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Co co nut /Su, Jiunnfu. January 2009 (has links)
Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript.
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32 |
Memoir of a marionette /Jin, Rui. January 2008 (has links)
Thesis (M.F.A.)--Rochester Institute of Technology, 2008. / Typescript.
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33 |
The lantern /Liu, Ting. January 2009 (has links)
Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references.
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Thokolosi /Legwaila, Karabo. January 2008 (has links)
Thesis (M.F.A.)--Rochester Institute of Technology, 2008. / Typescript.
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Imag(in)ing God in animation : towards a theological understanding of the textuality of the animated filmMercer, Joanne January 2006 (has links)
No description available.
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A postcolonial analysis of colonial representations in Triggerfish's animated films Khumba (2013) and Adventures in Zambezia (2012)Blaeser, Tanya January 2017 (has links)
A Research Report submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements of the degree of Mater of Arts in Digital Arts: 3D Animation by Coursework and Research Report, 2017 / During the colonial era, stereotypes of Africa were created and normalised in order to gain, maintain and justify colonial power. Europe during the colonial era, defined itself, using binary thinking (stemming from the Enlightenment period), against the "Other". This was used to establish a definition of the savage against which Europe was defined as civilised; Europe, deeming itself rational, used nineteenth-century African ways as an opposition by which the binary of rational against irrational could be expressed (Loomba 45). Colonial depictions of Africa often overlooked complexities and distinctions and represented the continent as a homogenous land and created oversimplified representations of the people and places (Harth 14). From the repeated production of imperial imagery, a regime of representation was created portraying Africa as a primitive wilderness, inferior to Europe, and as a site of colonial adventure. More recently, Triggerfish Animation Studios, based in Cape Town, created the films Adventures in Zambezia (2012) and Khumba (2013). This research argues that both films contain colonial stereotypes that conform to the regime of representation depicting Africa as a homogenous land of animals and landscapes, and repeat the colonial single story of an Edenic Africa. Khumba (2012), although still containing colonial stereotypes, offers a less stereotypical depiction than Adventures in Zambezia (2013). / XL2018
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Cultural globalization?: the contemporary influence of Japanese animation on Hong Kong teenagers潘文慧, Poon, Man-wai. January 2001 (has links)
published_or_final_version / Japanese Studies / Master / Master of Philosophy
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Chinchi and Eleanor /Cone, Jonathan. January 2010 (has links)
Typescript.
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Ultrakinetic features of anime texts : revisioning composition theory and exploring visual rhetoric pedagogy / by Karen O'Connell Ware.Ware, Karen, January 2009 (has links) (PDF)
Thesis (Ph. D.)--University of Louisville, 2009. / Department of English. Vita. "August 2009." Includes bibliographical references (leaves 140-152).
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A study of the use of violence and sexual content in modern Japanese animation on American DVD videoFrench, Douglas A. January 2006 (has links)
Thesis (M.S.)--Kutztown University of Pennsylvania, 2006. / Source: Masters Abstracts International, Volume: 45-06, page: 2708. Typescript. Abstract precedes thesis as 2 leaves (iii-iv). Includes bibliographical references (leaves 29-30).
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