This paper addresses many concepts and concerns related to the previously underexplored topic of CGI and narrative in Hollywood children’s films. Through an analysis of scenes from Harry Potter and the Philosopher’s Stone, The Chronicles of Narnia, The Golden Compass, The Spiderwick Chronicles, and Inkheart it demonstrates that CGI spectacle does not exist in opposition to narrative progression as some scholars have suggested. Instead, by drawing on theorists like Lefebvre and Furstenau (2002), this investigation asserts that belief in fictional realism is paramount to spectatorship. It is shown that CGI can be used in a way that respects realism in the Bazin tradition and continuity editing in order to allow the spectator to believe in the fictional reality of narrative events. This belief is then connected to the emotional engagement of the spectator by drawing on ideas from Smith’s (1994) structure of sympathy. The ultimate goal of this paper is to present a conceptualization of CGI that creates a stronger distinction between reality and film realism than previous literature has suggested.

This thesis is an exploratory examination of identity construction and children’s media, with a focus on the Palestinian political groups of Fatah and Hamas. It looks at how children’s media are framed within the context of the Arab-Israeli conflict. It examines how internal and external social factors contribute to identity formation and the interaction among these elements during times of conflict and war. This thesis hypothesizes that both Fatah and Hamas use various myths to differing degrees in order to frame their conception of a Palestinian identity. Specifically, it explores the use of the Myth of Battle, the Myth of Hero, the Myth of Victim, the Myth of Religion, the Myth of Land and the Myth of Other. It seeks to determine which of these myths each group emphasizes through a qualitative and quantitative visual ethnographic content analysis. The quantitative analysis uncovered interesting, albeit not statistically significant, differences between Fatah’s and Hamas’ use of all of the myths in their videos. Specifically it found that both groups made equal and great use of the Myth of Religion; that Hamas produced the videos with the greatest focus on the Myth of Battle and the Myth of Hero; and that neither group greatly emphasized the Myth of Victim, the Myth of Land or the Myth of Other. Finally, the analysis discovered positive correlations between the Myth of Hero and the Myth of Battle as well as between the Myth of Battle and the Myth of Other.

This paper addresses many concepts and concerns related to the previously underexplored topic of CGI and narrative in Hollywood children’s films. Through an analysis of scenes from Harry Potter and the Philosopher’s Stone, The Chronicles of Narnia, The Golden Compass, The Spiderwick Chronicles, and Inkheart it demonstrates that CGI spectacle does not exist in opposition to narrative progression as some scholars have suggested. Instead, by drawing on theorists like Lefebvre and Furstenau (2002), this investigation asserts that belief in fictional realism is paramount to spectatorship. It is shown that CGI can be used in a way that respects realism in the Bazin tradition and continuity editing in order to allow the spectator to believe in the fictional reality of narrative events. This belief is then connected to the emotional engagement of the spectator by drawing on ideas from Smith’s (1994) structure of sympathy. The ultimate goal of this paper is to present a conceptualization of CGI that creates a stronger distinction between reality and film realism than previous literature has suggested.

This thesis is an exploratory examination of identity construction and children’s media, with a focus on the Palestinian political groups of Fatah and Hamas. It looks at how children’s media are framed within the context of the Arab-Israeli conflict. It examines how internal and external social factors contribute to identity formation and the interaction among these elements during times of conflict and war. This thesis hypothesizes that both Fatah and Hamas use various myths to differing degrees in order to frame their conception of a Palestinian identity. Specifically, it explores the use of the Myth of Battle, the Myth of Hero, the Myth of Victim, the Myth of Religion, the Myth of Land and the Myth of Other. It seeks to determine which of these myths each group emphasizes through a qualitative and quantitative visual ethnographic content analysis. The quantitative analysis uncovered interesting, albeit not statistically significant, differences between Fatah’s and Hamas’ use of all of the myths in their videos. Specifically it found that both groups made equal and great use of the Myth of Religion; that Hamas produced the videos with the greatest focus on the Myth of Battle and the Myth of Hero; and that neither group greatly emphasized the Myth of Victim, the Myth of Land or the Myth of Other. Finally, the analysis discovered positive correlations between the Myth of Hero and the Myth of Battle as well as between the Myth of Battle and the Myth of Other.

This paper addresses many concepts and concerns related to the previously underexplored topic of CGI and narrative in Hollywood children’s films. Through an analysis of scenes from Harry Potter and the Philosopher’s Stone, The Chronicles of Narnia, The Golden Compass, The Spiderwick Chronicles, and Inkheart it demonstrates that CGI spectacle does not exist in opposition to narrative progression as some scholars have suggested. Instead, by drawing on theorists like Lefebvre and Furstenau (2002), this investigation asserts that belief in fictional realism is paramount to spectatorship. It is shown that CGI can be used in a way that respects realism in the Bazin tradition and continuity editing in order to allow the spectator to believe in the fictional reality of narrative events. This belief is then connected to the emotional engagement of the spectator by drawing on ideas from Smith’s (1994) structure of sympathy. The ultimate goal of this paper is to present a conceptualization of CGI that creates a stronger distinction between reality and film realism than previous literature has suggested.

