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Our textbook, Of Mice and Magic, mentions that Walter Lantz was a survivor (1, 159).  Lantz was a survivor for many reasons, as he owned and operated his own cartoon studio for years, obtained the best talent when it was available, and when things went south, had the ability to take things into his own […] Continue reading →

Upon first glance, Winsor McCay’s Gertie the Dinosaur (1) does not have a lot going for it. The cartoon, created in 1914, is in black and white, has no vocal sound (you need to read title cards), and has inconsistent animation (the background shimmers from time to time). But despite these qualities, Gertie, even today, […] Continue reading →

The first films created by the Lumière brothers were made to study what could be captured on film. The subjects of their films were the citizens of France and what they did in their day-to-day lives. The Lumière brothers filmed the people of the working class, the elites, family life, and modes of transportation (boats […] Continue reading →

The world has been conveying motion in art for hundreds of years in a variety of ways. Though early works were unable to create the illusion of movement before the late 19th – 20th centuries, they were still able to show motion through important actions and movements. Here, I have a Qing Dynasty (1644-1912) painting […] Continue reading →

After learning about the twelve principles of animation last class, I began to consider how important these principles are in animated films and cartoons. The first principle, squash and stretch, plays a very important role in animated films and cartoons because it can bring a character to life.  The basis of how the principle works […] Continue reading →

            Jim led Julia to the roof of the tower while hypnagogic images burned through his mind. Symbols in the forms of once known figures and faces seized his brain’s attention. These images were forms of visual information to Jim. The images were secrets embedded in his the past. However, they were irrelevant to their future. […] Continue reading →

First Both Matt and Frankenstein’s monster share a very similar style of living space when they are on their own. Matt has his little pig pen with sawdust and rotten oranges, and the monster has his little shack with a dirt floor and low ceilings. This similarity made me ask if El Patron knew about […] Continue reading →

The House of the Scorpion centers on many of the same issues and ideas that have surfaced in the science-fiction novels we have read to date. What qualifies as “human”? When, after alteration, does a human lose his humanity? The … Continue reading → Continue reading →

Nancy Farmer’s straightforward writing style has me constantly comparing Matt to Akin, from Lilith’s Brood. Both characters are products of genetic engineering. The Oankali incorporate foreign species into their genetic make-up, while Matt develops in a cow; this might not … Continue reading → Continue reading →

  Of everything we’re read this semester, the eejits in House of the Scorpion are strangely similar to the sex puppets from Neuromancer. Because House of the Scorpion is a young adult novel and, as far as I’ve read, does not feature any blatant sex, I feel a little strange comparing it to Neuromancer, which didn’t shy away from […] Continue reading →