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Animated films are highly popular in society, particularly among children and adolescents. During film production, selecting an adequate colour palette and scene dynamism is crucial for creating a visual impact on the audience. However, the influence of visual aesthetics, such as colour and scene dynamism on visual fatigue remains unexplored. In the present study, visual fatigue was assessed and compared in 30 young participants after viewing two popular films: Spider-Man: Across the Spider-Verse, an active, fast-paced film, and My Neighbour Totoro, a more relaxed film. Both films were viewed twice, once with the original colour palette and once in greyscale. Watching Spider-Man film induced a greater degree of visual fatigue than My Neighbour Totoro in two subjective questionnaires evaluating visual fatigue, and in the vergence facility and binocular accommodative facility tests. Moreover, important differences in the visual dynamics and colour aspects between both films were found. These results demonstrate that the high-paced and high-colour aspects of films directly affect visual fatigue. Future animated film producers should consider these factors that are relevant to their audiences. [ABSTRACT FROM AUTHOR]

Gender diversity is gaining traction in children's animated content, with Disney playing a significant role in its representation. The protagonists in Disney productions are becoming integral to visual culture and serve as important reference points. This study categorises LGBTQ+ characters associated with the longstanding company. It analyses their characteristics and the prominent roles they play, aiming to explore how young audiences relate to non-heteronormative characters. The research highlights that visibility remains limited and underscores the ongoing need for greater inclusivity to ensure all identities are represented. [ABSTRACT FROM AUTHOR]

The world of film and TV animation has witnessed a revolutionary transformation with the combination of Expression transfer and digital virtual Human technology. This paper delves into the superior methodologies and technological improvements in the discipline of animation production, especially specializing in how those technology are redefining the requirements and practices of animation in film and television. Expression transfer technology, a groundbreaking approach in animation, entails the transfer of facial expressions from real actors to lively characters. This technique not most effective enhances the realism of lively characters but additionally lets in for a extra nuanced and emotive performance, bridging the space among conventional animation and stay-action performances. Digital Human era, however, entails creating extraordinarily practical virtual representations of people. Those digital humans aren't mere caricatures or stylized variations however are reasonable in appearance and movement, way to advancements in motion seize, 3-D modeling, and synthetic intelligence. The mixture of those technologies is main to a new technology in animation where characters aren't only visually stunning however also exhibit a depth of emotion and realism previously unimaginable. This paper explores diverse case research and applications of these technology in current animation, highlighting their effect on storytelling, person improvement, and viewer engagement. It also addresses the demanding situations and moral considerations in employing these technologies, which includes retaining artistic integrity and the capacity for misuse. The research concludes with a forward-searching attitude on how Expression transfer and digital digital Human technologies are set to redefine the future of movie and television animation, presenting new opportunities for creative expression and narrative intensity. [ABSTRACT FROM AUTHOR]

This paper focuses on vocabulary development in oral language productions of three elementary school-age sibling pairs growing up in a trilingual setting. This longitudinal study describes the development of the children's narrative competence over three years. The corpus analysed consists of retellings of animated films. The contribution deals with the lexical development in the three languages of the children, in particular the length of the productions, lexical diversity and lexical sophistication. Lexical diversity is measured by the Guiraud Index. It is assumed that the children's vocabulary becomes more diverse with increasing age. Lexical sophistication is examined by measuring the average frequency of words used by the participants. It is assumed that as children's vocabularies grow, they will include more and more 'rare' low-frequency words in their productions. Assuming that the school language is the dominant language, the question is whether lexical diversity and sophistication increase with age in all three of the children's languages, or whether this is only the case in the school language. The results show that lexical development varies from child to child. However, a certain trend can be observed, indicating that school vocabulary is becoming more sophisticated. [ABSTRACT FROM AUTHOR]

The article focuses on the development of modern Kazakh animation, particularly in student works. Topics include the integration of traditional Kazakh culture in animation, challenges facing contemporary Kazakh animators, and comparison between Kazakh and international animation trends and explores how animation in Kazakhstan blends national heritage with modern storytelling, highlights the influence of foreign studios, and discusses the importance of state support for the animation industry.

