagement. [ABSTRACT FROM AUTHOR]

The article introduces visual analyses by art teachers of lesbian, gay, bisexual, transgender, queer, Intersex, Asexual, Two Spirit (LGBTQIA2S+) representations in Disney animations as a teaching tool for enhancing critical visual literacy. Topics discussed include role of child-oriented media in understanding power dynamics within visual culture, concept of intersectionality, and representation of LGBTQIA2S+ characters in "Moana," "Zootopia," "Coco," "Encanto" and "Raya and the Last Dragon."

Assam is a state in Northeast India with a rich cultural heritage that includes traditional art, theatre, music, dance, folktales, and others. In recent years, Social Media has become a platform for re-telling the rich cultural heritage of Assam through the latest means of production which caters to a wide range of audiences including children. The adaptation of Assamese folktales in such platforms for heterogeneous audience has necessitated serious enquiries as it is reflecting the social ethos the Assamese society subscribes to. The present study attempts to analyse the adapted versions of animation film on the folktales of prominent Assamese litterateur of Jonaki era Lakshminath Bezbaroa’s “Burhi Aair Xadhu” (Grand Mother’s Tales). Bezbaroa is one of the pioneers in the field of Assamese children literature who initiated to document Assamese folktales into printed text. Similarly, animation being the latest development in the field of entertainment, helps in preserving and disseminating the ageold traditional and social values among the new generation. This study will use a qualitative research approach through a textual analysis of animated films based on Lakshminath Bezbaroa’s “Burhi Aair Xadhu” which is available on YouTube. Besides, the present study will draw on existing literature on animation and folktales and will interview Assamese animators and artists as primary data to get an insight on how Assamese folktales are retold through animation. [ABSTRACT FROM AUTHOR]

Copyright of Selcuk University Social Sciences Institute Journal is the property of Selcuk University Social Sciences Institute Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the use of discussion in animated film "Shrek the Third" for Literacy education. Topics include video extract involving Pinocchio, an animated character, using modality to avoid lying to Prince charming; how teachers can use animated films for the explicit teaching of modality and social roles and relationships; and the Australian Curriculum: English (ACE) contains relevant content descriptions concerning modality.

Islam is a religion which has its contribution to make the world peaceful and prosperous. However, some anti-Islamic writers portray it as a religion of violence a department of Islamic Studies and barbarity. Holy Prophet PBUH also faced this enmity and Holy Qur’an has mentioned it through several verses. The propaganda against Islam can also be seen at present era. The objective of this study is to analyze critically the orientalists’ strategy to defame Islam and Muslims and to make recommendations for competing it. This is a qualitative research in which data is gathered through secondary sources; books articles and online sources. The study suggests that the basic objectives of orientalists are to create hate between Islam and the rest of world as well as to create hate in Muslims against Islam. They defame Islam by anti Islamic writings, attaching Islam with terrorism and violence, images, cartoons and movies. Moreover they put doubts in minds with baseless explanations of different concepts of Islam. To tackle the orientalists’ strategy, Muslims need to remove misconceptions against Islam by their writings, images and using social media. [ABSTRACT FROM AUTHOR]

Copyright of GWP: Gesellschaft Wirtschaft Politik is the property of Verlag Barbara Budrich GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of CEM Cultura, Espaço & Memória: Revista do CITCEM is the property of Universidade do Porto, Faculdade de Letras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An interview with artist and professor Oleg Dergachov is presented. Dergachov explains the significance of cartooning for him as a way of self-expression and considers sharing his art with others as a kind of mental exchange between an artist and spectator. He shares his thoughts about the future of comics and cartoons and the goal of cartoons and comics to have a smart story with a happy ending.

The article recounts the legacy of José Carioca, the Brazilian ambassador for Disney company's cartoon character Donald Duck in the animated films "Saludos Amigos" and "The Three Caballeros." It highlights the role of Carioca as an engine of international cultural power and the formative development of Donald Duck during the American Phase from 1941-1948, Transition Phase from 1950-1959, Adaptation Phase from 1960-1970, Assimilation Phase from 1971-2001 and Legacy Phase from 2002-2021.

Copyright of Palobra is the property of Universidad de Cartagena and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Although Disney films are sometimes denigrated as popular or "low" art forms, this article argues that they often engage deeply with, and thereby communicate, significant moral truths. The capitalistic enterprise of contemporary modern cinema demands that cinematic moral pedagogy be sublimated into non-partisan forms, often by substituting secular proxies for otherwise divine or spiritual components. By adapting Søren Kierkegaard's tripartite existential anthropology of the self, I analyze the subjective experiences of the protagonists in three recent animated fairy tales—Disney's Frozen, Moana, and Tangled—to demonstrate how these princess movies bridge the imaginative gap between the mundane and the divine. [ABSTRACT FROM AUTHOR]

Animated films have an undeniable place in children's entertainment culture. The worldwide box office revenues indicate that these films reached many children in cinemas and were viewed on televisions by almost all children. The extent to which children can make sense of such content is still a question mark in minds. This study aims to demonstrate how children can interpret the animated film and the content of television they watch in general. The research was carried out by a mixed-method using both qualitative and quantitative methods. The study group consisted of 210 children between the ages of 4-10. An average of 30 children was included in each age group. In this way, it is aimed to examine the change in the level of interpretation of the animated film and television content by children in each age group as age increases. In the research, a film (Toy Story 3) was selected and the realism of the characters, values and events in its content was examined through content analysis. Besides, a structured interview form consisting of values and reality section regarding the content viewed on TV has been developed. The children were allowed to watch the animated film and they were interviewed about the viewed content and relevant data was collected. As a result of the research, it was found that children in 4 and 5 age groups differed significantly from the children in 6, 7, 8, 9, and 10 age groups in good-bad distinction, meaning and reality in the animated film. The same was found to be true for value and reality on television. [ABSTRACT FROM AUTHOR]

