How narrative techniques attract young parents: The refiguration of Logger Vick in the Chinese 3D animated film, Boonie Bears: To the Rescue

2021 ◽  
Vol 12 (1) ◽  
pp. 75-94 ◽  
Author(s):  
Shaopeng Chen
Keyword(s):  
Target Audience ◽  
Chinese Adults ◽  
Distinctive Features ◽  
Young Parents ◽  
The Past ◽  
Film Version ◽  
Animated Films ◽  
Animated Film ◽  
Ordinary Person ◽  
Narrative Techniques

This article analyses the screenwriting of Boonie Bears: To the Rescue (2014), a film version of the Chinese 3D animated adventure TV series, Boonie Bears. The child-oriented principle of storytelling is one of the most distinctive features of full-length Chinese animated films, especially those produced over the past decade. Within this context, Boonie Bears: To the Rescue epitomizes how Chinese animators are striving to expand the scope of their target audience from children to parent–child groups through the development of narrative competence. This article explores how the arrangement of narrative techniques helps to attract young parents (in their late 20s and early 30s) to cinemas while also retaining the child audience. These endeavours are primarily represented by the refiguration of Logger Vick, the main antagonist in the Boonie Bears animated TV series, who is transformed from a thoroughly wicked villain to a living, ordinary person who could be considered to be the ‘spokesperson’ for young Chinese adults. In this way, the screenwriting techniques in the film strike a responsive chord in the hearts of its adult viewers, thereby broadening the range of its original (TV series) target audience.

Dowagers, Debs, Nuns and Babies: The Politics of Nostalgia and the Older Woman in the British Sunday Night Television Serial

2013 ◽  
Vol 10 (4) ◽  
pp. 769-784 ◽  
Author(s):  
Estella Tincknell
Keyword(s):  
Older Women ◽  
Social Role ◽  
Mature Female ◽  
Older Woman ◽  
Distinctive Features ◽  
The Past ◽  
Political Position ◽  
The Social ◽  
The Uk ◽  
Popular Television

The extensive commercial success of two well-made popular television drama serials screened in the UK at prime time on Sunday evenings during the winter of 2011–12, Downton Abbey (ITV, 2010–) and Call the Midwife (BBC, 2012–), has appeared to consolidate the recent resurgence of the period drama during the 1990s and 2000s, as well as reassembling something like a mass audience for woman-centred realist narratives at a time when the fracturing and disassembling of such audiences seemed axiomatic. While ostensibly different in content, style and focus, the two programmes share a number of distinctive features, including a range of mature female characters who are sufficiently well drawn and socially diverse as to offer a profoundly pleasurable experience for the female viewer seeking representations of aging femininity that go beyond the sexualised body of the ‘successful ager’. Equally importantly, these two programmes present compelling examples of the ‘conjunctural text’, which appears at a moment of intense political polarisation, marking struggles over consent to a contemporary political position by re-presenting the past. Because both programmes foreground older women as crucial figures in their respective communities, but offer very different versions of the social role and ideological positioning that this entails, the underlying politics of such nostalgia becomes apparent. A critical analysis of these two versions of Britain's past thus highlights the ideological investments involved in period drama and the extent to which this ‘cosy’ genre may legitimate or challenge contemporary political claims.

scholarly journals Secular trends of population attributable risk of overweight and obesity for hypertension among Chinese adults from 1991 to 2011

2021 ◽  
Vol 11 (1) ◽  
Author(s):  
Jian Gou ◽  
Huiying Wu
Keyword(s):  
Population Attributable Risk ◽  
Attributable Risk ◽  
Secular Trends ◽  
Overweight And Obesity ◽  
Regression Coefficients ◽  
Chinese Adults ◽  
Intervention Effect ◽  
Obesity Epidemic ◽  
The Past ◽  
Increasing Trend