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]

This study examines the cross-cultural communication effects of the Chinese animated film Ne Zha across various overseas media, social media platforms, and film review websites. The findings indicate that international media have, to some extent, shifted their stereotypical bias frameworks, providing positive evaluations of the film's audiovisual impact and narrative reconstruction. Although cultural discounts are evident in the reception of Ne Zha by overseas audiences, the film's universal values and shared aesthetic emotions have contributed to cultural resonance. Based on an assessment of Ne Zha's cross-cultural communication impact, this study, grounded in a case study approach, proposes three strategies to advance the "cultural export" of Chinese cinema: integrating cultural differences within a shared space of meaning, employing efficient translation and adaptation strategies to overcome language barriers between Chinese and foreign audiences, and exploring innovative combinations of indigenous and modern storytelling. [ABSTRACT FROM AUTHOR]

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Disney digital animated films seem to be increasingly open to a multicultural strategy in which the life experiences of different ethnic and racial communities are addressed. One of the biggest hits with Latinx protagonists is Disney's Encanto (2021), codirected by Byron Howard, Jared Bush, and Charise Castro Smith. Based on a story about the crisis of a Colombian family with magical powers, the film can be read from the perspective of postmemory, as an allegory about the inheritance of cultural traumas. This video essay analyzes the figure of Alma, the grandmother and matriarch. This representation of the aging woman is halfway between the tradition of Disney's villainesses and godmothers. Its complexity lies in the embodiment of power dynamics within the family and the generational struggle between the importance of a legacy and the need to overcome the painful past. [ABSTRACT FROM AUTHOR]

This article offers an examination of Japanese anime director Kon Satoshi's artistic style, with a particular focus on his presentation of the title credits, by tracing his career as an internationally acclaimed auteur. It argues that Kon's last film Paprika (2006) can be read as a bold experiment that collapses the distinction between physical existence and media representation, which is manifested at two levels: visually, by the translucent projections of the credits and narratively, by the recurring trope of the butterfly dream. It demonstrates that Kon develops a unique aesthetic over his career that blurs the boundary not only between reality and fiction within the diegetic space, but more significantly between the diegesis (i.e., the fictional universe depicted in the animated films) and the tangible, everyday reality that we dwell in. From the perspective of media ecology, this article proposes to consider the diegetic space, which tends to be treated as a commodity that we unproblematically consume, as something that is thoroughly imbricated in and dialogized with our concrete existence in the physical reality. [ABSTRACT FROM AUTHOR]

There is fairly little research on using translation to advance pragmatic competence in learners of English and highlight how translation can advance cross-cultural pragmatic awareness in EFL. The study attempts to explore how audio-visual translation (AVT) can introduce cross-cultural pragmatics to Greek learners of English. The data derive from the animated film Inside Out (Pixar 2015). The study takes dubbed dialogues to be a target-oriented data set, with the subtitles as an intermediate, constrained type of transfer where pragmatic shifts may be least visible or not at all. The research uses (a) the positive/negative politeness distinction as manifested through interpersonal proximity/distance (Brown and Levinson 1978; Sifianou 1992; Yule 1996; Horn and Ward 2006), and (b) the un/certainty avoidance communication style (Hofstede, Hofstede, and Minkov 2010). The aim is to familiarize learners with the significance of cross-cultural pragmatic awareness and its use in EFL teaching and learning. Analysis of the data is followed by a questionnaire addressing bilingual participants who confirmed the findings of the study. Results show types of pragmatic variation across English and Greek: for instance, the subtitles showed less signs of positive politeness strategies and more uncertainty features, while dubbing manifested more positive politeness strategies and stronger uncertainty avoidance, i.e., in alignment with features of the target language. Findings allow learners to look beyond grammaticality, at the level of pragmatic preference. [ABSTRACT FROM AUTHOR]

The study examines transfer strategies in identity construction instances, in Greek and Russian audio-visual translation (AVT) modalities (subtitling and dubbing), of the English animated film for children, The Rise of the Guardians (2012). It explores whether and how translator awareness of target cultural background may affect the strategies used in the transfer. Results suggest that the level of un/familiarity of a target culture with a source-text (ST) cultural item affects the translation strategies across English-Russian and English-Greek differently, on the basis of preferred politeness orientations (negative and positive, respectively) prevailing in the target environments. Testimonies of film viewers and questionnaire respondents who are unfamiliar with the cultural items confirm aspects of the analysis. The significance of the research lies in that it provides further insight into the way Greek and Russian AVT practices handle and transform English audio-visual unfamiliar entities, which may advance understanding of cross-cultural processes in AVT. [ABSTRACT FROM AUTHOR]

