"I might be a duck, but I'm human" : an analysis of clothing in Disney cartoons

Mickey Mouse, one of the world's most recognizable cartoon characters, did not wear a shirt in his earliest incarnation in theatrical shorts and, for many years, Donald Duck did not wear pants and still rarely does so. Especially when one considers the era in which these figures were first created by the Walt Disney Studio, in the 1920s and 1930s, why are they portrayed without full clothing? The obvious answer, of course, is that they are animals, and animals do not wear clothes. But these are no ordinary animals: in most cases, they do wear clothing - some clothing, at least - and they walk on two legs, talk in a more or less intelligible fashion, and display a number of other anthropomorphic traits. If they are essentially animals, why do they wear clothing at all? On the other hand, if these characters are more human than animal, as suggested by other behavioral traits - they walk, talk, work, read, and so on - why are they not more often fully clothed? To answer these questions I undertook three major research strategies used to gather evidence: interpretive textual analysis of 321 cartoons; secondary analysis of interviews conducted with the animators who created the Disney characters; and historical and archival research on the Disney Company and on the times and context in which it functioned. I was able to identify five themes that played a large part in what kind of clothing a character wore; first, the character's gender and/or sexuality; second, what species or "race" the character was; third, the character's socio-economic status; fourth, the degree to which the character was anthropomorphized; and, fifth, the context in which the character and its clothing appeared in a particular scene or narrative. I concluded that all of these factors played a part in determining, to some extent, the clothing worn by particular characters at particular times. However, certain patterns emerged from the analysis that could not be explained by these factors alone or in combination. Therefore, my analysis also investigates the individual and collective attitudes and desires of the men in the Disney studio who were responsible for creating these characters and the cultural conditions under which they were created. Drawing on literature from the psychoanalytic approach to film studies, I argue that the clothing choices spoke to an idealized fantasy world to which the animators (most importantly, Walt Disney himself), and possibly wider society, wanted to return.

Buzz in motion pictures : what is buzz and how can marketing create it?

In the movie industry, the extraordinarily successful theatrical performance of certain films is largely attributed to buzz. Despite longstanding commentary about the role of buzz in successful movie marketing and the belief that it accelerates new product diffusion, limited scholarly evidence exists to support these assertions. This is primarily due to the lack of conceptual distinction of buzz from word-of-mouth, which is often used as the main basis for conceptualising buzz. However, word-of-mouth does not fully explain the buzz surrounding films such as 'Gone With The Wind', 'The Dark Knight' and 'Avatar'. Informed by valuable insights from key experts who have launched some of the most successful movies in box office history, as well as a range of moviegoers, this thesis developed a deeper understanding of what buzz is and how it is created. This thesis concludes that buzz is not the same as word-of-mouth.

Betty Friedan speaks at "Films and Women" meeting about violence against women in motion pictures

General note: Title and date provided by Bettye Lane.

An approach to scenario analysis of the sustainability of an industrial sector applied to clothing and textiles in the UK

Companies aiming to be 'sustainability leaders' in their sector and governments wanting to support their ambitions need a means to assess the changes required to make a significant difference in the impact of their whole sector. Previous work on scenario analysis/scenario planning demonstrates extensive developments and applications, but as yet few attempts to integrate the 'triple bottom line' concerns of sustainability into scenario planning exercises. This paper, therefore, presents a methodology for scenario analysis of large change to an entire sector. The approach includes calculation of a 'triple bottom line graphic equaliser' to allow exploration and evaluation of the trade-offs between economic, environmental and social impacts. The methodology is applied to the UK's clothing and textiles sector, and results from the study of the sector are summarised. In reflecting on the specific study, some suggestions are made about future application of a similar methodology, including a template of candidate solutions that may lead to significant reduction in impacts. © 2007 Elsevier Ltd. All rights reserved.

Feeling the commute: Affect, affordance and communities in motion

This chapter draws upon research conducted in 2012-2013 in the English town of Glossop, Derbyshire, UK, exploring notions of affect, affordance and interconnections as part of a project within the UK’s Arts and Humanities Research Council’s (AHRC) Connected Communities programme: Revisiting the mid-point of British Communities: a study of affect, affordance and connectivity in Glossop. The project aimed to explore how an affectual analysis of place, space and mobility reveal a deeper understanding of how non-familial residents of Glossop connect/ disconnect with each other. This chapter will specifically focus on experiences of Glossop train station, illustrating research data gathered during the train commute from Glossop to Manchester, as well as the affordances of the train station itself. Highlighting contemporary residential migration patterns, practices of commuting and everyday mobilities, this focus asks how people’s senses and feelings of community are constituted in relation to these mobilities and the affordances of particular spaces. The findings of this chapter further reveal that amalgamating a study of affect and atmospheres within social and cultural contexts can impact on the design of mobility, transport and spaces which are designed to facilitate community (dis)connection.

