Melissa Guri

Princess Mononoke 

In Miyazaki’s 1997 animated picture Princess Mononoke, many topics centered on man and his conflict are portrayed, but we will only focus on the battle between man and nature. This theme arguably impacts the film and many of the characters’ behaviors along the way, emphasizing its significance. The intense fights between man and his beast god equivalents demonstrate this. Nature is portrayed as a formidable force, but one that is aging, whereas humanity is depicted as a group that is beginning to industrialize and gaining strength. Lady Eboshi, a powerful young leader, and her industry powerhouse of a hamlet, “Iron Town,” as well as a young Prince, Ashitaka, who was cursed by a demon, represent the human half of society. The old animal gods’ strength and power may be seen clearly in the Boar God, Okkoto-nushi, and the Wolf Goddess, Moro-no-kimi, and they weathered yet formidable ways; additionally, this power can be observed in San, a young girl raised by wolves. This film, much to the joy of the audience, is more than just a never-ending conflict between old and new; it also investigates the grey region of the present and seeks to establish a balance. Throughout the film, a bond forms between Ashitaka and San, which blossoms and begins to resolve the long-running conflict between man and nature.

Referencehttps://wp.wwu.edu/cinemawithfletcher/2017/05/16/princess-mononoke-final-draft/

The main difference between a live-action and an animated script is that an animation script usually requires a more extensive scene description. The characters that are moving need to be more detailed than the background which will have to stay the same the whole time. Also, the lightening has to change because the figures are moving as well. 

Here we have an advertisement for Chipotle. It’s very colorful and the quality is good. The people seem to appear with the same body and face shape as we are used to seeing them in cartoons and other animated films. I think that now the advertisements are being represented in very simple, short and attractive forms so that everyone can be interested in it. Also, it is important to show care for the customers which this picture shows very well.

Trnka was a Czech, and this short film was (and continues to be) a ruthless repudiation of the communism that enslaved his homeland. In this way, the film still serves as a warning to those who dabble in philosophies that have repeatedly been demonstrated to be wrong and fruitless. Trnka is managing the harlequin as an oppressed entity through art, and the entire creative process is a relationship of a higher authority wishing things to be a very definite manner, which is a lovely meta twist to the whole experience . The government regarded the picture as subversive since it posed a threat to their communist ideology. The Hand was released in 1965, during the height of the Czechoslovak New Wave, when many critical and political films were produced in Prague’s Barrandov Studios. As a result, we can claim that it has a free spirit as well as some social and political critique, which is unusual for cartoon films. It’s something you wouldn’t see in a lot of cartoon films at the time, anywhere in the world.

In the Private Snafu cartoons, there is always something to enjoy, and Fighting Tools is one of the most amusing. It’s not quite as good as Spies, Booby Traps, or The Goldbrick, but it’s still quite nice. It’s a touch too short and has a predictable finish. The animation never tries to be overly intricate, yet there is enough detail, good use of black and white colors, and smooth drawings to keep it from being too simple. Fighting Tools has a lot of music and singing, and the good news is that it’s not just energetically performed, vibrant in rhythm, and well-produced, but it’s also unforgettable. Fighting Tools is incredibly intelligent and entertaining; both Snafu and the Nazi soldier have amusing stuff, and the comic even has a daring, risqué quality to it, which is what originally drew me to it. The gags are equally amusing, such as Snafu mistaking the Nazi soldier’s bottom for his head, and the cartoon never comes across as heavy-handed or trying to make light of a serious issue (none of the Snafu cartoons did). Snafu, as always, is endearing; he is terribly inept—the series’ recurring joke is that he is the worst soldier in the army—but he genuinely cares, and the Nazi soldier manages to avoid being vulgar cliché. Mel Blanc does an excellent job with the voice acting, which should come as no surprise given that he is one of the best voice performers of all time. Overall, if not the best of the Snafu series, it’s still a lot of fun.

Prompt 2

We have seen that many early animated films, particularly in the US, were based on print comics. Why do you think that is? What was there about comics that would make them an appropriate subject for a film?

One of the main reasons that people enjoy reading comic books is that they provide an opportunity for escapism. Because these stories aren’t based on true events, readers may completely disconnect from their problems for a bit and focus on something else.

Many animated films were based on print comics because superheroes from comic books are ingrained in American culture. Americans are exposed to superheroes through cartoons, toys, comic books, and other media, and most are familiar with the main characters and their arch-enemies. This provides the filmmakers with a pre-existing audience that most other forms of films lack.

Second, the major DC heroes have existed for more than 70 years. Marvel’s primary heroes have been around for nearly 60 years. Filmmakers have access to a vast library of stories spanning decades. Plot points, supporting characters, and even dialogue lines have previously been planned. Many stories have previously established transitions into new storylines due to the unending storytelling structure of comics. It’s much easier to adapt stories from an existing source than it is to develop them from scratch.

It’s far easier to adapt stories from other sources than it is to produce something entirely from scratch.

And, because of the nature of these existing stories, they have many of the elements that people appreciate in movies. A lot of the action was softened by comedic moments. There are witty one-liners, massive CGI fights, pyrotechnics, and bright outfits, among other things.

Superhero flicks are modern-day Westerns. They’re predictable and based on pre-existing media, and they’re popular because they’re formulaic and based on pre-existing media. While they are significantly more expensive than previous spaghetti westerns, they are the same type of intellectual chain restaurant fare. People are aware of what they will receive and continue to return for more.