The automatic transformation of short background videos from real scenarios into other forms with a visually pleasing style, like those used in cartoons, holds application in various domains. These include animated films, video games, advertisements, and many other areas that involve visual content creation. A method or tool that can perform this task would inspire, facilitate, and streamline the work of artists and people who produce this type of content. This work proposes a method that integrates multiple components to translate short background videos into other forms that contain a particular style. We apply a fine-tuned latent diffusion model with an image-to-image setting, conditioned with the image edges (computed with holistically nested edge detection) and CLIP-generated prompts to translate the keyframes from a source video, ensuring content preservation. To maintain temporal coherence, the keyframes are translated into grids and the style is interpolated with an example-based style propagation algorithm. We quantitatively assess the content preservation and temporal coherence using CLIP-based metrics over a new dataset of 20 videos translated into three distinct styles. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Curriculum Studies / Kecheng Yanjiu is the property of Angle Publishing Co., Ltd. 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.)

跨文化設計能力是指設計者具有文化適切性的設計能力，本研究以東部一所大 學的學生為對象，運用質性訪談輔以作品分析的方式，探究其透過參與大學社會責任計畫，以原住民族社區文化為主題的動畫影片製作過程中之跨文化設計能力學習經驗。研究發現，學生習得之跨文化設計能力包括：展現跨文化的尊重與探究態度，也能運用適切的探究、溝通及合作等設計所需技術，將習得之原住民族文化知識內容融入作品中。也因與在地社區文化的真實連結，跨文化的碰撞刺激了學生創意及思考，而創作出的作品亦可提供社區作為宣傳行銷之用。因此，未來應持續引導新手設計者思考社會責任的意義，激發學生在跨文化中找到更適切的在地知識與情感之視覺語彙，實踐文化適切性的設計理想。 Intercultural design competence refers to the ability of designers to create culturally appropriate designs. This study explored the undergraduates’ learning experience of intercultural design competence through their participation in the University Social Responsibility (USR) Program and the production of animated films focusing on the culture of indigenous community in eastern Taiwan. The findings reveal that these undergraduates demonstrated respect and an exploratory attitude towards different culture. They were able to employ suitable techniques of inquiry, communication, and collaboration, and integrated acquired indigenous cultural knowledge into their works. The genuine connection with local community stimulated their creative thinking and reflection, and these films were effective media for community promotion and marketing. Therefore, it is suggested that future efforts could focus on guiding novice designers to think critically the meaning of social responsibility and it could inspire them to use and create more culturally appropriate knowledge and visual language in intercultural contexts and actualize the ideal of culturally appropriate design.

Rebuild of Evangelion, the tetralogy of animated films created by Hideaki Anno, envisions and discusses the form and attributes of the posthuman in the near future, showing the inherent vitality of as the core feature, as well as the dynamic relationality in terms of geography and technology. The films critique the "Human Instrumentality Project" as a transhumanist ideal for its disembodied inclination, anthropocentric nature, and predatory dichotomy. Through the characterization and narratives of the films, the posthumanist values and ethics advocated by Rosi Braidotti are presented as Anno's key message, that is, in the era of posthumanism that has already come, we should establish a monistic materialistic attitude, highlight the inherent relationality, embeddedness, and transversality among all beings, and establish a posthuman ethics that advocates egalitarian care basing on universal vitality. [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]

The article focused on Isao Takahata's anime "My Neighbors the Yamadas," to determine how the category of the everyday in postwar Japan features as the platform of contestation between modernist drives and anti-modernist,tradition-centric reactions. Cited are the political manoeuvres of the post-war Japanese government and the private sector in control over the employees' urbanised everyday within economic growth, and Takahata's anti-modernist' appeals to an everyday.