AbstractWe determined if the increasing trend in hypertension can be partly attributed to increasing prevalence of overweight/obesity in China over the past two decades. Data were collected from 1991 to 2011 and the population attributable risk (PAR), which is used to estimate the intervention effect on hypertension if overweight/obese, were eliminated. Linear regression was used to evaluate the secular trends. The age-standardized prevalence of overweight and obesity increased by 26.32% with an overall slope of 1.27% (95% CI: 1.12–1.43%) per year. Hypertension also increased by 12.37% with an overall slope of 0.65% (95% CI: 0.51–0.79%) per year. The adjusted ORs of overweight/obesity for hypertension across the survey years remained unchanged; however, the trend in PAR increased steadily from 27.1 to 44.6% with an overall slope of 0.81% (95% CI: 0.34–1.28%) per year (P = 0.006). There was no significant gender difference in the slopes of increasing PAR, as measured by regression coefficients (β = 0.95% vs. β = 0.63% per year, P = 0.36). Over the past two decades, the increase in the prevalence of hypertension in China was partly attributed to the overweight/obesity epidemic, which highlights the importance of controlling weight and further reducing the burden of hypertension.

Historical Citation and Revolutionary Epistemology

2015 ◽  
Vol 9 (2) ◽  
pp. 258-283
Author(s):  
Alison Ross
Keyword(s):  
Nineteenth Century ◽  
Multiple Points ◽  
Distinctive Features ◽  
The Past ◽  
Word And Image ◽  
Arcades Project ◽  
Intended Effect

This article defends the thesis that there are multiple points of exchange between the categories of “word” and “image” in Walter Benjamin’s Arcades Project. Benjamin describes the truth of the articulate wish of the past as “graphically perceptible” and the image as “readable.” In this respect the vocabulary of “word” and “image” that Benjamin’s early work had opposed are not just deployed in concert, but specific features of the vocabulary of “word” and “image” become exchangeable. The distinctive features of this exchange can be used to expound on Benjamin’s peculiar understanding of revolutionary experience and the significance of the break that it marks with his early way of opposing the word and the image. In particular, the exchange of features between word and image can explain the mechanics and intended effect of his idea that the meaning of history can be perceived in an image. The study of this exchange also shows that although the framework of “graphic perception” entails an experience of motivating meaning that is epistemologically grounded, the citation model of history is unable to secure the extension of the sought after legibility of the nineteenth century to a recipient.

Reading the past to imagine the future

2015 ◽  
Vol 10 (4) ◽  
pp. 363-366
Author(s):  
Silvia Gherardi
Keyword(s):  
Qualitative Research ◽  
Qualitative Methods ◽  
Design Methodology ◽  
Personal Reflection ◽  
Research Topics ◽  
Content Type ◽  
Distinctive Features ◽  
The Past ◽  
The Future

Purpose – The purpose of this paper is to contribute to the ten years of the journal through a personal reflection. Design/methodology/approach – A review of the articles published in the last ten years. Findings – I argue that what has distinguished QROM in these ten years are two distinctive features: reflexivity on practices of qualitative research, and openness to the application of qualitative methods to unusual research topics. Originality/value – The main limit of the paper resides in the subjectivity of the person who has read the articles. Other readers may have different opinions and may have chosen different criteria.

Historical Narratives and Understanding

2021 ◽  
Vol 13 (1) ◽  
pp. 33-44
Author(s):  
Stefan Petkov ◽  
Keyword(s):  
Historical Narrative ◽  
Historical Narratives ◽  
Distinctive Features ◽  
The Past ◽  
Epistemic Criteria

This paper defends the view that narratives that bring understanding of the past need not be exhaustively analyzable as explanatory inferences, nor as causal narratives. Instead of treating historical narrative as explanations, I argue that understanding of history can be analyzed by the general epistemic criteria of understanding. I explore one such criterion, which is of chief importance for good historical narratives: potential inferential power. As a corollary, I dispute one of the distinctive features of narratives described by some philosophers: the non-aggregativity of narrative histories. Instead, I propose that historical narratives modestly aggregate and this aggregation depends on the success of the colligatory concepts they offer.

scholarly journals Literary works in Azerbaijani animation: symbolism and semantics

2020 ◽  
Author(s):  
Ф. Мир-Багирзаде
Keyword(s):  
Historical Analysis ◽  
Literary Works ◽  
Foreign Literature ◽  
Animated Films ◽  
Comparative Historical Analysis ◽  
Animated Film