This thesis is an exploratory examination of identity construction and children’s media, with a focus on the Palestinian political groups of Fatah and Hamas. It looks at how children’s media are framed within the context of the Arab-Israeli conflict. It examines how internal and external social factors contribute to identity formation and the interaction among these elements during times of conflict and war. This thesis hypothesizes that both Fatah and Hamas use various myths to differing degrees in order to frame their conception of a Palestinian identity. Specifically, it explores the use of the Myth of Battle, the Myth of Hero, the Myth of Victim, the Myth of Religion, the Myth of Land and the Myth of Other. It seeks to determine which of these myths each group emphasizes through a qualitative and quantitative visual ethnographic content analysis. The quantitative analysis uncovered interesting, albeit not statistically significant, differences between Fatah’s and Hamas’ use of all of the myths in their videos. Specifically it found that both groups made equal and great use of the Myth of Religion; that Hamas produced the videos with the greatest focus on the Myth of Battle and the Myth of Hero; and that neither group greatly emphasized the Myth of Victim, the Myth of Land or the Myth of Other. Finally, the analysis discovered positive correlations between the Myth of Hero and the Myth of Battle as well as between the Myth of Battle and the Myth of Other.

This paper addresses many concepts and concerns related to the previously underexplored topic of CGI and narrative in Hollywood children’s films. Through an analysis of scenes from Harry Potter and the Philosopher’s Stone, The Chronicles of Narnia, The Golden Compass, The Spiderwick Chronicles, and Inkheart it demonstrates that CGI spectacle does not exist in opposition to narrative progression as some scholars have suggested. Instead, by drawing on theorists like Lefebvre and Furstenau (2002), this investigation asserts that belief in fictional realism is paramount to spectatorship. It is shown that CGI can be used in a way that respects realism in the Bazin tradition and continuity editing in order to allow the spectator to believe in the fictional reality of narrative events. This belief is then connected to the emotional engagement of the spectator by drawing on ideas from Smith’s (1994) structure of sympathy. The ultimate goal of this paper is to present a conceptualization of CGI that creates a stronger distinction between reality and film realism than previous literature has suggested.

This thesis is an exploratory examination of identity construction and children’s media, with a focus on the Palestinian political groups of Fatah and Hamas. It looks at how children’s media are framed within the context of the Arab-Israeli conflict. It examines how internal and external social factors contribute to identity formation and the interaction among these elements during times of conflict and war. This thesis hypothesizes that both Fatah and Hamas use various myths to differing degrees in order to frame their conception of a Palestinian identity. Specifically, it explores the use of the Myth of Battle, the Myth of Hero, the Myth of Victim, the Myth of Religion, the Myth of Land and the Myth of Other. It seeks to determine which of these myths each group emphasizes through a qualitative and quantitative visual ethnographic content analysis. The quantitative analysis uncovered interesting, albeit not statistically significant, differences between Fatah’s and Hamas’ use of all of the myths in their videos. Specifically it found that both groups made equal and great use of the Myth of Religion; that Hamas produced the videos with the greatest focus on the Myth of Battle and the Myth of Hero; and that neither group greatly emphasized the Myth of Victim, the Myth of Land or the Myth of Other. Finally, the analysis discovered positive correlations between the Myth of Hero and the Myth of Battle as well as between the Myth of Battle and the Myth of Other.

As LGBTQ issues come to the forefront of discussion, the acceptance of queer television is becoming more common. However, research has shown that seemingly progressive shows often reinforce dominant ideologies, despite the presence of queer characters or themes. This analysis seeks to understand whether the children's animated series, Steven Universe, is as progressive as reviews would make it seem. Two open-ended research questions are used to explore the constructions of gender and romance in the series. Through the use of queer analysis, this study reveals that the series is indeed queer. The series narrative subverts gender through the deconstruction of societal binaries. Likewise, love is treated inclusively, and is not limited to heterosexual romances. Steven Universe, though not perfect, is an amicable example of how children's cartoons can educate upcoming generations in what it means to defy expectations and go beyond labels.

The focus of this thesis project was to learn and understand the amount of work that goes into children’s book illustration, as well as bringing the story of another’s to life. “The Escapades of Cat & Dog” was written by my grandfather, George Petrella, to tell the story of my mother and her sibling’s pets going on kooky adventures. The script was given to me back in 2017-2018 not to long after my grandmother, Jane Petrella, passed away due to cancer. The result consists of a 36 page 9 by 9 inch fully illustrated book intended to be the first in an episodic storytelling series similar to “Clifford the Big Red Dog” by Norman Bridwell. The story follows Duke, a charismatic and carefree border collie who loves to explore with his best friend Ruddy, an uptight and serious orange tabby who would rather stay indoors than exit the comfort of his home. The first half of the year consisted of brainstorming and sketching down concepts for the designs of the two characters and deciding the visual direction of the project. The second half consisted of illustrating the pages and formatting everything properly for printing. There are still a few minor things to fix but with a little more time I hope to present this book to my grandfather and work to get it published.