The animated film The Little Mermaid, adapted by Walt Disney in 1989, is a heartwarming tale about a mermaid named Ariel who falls in love with a prince. Social media users, mainly young adults, have noticed that the film touches on issues related to race and ethnicity. This study utilizes a content analysis method with a qualitative approach to explore the messages of equality that Disney conveys through the film. By examining fan comments, scenes, dialogue, and various forms of media such as images and text, we tried to uncover how Disney promotes equality in The Little Mermaid. Based on findings, Disney enthusiasts expressed disappointment with the company's failure to meet their expectations, particularly about Princess Ariel's depiction of dark skin. Detractors went so far as to make disparaging remarks, suggesting that black individuals were viewed as inferior and unequal to their white counterparts. Consequently, Disney's attempt to promote messages of fairness and equality was met with controversy among its devoted fan base. [ABSTRACT FROM AUTHOR]

Type 2 diabetes mellitus (T2DM) has a high prevalence in Germany. Tailored health communication campaigns are part of preventing T2DM at a societal level, with narrative approaches as a promising communication strategy. The aim of this study was to qualitatively examine identification with characters as a potential narrative effect mechanism within a national T2DM communication campaign (Slogan: “Diabetes – not only a question of type”). In doing so, characters’ liking and perceived similarity were explored as antecedents of identification. For this purpose, nine focus groups comprising a total of 76 participants diagnosed with T2DM were conducted. Two of these focus groups consisted entirely of participants of Turkish descent. An assessment was developed to measure the extent to which participants liked, perceived themselves to be similar to, and identified with different characters presented via three videoclip formats (live action, animated cartoons, and celebrity testimonials) from a national diabetes communication campaign. Live action and celebrity testimonial characters were mostly perceived as likeable. However, level of identification was low, and participants felt an overall lack of similarity regarding both personal and disease-related characteristics as compared to these characters. Animated cartoons were perceived as less stigmatizing, but also as less engaging. The study indicates that liking without a feeling of similarity to a character is not sufficient to elicit identification. Further, the reinforcement of harmful T2DM stereotypes should be avoided in health communications to prevent reactance and to increase generalizability. [ABSTRACT FROM AUTHOR]

Using four animated texts about anthropomorphic animals—Zootopia (2016), Sing (2016), Sing 2 (2021), and Zootopia+ (2022)—this article explores two related questions: How can animated films featuring cities for anthropomorphic animals rethink accessibility? How is accessibility sustained and/or adapted through continuations as seen in franchises and transmedia storytelling? I argue that the two series I analyze offer two different approaches to accessibility and the maintenance of it, one which works better than the other. This comparison suggests that accessibility needs to be an integral part of world design from the very beginning in order to stay stable over time. [ABSTRACT FROM AUTHOR]

Modern education, in particular cinematographics, is not possible without the use of modern information technologies. Virtual reality technologies significantly expand the possibilities of cinematographic education. Digital tools make it possible to create any special animated effects that appeal to more viewers. Therefore, by addressing this problem, the study identifies the relationship between education in cinematography and VR- technologies and their impact on film perception. The authors were the first to compare the perceptions of the stories of popular cartoons by viewers of different age groups (younger students and adults – parents and instructors). Children and adults were shown fragments of cartoons. Then an interview was conducted using a semi-structured questionnaire and a psychodiagnostic study based on A.N. Bernstein's technique of story-driven pictures and Kunin's physiognomy test. The study revealed differences in perception of animated films, which were animated using virtual reality applications. The findings theoretically explain the factors of psychological impact of animated movies and understanding of their meaning, which can be used in the animation industry, to create story-driven animated films of educational value. [ABSTRACT FROM AUTHOR]

This essay combines text and images in the style of a graphic novel to animate the lively and dynamic processes of a qualitative research approach that I call the collective creation of performed fiction. This is a form of projective storytelling in which participants draw on their own experiences to create and perform composite stories. Using fiction helps them avoid revealing sensitive details of their personal lives. The examples shared here are drawn from a long-term engagement with a group of youth in Old Havana, Cuba, where historic geopolitical tensions and emergent economic crises are interrupting the imagined futures of the young. This brief contribution documents key differences between three creative mediums used in this work (street theatre, film and animation), and addresses their varied capacities to mitigate the risks of self-disclosure. [ABSTRACT FROM AUTHOR]

This article examines two recent translations of Austrian author Felix Salten's novel Bambi (1922). The first full-length English translations to appear in print, 100 years after the novel's original publication, and 70 years after Walt Disney's famous animated film that shaped the global image of Bambi, Jack Zipes' and Damion Searls' version (both 2022) set out to reinstate the deeper layers of Salten's work and liberate both the original author and his famous protagonist from the shadow of Disneyfication. To this purpose, a complex paratextual frame is utilized in which the translations enter a dialogue with prior rewritings: the animated Disney film, the first English translation by Whittaker Chambers in 1928, and critical engagements with the text and its adaptations. By strategically enveloping the actual literary work itself, these paratexts reframe Bambi as a text of literary value by an author largely (and unjustly) unknown in the English-speaking world. [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]

