This journal article deals mainly with the series of films entitled Shakespeare: The Animated Tales, and aims to address the cliche that when portions of the plays are removed in order to make the films, the works are simplified or "dumbed down" to the point where the quality is almost completely sacrificed. It suggests that a better way to analyze the films is to examine them as films, and not as literature, and therefore acknowledge the omissions but still treat the work as a whole. In addition, this reading sees these cuts as necessary to enhance the cinematographic needs of the medium, and the choice of animation brings these valuable and culturally significant stories to a new generation.

The article goes on to cite Walter Benjamin and Sergei Eisenstein's early writings that see animation as significant and important, and claim that it serves as the experimentation necessary for the progress of cinema as a whole. A primary example of Disney's experimentation with anti-realism, according to the article, is the "Silly Symphonies" series of short animated films. The author sees experimentation in various aspects of the film, including "self-reflexivity, technical innovativeness, violation of natural spatial-temporal rules, and violence," and cites other writings which claim that part of the influence of the films lay in their ambiguous target audiences. The films were "not just children's stuff, and certainly not sugar-sweet. Whether they were for adults or children was indeterminate." It was the animated feature Snow White and the Seven Dwarfs that ended this era of experimentation for Disney, and proved that cartoons could be respectable, even "antiseptic." While Warner Brothers continued to be edgy, Disney was now mainstream and accepted by the Production Code.

This article helps me prove the foundation of my thesis, that the Silly Symphonies began as experimental works that allowed Disney and its animators to try new technologies and new forms. It also helps me show that this experimentation led directly to the development of elements, like narrative, character differentiation, and others, whose perfection made the production of an animated feature-length film possible.

This journal article deals mainly with the series of films entitled Shakespeare: The Animated Tales, and aims to address the cliche that when portions of the plays are removed in order to make the films, the works are simplified or "dumbed down" to the point where the quality is almost completely sacrificed. It suggests that a better way to analyze the films is to examine them as films, and not as literature, and therefore acknowledge the omissions but still treat the work as a whole. In addition, this reading sees these cuts as necessary to enhance the cinematographic needs of the medium, and the choice of animation brings these valuable and culturally significant stories to a new generation.

The article goes on to cite Walter Benjamin and Sergei Eisenstein's early writings that see animation as significant and important, and claim that it serves as the experimentation necessary for the progress of cinema as a whole. A primary example of Disney's experimentation with anti-realism, according to the article, is the "Silly Symphonies" series of short animated films. The author sees experimentation in various aspects of the film, including "self-reflexivity, technical innovativeness, violation of natural spatial-temporal rules, and violence," and cites other writings which claim that part of the influence of the films lay in their ambiguous target audiences. The films were "not just children's stuff, and certainly not sugar-sweet. Whether they were for adults or children was indeterminate." It was the animated feature Snow White and the Seven Dwarfs that ended this era of experimentation for Disney, and proved that cartoons could be respectable, even "antiseptic." While Warner Brothers continued to be edgy, Disney was now mainstream and accepted by the Production Code.

This article helps me prove the foundation of my thesis, that the Silly Symphonies began as experimental works that allowed Disney and its animators to try new technologies and new forms. It also helps me show that this experimentation led directly to the development of elements, like narrative, character differentiation, and others, whose perfection made the production of an animated feature-length film possible.

The vast majority of teens in the United States, 87% of those aged 12 to 17, now use the internet. That amounts to about 21 million youth who use the internet, up from roughly 17 million when we surveyed this age cohort in late 2000. Not only has the wired share of the teenage population grown, but teens’ use of the internet has intensified. Teenagers now use the internet more often and in a greater variety of ways than they did in 2000. There are now approximately 11 million teens who go online daily, compared to about 7 million in 2000.

The vast majority of teens in the United States, 87% of those aged 12 to 17, now use the internet. That amounts to about 21 million youth who use the internet, up from roughly 17 million when we surveyed this age cohort in late 2000. Not only has the wired share of the teenage population grown, but teens’ use of the internet has intensified. Teenagers now use the internet more often and in a greater variety of ways than they did in 2000. There are now approximately 11 million teens who go online daily, compared to about 7 million in 2000.

EAS028
 

This very recent compilation (2005) contains 11 scholarly articles on the subject of adolescent girls and their use of the web, from perspectives of age, gender, ethnicity, and sociology/media theory.  With regard to the subject of teenage girls and fandom, I am interested in Scodari's work on the negotiation of age and gender in TV fan newsgroups, since I am also discussing women's speech in such groups.  Mazzarella continues this topic with her discussion of the "cultural economy" of teenage girls fandom on the internet.  Finally, Thiel takes on the description of the construction of identity and gender identification for girls over instant messaging, which she describes as both a cultural and an experimentation space.  While this text does not discuss specific linguistic topics, it does serve as an interesting sociological reference for young women's behavior on the internet, which could influence or inform linguisitic decisions online.