The aim of this paper is to investigate the influence of the English language on the Italian language of dubbed animated films through the presence of direct and indirect borrowings - i.e., Anglicisms and calques - over a period of 27 years. The analysis is based on a corpus of 18 Englishlanguage animated films produced by Disney and Disney-Pixar between 1994 and 2019. By analysing the transcriptions of the English and Italian dialogues, the paper examines the degree of Anglicisation of dubbed Italian. It assesses the presence of direct English borrowings, explores the way in which specific words or expressions typical of conversational English are rendered in dubbed Italian, and ascertains whether specific indirect borrowings quoted in the literature on dubbese are actually present in the dubbed dialogues of animated films. The linguistic analysis of the English and Italian dialogues is complemented with comments by dubbing professionals on dubbing practice and on their relationship with the English language. [ABSTRACT FROM AUTHOR]

Fairy tale films have always been popular but since the beginning of the twenty-first century many well-known fairy tales have been once again retold and refashioned. This article analyses Maleficent (2014), Disney's retelling of their own film Sleeping Beauty (1959), which is an adaptation of The Sleeping Beauty in the Wood by Charles Perrault. Maleficent draws on the animated Disney film and other versions of the fairy tale while telling the story from the perspective of the evil fairy. This change of perspective results in a reinterpretation of the villain. Additionally, Maleficent counterbalances the inactivity of the sleeping beauty, reimagining the story as a narrative about female empowerment. Focusing on the revenge taken by the protagonist as well as her healing process and ultimate redemption, this article examines how the changes in perspective and plot offer a different interpretation of the role of women in the fairy tale 'Sleeping Beauty'. [ABSTRACT FROM AUTHOR]

Copyright of Croatian Journal of Ethnology & Folklore Research / Narodna Umjetnost is the property of Institute of Ethnology & Folklore Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of English Teaching & Learning is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article informs about trans media case study for the "Batman -- The Animated Series" . Topics include series as a focus for a closer analysis of the ways in which transmedia practices occur, as well as how meaning is communicated in a variety of modes; and use ofthe term affordances, which implies what can be done or what meaning can be made within a specific mode.

This article aims to report about the presence of film rewritings of literary works through animation techniques whose quality making them deserving of being nominees and/or designed to award some of the most important film awards around the world with a specific category for animated films, in particular, the Oscars, Annie Awards, Golden Globes and BAFTA. Furthermore, it will be analysed briefly the influence of the creation of the film hypertext for hypotext diffusion. [ABSTRACT FROM AUTHOR]

In 2017 Academy-Award winning animator Joan C Gratz produced her film The Second Coming, which is an adaptation of the poem also called The Second Coming (1919) by William Butler Yeats. Both the production of Yeats's literary source material and the genesis of animation as a filmmaking form share an historical moment of emergence at the start of the 20th century. And the Modernist sensibilities involved in the formulation of both ways of representing personal and historical experiences does perhaps suggest a particular appropriateness in the use of animated film in adapting Yeats's poem to the screen. In reading both film and poem simultaneously, this article will discuss the use of cinematic space in its act of translating the original literary text into an animated form. By doing so, it will also consider how the animated film helps to illustrate the notion of space implicit in the original text. It will draw on notions of Gaston Bachelard's 'reverberation' as used by Aylish Wood in her article 'Reanimating Space' (2006), where she discusses the aesthetic potentials of unstable spaces in animated films. This article will consider Gratz's technique of 'whole-screen metamorphosis' as a dynamic way to depict the underlying themes of Yeats's poem. [ABSTRACT FROM AUTHOR]

The article focuses on animated stories as a way to enrich children's literacy experiences and give the children a chance to be creators of content meaningful to them. Topics discussed include characteristics of an animated story, the story creation process, and multimodal analysis of an animated story.

Chinese and Korean animation film markets are important markets for U.S. animation filmmakers, and audience in these two markets are considered to show different preference towards marketing factors which are used by film producers and suppliers. This study explores the effects of selected factors affecting Chinese and Korean consumers' choice for U.S. animation films with a comparative survey method. Two important dimensions of film marketing tools (i.e., localization and production images) are considered as factors which include title translation, poster localization, actor image, director image, and film studio image. Total of 450 responses are collected both from South Korea and China and used for comparative analysis. Chinese and Korean consumers are found to show different preference toward marketing programs which are applied to U.S. animation film products. Findings provide suggestions and implications for marketers and distributors of imported animation film products. [ABSTRACT FROM AUTHOR]

Although René Laloux’s three feature films La Planète Sauvage (1973), Les Maîtres du temps (1981) and Gandahar (1987) are crucial for French science fiction cinema, the sound used in Laloux’s work has not yet been studied. In this article, the music in Laloux’s films is explored in detail as a creative force in each science fiction universe. Moreover, the complex relationship between music, soundscapes and sound effects is discussed. The porousness of the boundaries between the different components of the soundtrack, enriching each other, is particularly highlighted in the score and sound design of Les Maîtres du temps by Christian Zanési. [ABSTRACT FROM AUTHOR]