From folk tales to literature, from mythology to animated films, and generally in the collective thought, the donkey has at times represented the symbolic animal of obstinacy, at other times of ignorance, and stupidity. Less frequently, it has been portrayed as indispensable, for example, when it becomes a symbol of patience and tireless. Numerous phraseological expressions and proverbial idioms related metaphorically to its physicality, behaviors, ways of acting, and work have crystallized over time in both Italian language and Sicilian dialect, and today they are fully integrated into daily linguistic uses. Starting from an analysis of the lexical elements it. asino / sic. sceccu, some classificatory considerations are proposed regarding the semantic value of 'donkey' in the idiomatic uses. It's studied inside a sample of phraseological and paremiological units that express characteristic and behavioral traits of the animal. [ABSTRACT FROM AUTHOR]

This research examined social inequality and the resulting conflicts in the movie "Fantastic Mr. Fox." The objectives were to identify and analyze the portrayal of social inequality within the film using Max Weber’s theory of social stratification. Using descriptive qualitative method, the study involved detailed analysis of the movie script to uncover these themes. The findings revealed that the farmers, representing the upper class, oppress the animal community, which symbolizes the lower class. This dynamic led to various conflicts, highlighting the struggles and resistance of the underprivileged against the powerful. Film analysis demonstrated how animated films can reflect real-world social hierarchies. In conclusion, the research provided a deeper understanding of the use of popular media to comment on societal issues and emphasizes the importance of empathy and collective action to address inequality. This study contributes to the field by showcasing the potential of animated films as tools for social commentary and education. This study highlights the capacity of animated films to serve as effective mediums for social critique, urging viewers to recognize and challenge societal inequalities. The findings underscore the necessity for empathy and collective action in addressing systemic oppression. [ABSTRACT FROM AUTHOR]

Copyright of Grafica: Journal of Graphic Design / Documents de Disseny Gràfic is the property of Universitat Autonoma de Barcelona 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 crucial role of titles for introducing and marketing entertainment products such as feature films is undeniable and stems from the need to motivate potential audiences to make a specific effort and invest their time and money in order to see a movie. In the world of today with its comforts and availability of entertainment at people`s fingertips, it requires a specific effort on the part of entertainment creators to make people leave the comfort of their homes and commit to the process of “going to the movies”. This places a specific expectation on feature films that they should be something special, there should be more to them than what other forms of entertainment (such as TV, social media content or streaming platforms) offer - a good movie is an experience. For the audience, the starting point of that entire experience is the title - it introduces, labels and brings together the entire production, it creates the first impression. The title is a pivoting point for the entire marketing campaign of the movie as a product and needs to fit appropriately with the rest of the production in order to have the desired strong impact - and to hopefully become a household name, or gain an “iconic” status and bring with it an entire franchise to further capitalize on the success of the initial product. Furthermore, in order to maximize profit, these entertainment products need to be marketed to as many markets as possible, to as many countries, cultures and languages as possible and for this purpose the title of the production needs to be rendered, translated into the target language of the receiving audiences. This process involves specific strategies, methods and techniques which are multifaceted and are not only linguistic in nature, but also stem from the theory and practice of marketing and advertising. The purpose of the present study is to take a look into the specific ways in which these marketing and advertising strategies are reflected in the actual final product of the title`s translation - i.e., the actual translation techniques observable in the translated titles of these animated feature films. The article provides a descriptive analysis of the sets of translation techniques employed in the rendering of titles of animated feature films from the original English to the Bulgarian and Russian, respectively. More specifically, the study is dedicated to the titles of the animated films produced by Blue Sky Studios and attempts to delineate the specific techniques employed based on the actual existing translations of the titles. For this purpose a corpus has been created containing 39 units of analysis - all 13 original titles and their Bulgarian and Russian translations of films produced b the studio which have been marketed to Bulgarian and Russian theater audiences. [ABSTRACT FROM AUTHOR]