Motion pictures for teacher education : a manual for use in pre-service and in-service teacher education /

Cover title.

Color and line in dress,

Published also under title: Look your best.

The changing uses of textile fibers in clothing and household articles /

Caption title.

American Desi : representation and reproduction in diaspora /

This study explores ~ow South Asian diasporic film represents and reproduces South Asian identity in the diaspora. It commences with a review of the literature in cultural studies and post-colonial theory on identity in the diaspora. A textual analysis of three films: American Desi, Bollywood/Hollywood, and East Is East, helps frame the characteristics of South Asian diasporic film. Theoretical concepts of diaspora and identity are extended to this reading of the films. In-depth, open-ended, semi structured interviews were conducted with eight participants to test the validity of theoretical concepts through participants' own reading of American Desi. Findings indicate that while theoretical concepts of identity can be usefully applied at the level of the text, these perspectives do not always easily explain participants' interpretation of the film in relation to their everyday experiences.

Heroes on the home front : heroism and virtue in post-9/11 American cinema /

This thesis is intended to contribute to critical discussion of the American male hero in mainstream American war and action films post September 11, 2001 . The thesis investigates how these heroes' behaviour echoes a patriotic, conservative construction of the modern American as created through speeches given by George W. Bush in the wake of the events of September 11, 2001 . The thesis examines the hero in six primary sources: the war films We Were Soldiers, Behind Enemy Lines and The Great Raid and the action films Collateral Damage, Man on Fire and The Punisher. By analyzing the ideological subtext, political content, visual strategies and generic implications of the films, as well as the binary constructions of a selection of Bush speeches, and by reviewing historical representations of American male heroes on film produced in the wake of political events, the thesis concludes that the six films mobilize the USA's conservative viewpoint towards war and military action, and in concert with the speeches, contribute to an ongoing militarization of visual culture. Both systems echo a dangerous ideological fantasy of American history, life and patriotism.

You know how I know you're gay? : masculinity and homophobia in mainstream comedy

You Know How I Know You're Gay?: Masculinity and Homophobia in Contemporary Mainstream Comedy is a three-part senior scholars project that consists of a critical analysis of homophobic humor in contemporary mainstream comedy, an original feature-length comedy script entitled Don 't Be that Freshman, and a DVD of selected scenes from Don't Be that Freshman. The critical analysis first establishes the existence of homophobic humor in mainstream comedy and then links this homophobia to masculine anxiety, applying the ideas set forth in Michael Kimmel's essay, "Masculinity as Homophobia," to contemporary, mainstream, homosocial comedies. The paper goes on to examine audience reactions to this homophobic humor, focusing on audience members who enjoy these movies, yet consider themselves to be accepting of homosexuality and against homophobia. I discuss ways of resistance and the importance of opposing homophobic humor, and finally, I look at comedy as a potentially transgressive medium that could be used to fight homophobia and social inequality. The critical analysis, therefore, leads into Don't Be that Freshman, a film that uses progressive humor to oppose homophobia and expose the potential dangers and pitfalls of conforming to social constructions of gender. Don't Be that Freshman is a film about three pairs of college roommates in their first semester at college who become each other's first friends on campus. It is a character-driven comedy that attempts to normalize non-heterosexual sexual orientation and gender non-conformity, to advocate a type of living that does not conform to problematic social constructions and cultural ideologies, and at the same time to appeal to a mainstream audience. The film version is twenty-five minutes long and consists of ten scenes from the script.

Surréalisme Sous-L’Eau : science and surrealism in the early films and writings of Jean Painlevé

A French biologist who moved in Surrealist circles, Jean Painlevé began making films about underwater creatures in 1927, and by 1982 had created over two hundred films on a broad range of natural, scientific, and political subjects. His underwater films remain the most ethereal and poetic works in his oeuvre, and he specifically used cinema to capture the mystery and wonder of nature.