This study was designed to investigate cats’ given names in an Arabic-speaking community of Jordan. For the purpose of this study, a questionnaire was prepared and distributed or displayed on the Facebook page Ask Jordan. A number of 153 names were collected, studies analyzed and then categorized. The results reveal that, in Jordan, the names of cats fall into different categories classified in accordance with the cat’s physical appearance, a cartoon or a movie character, the cat’s gender, a classic name, a new name, and a circumstantial name. The results also reveal a difference between names of stray cats and purebred house cats. The study ends with a recommendation for further studies to analyze names of pet cats in other countries. [ABSTRACT FROM AUTHOR]

Triage at the hospital's Emergency Room (ER) is critical for prioritizing the care of emergency patients. Triage errors can be dangerous and endanger patient safety, so nursing students should have a solid understanding of triage. This study investigates the impact of ESI triage learning media containing PowerPoint and animated films on knowledge, triage decision-making (TDM), and participant satisfaction. The research used a quantitative approach with a Quasi-Experimental pretest-posttest method involving 36 5th semester Diploma Nursing students at the Makassar Ministry of Health Polytechnic. The study was divided into two groups, experimental (animated video learning) and control (PowerPoint learning), to evaluate the effect of treatment on knowledge, triage decision-making, and student satisfaction in ESI triage learning. The results of the data analysis show a significant increase in knowledge about ESI Triage and student satisfaction after the intervention, with significant values of 0.001 and 0.018, respectively (p-value < 0.05). Although there was no significant increase in Triage decision-making abilities between the groups that used animated videos and Microsoft PowerPoint (p = 0.440), the use of animated videos overall increased student responses and satisfaction. MANOVA analysis confirmed that the implementation of animated videos significantly influenced knowledge and satisfaction in students with a p-value <0.05. The use of animated videos increases student knowledge and satisfaction significantly compared to PowerPoint, although it does not affect triage decision-making. [ABSTRACT FROM AUTHOR]

This essay argues that, together with presenting a multigenerational family, Disney's Encanto explores the issue of intergenerational trauma. The forced displacement, chaos, and violence that the protagonist's Abuela experienced became the source of her family's incredible magical powers, but also that of their equally intense personal pain. Although Encanto is ostensibly an exploration of Mirabel's search for identity, the film can just as accurately be seen as an exploration of the impact of intergenerational trauma, especially among immigrant families and within communities of color. In so doing, the animated film serves as a productive tool for social-emotional learning. Encanto gives young people the opportunity to examine the way that events from a family's past can impact individuals in the present. Even more importantly, it encourages them to consider how they can manage adverse emotions in healthy ways. [ABSTRACT FROM AUTHOR]

This article explores the use of Easter eggs in the Disney+ film "Chip'n Dale Rescue Rangers" (2022). The film incorporates references and cameos from non-Disney productions, blurring the line between honoring animation studios' canons and engaging with fans. The inclusion of Easter eggs adds a playful and unexpected element to the film, creating a sense of shared universe and enhancing the audience's immersion. The article also discusses different types of intertextuality and how Easter eggs contribute to these relationships between texts. The research presented in the article provides valuable insights into the intersection of popular culture and animation. [Extracted from the article]

This article delves into the representation of Hawaiian and Polynesian cultures in Disney theming, specifically focusing on the Enchanted Tiki Room and the Polynesian Village Resort. It explores how these portrayals perpetuate colonial and neocolonial narratives, reinforcing Western ideas of paradise and exoticism. The article also discusses the role of cultural representatives in creating an immersive experience for guests at the resorts, while raising concerns about cultural appropriation and the commodification of Hawaiian culture. The author emphasizes the importance of a more informed and respectful approach to cultural representation in the tourism industry. [Extracted from the article]

This article examines the significance of Disney's Cinderella narrative and its impact on popular culture. It discusses how Disney has established itself as the creator of the Americanized fairy tale and the Disney Princess franchise. The article analyzes the various adaptations and iterations of the Cinderella story within the Disney corporation, highlighting power dynamics, intertextuality, and branding strategies. It also explores the themes and messages presented in different versions of the Cinderella story, particularly in relation to race and agency. The article raises questions about representation and diversity within Disney's storytelling patterns and suggests that a closer examination of their adaptation processes can reveal limitations and biases. [Extracted from the article]

This article, titled "Heigh-ho, heigh-ho, it's off to read we go: A selective bibliography on Disney in American culture," is written by Camille McCutcheon, a library faculty member at the University of South Carolina Upstate Library. McCutcheon is a member of The Journal of American Culture Editorial Board and has published articles in various academic journals. The article focuses on providing a selective bibliography on the topic of Disney in American culture, with a particular emphasis on children's literature, film history, and film star biographies. [Extracted from the article]

Despite the important role of Disney's Mickey Mouse in animation history and the abundance of research focused on the Disney princesses, there is a notable lack of scholarship on Mickey's leading lady, Minnie Mouse. Focusing on the gendered portrayal of Minnie Mouse, we qualitatively analyzed forty cartoon shorts from 1928–1935 and fifty shorts from 2013–2019. Findings reveal that Minnie upholds traditional femininity in three main ways: by offering help and support to others; as the object of Mickey's romantic affection; and as a character who needs to be rescued from difficult situations. Although Minnie occasionally flips the script by revealing a more independent and assertive personality, Disney's emphasis on her traditionally feminine behaviors persists across both eras. This stability in Minnie's gendered portrayal represents a sharp contrast with the Disney princesses whose portrayals have been shown to shift and evolve. These findings highlight how Disney has responded to its problematic past portrayals by creating new characters rather than updating its pre-existing cast. [ABSTRACT FROM AUTHOR]

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The art of animation holds immense power. It has the ability to craft fantastical worlds and has been a powerful tool for storytelling. The depiction of characters and their physical forms has been a crucial aspect of storytelling. Animations have also introduced new concepts and ideas to challenge societal norms. One such concept that has recently been explored in animations is disability as a cultural concept. The purpose of this study is to explore the representation of disability in animations, unraveling the multiple layers and intricate dimensions associated with such portrayals. In this article, we delve into the portrayal of disability as a representation of identity disorder in the film I Lost My Body. We examine the correlation between one's physicality and their sense of self, with our main inquiry focused on how the relationship between body form and function intertwines with identity and how I Lost My Body depicts this connection. There are two models for analyzing disability: medical and social. In the medical model, disability is seen as an individual problem that requires medical intervention. Here, we utilize Mike Oliver's social model of disability and examine characters in feature films to acquire valuable insights into the intricate interplay among corporeality, identity, and body representation. Mike Oliver's social model of disability can provide a useful framework. This model posits that social barriers and exclusion are what create disability rather than any inherent physical or mental impairment. By applying this model to the protagonist's disability in the film I Lost My Body, we can assess how the movie addresses the connection between identity and physicality. Through this lens, we can examine how disability is portrayed and whether the film challenges societal stereotypes surrounding disability. By analyzing the film, it becomes apparent that Naoufel's physical disability gave rise to a unique identity for him. This identity is not characterized by damage or negativity, but rather by a stark contrast to the completeness and integration that his body once enjoyed. By living without an important and useful part of himself, Naoufel demonstrated a natural ability to move on from the past and embrace a separate existence, detached from his parental influence. Our examination of animated films highlights the impact that body perception can have on one's identity and actions. Through animation, creators have the ability to explore mental landscapes that challenge societal norms regarding physical appearance. By showcasing diverse body types, filmmakers encourage viewers to question their preconceived notions of beauty and embrace individuality. This article sheds light on how animated characters' physical appearance and abilities are critical to how they are perceived and accepted within their respective worlds. Additionally, we aim to address the passive portrayal of disabled characters in animation and instead, represent them as a normal part of society. Through our analysis, we uncover stereotypes surrounding disability in animated media, and we hope to encourage more nuanced and varied representation of disability in the future. [ABSTRACT FROM AUTHOR]

Humour in animated films presents numerous challenges when they are dubbed into another language. The aim of the study is to examine how humorous elements are rendered from one language to another, in dubbed animated films. The animated film Asterix conquers America (1994) and its Sinhala dubbed version are chosen for the present study. The taxonomy proposed by Martínez-Sierra which includes eight elements, is applied to determine the humour load of the examples. Twenty-five humorous instants are selected from the film to be analysed qualitatively. In these examples, the study examines if all the identified humour elements are transferred either completely or partially or the humour elements are eliminated in the Sinhala dubbed version. The results show that a loss of humour is noted mainly because the linguistic element is not reproduced in the target language. Along with the loss of the linguistic element, other elements too can be lost. Though a loss of humour is detected in certain examples, it is compensated in certain others. As a strategy, domestication approach is preferred at times, by the translators to substitute humour elements. Their efforts to recreate humour that can be understood and appreciated by the target audience are highlighted and discussed. [ABSTRACT FROM AUTHOR]