При помощи сравнительно-исторического анализа автор исследует азербайджанские мультипликационные фильмы, экранизирующие произведения как отечественной, так и зарубежной литературы. В процессе создания каждого рисованного мультфильма советской эпохи принимали участие профессиональные режиссеры, сценаристы, художники-постановщики, снимавшие анимационные фильмы по произведениям азербайджанских писателей-классиков, среди которых – Низами Гянджеви, Мухаммед Физули, Сеид Азим Ширвани, Мирза Алекпер Сабир, Джалил Мамедкулизаде, Абдулла Шаиг, Сулейман Сами Ахундов, Али Керим, Расул Рза. К числу азербайджанских мультфильмов, снятых по произведениям зарубежной литературы, относится экранизация «Звездных дневников Ийона Тихого» и анимационный фильм по мотивам японских хайку. Азербайджанские мультфильмы по мотивам литературных произведений, вошедшие в золотой фонд киноискусства Азербайджана, отличаются специфическим творческим методом. Using a comparative historical analysis, the author explores Azerbaijani cartoon films that screen works of both domestic and foreign literature. In the process of creating each Soviet-era drawn cartoon, professional directors, screenwriters, and production designers took part in making animated films based on the works of Azerbaijani classic writers, such as Nizami Ganjavi, Mohammad Fuzuli, Seyid Azim Shirvani, Mirza Alakbar Sabir, Jalil Mammadguluzadeh, Abdulla Shaig, Suleyman Sani Akhundov, Ali Kerim, Rasul Rza. Azerbaijani cartoons based on works of foreign literature include the adaptation of «Ijon Tichy’s Star Diaries» and an animated film based on Japanese haiku. Azerbaijani cartoons based on literary works included in the Golden Fund of cinema art of Azerbaijan are distinguished by a specific creative method.

Antireflective tendencies of the information age as a trigger of conceptual flattening in the practice of literary translation

2021 ◽  
Vol IX(257) (75) ◽  
pp. 7-12
Author(s):  
E. Yu. Dubenko
Keyword(s):  
Information Age ◽  
Literary Text ◽  
Target Audience ◽  
Literary Translation ◽  
Considerable Influence ◽  
Distinctive Features

The article deals with the phenomenon of clip thinking which is characterized by a number of distinctive features that exercise a considerable influence on the perception of a literary text and its interpretation by the translator. The translational decisions that are the consequence of such antireflective tendencies have been analyzed on the basis of the translation versions of the titles of literary and cinematographic texts as those stylistically relevant elements which condition the conceptual expectations of the target audience and its overall impression about a novel or a film

(Mis)judging Ordinary Meaning?: Corpus Linguistics, the Frequency Fallacy, and the Extension-Abstraction Distinction in “Ordinary Meaning” Textualism

2019 ◽  
Vol 8 (2) ◽  
pp. 327-369
Author(s):  
Shlomo Klapper
Keyword(s):  
United States ◽  
Corpus Linguistics ◽  
Native Speaker ◽  
Point Of View ◽  
The Rule Of Law ◽  
The Past ◽  
Ordinary Meaning ◽  
Legal Term ◽  
Ordinary Person ◽  
Legal Meaning

Abstract Rarely is a new yardstick of legal meaning created. But over the past decade, corpus linguistics has begun to be utilized as a new tool to measure ordinary meaning in statutory interpretation and original public meaning in constitutional interpretation. The legal application of corpus linguistics posits that an examination of every use of a term in a wide variety of documents can yield a more complete, impartial understanding of a word than can dictionaries, intuition, or an unsystematic survey of sources. Corpora could supplement, or even supplant, dictionaries and native-speaker intuition in legal analyses. For originalism in particular, legal corpus linguistics promises to offer what would be a more scientific methodology for a point of view which, until now, has lacked one. However, corpus linguistics, as applied to legal problems, falls prey to a fatal methodological criticism – the frequency fallacy. The criticism states that in a corpus, an unusual meaning can have many corpus entries while a perfectly ordinary meaning can be completely absent from the corpus. That is, frequency is not a good measure of meaning. Since legal corpus linguistics relies on frequency, the corpus cannot inform legal meaning. This article parries this otherwise fatal critique. It argues that while the frequency fallacy is self-evidently true, the fallacy is not inherent to the corpus, but rather is an artifact of misinterpreting the corpus by treating it like a dictionary. This defense consists of a number of steps. The first step distinguishes between two different methods of discerning ordinary meaning: extension and abstraction. As illustrated by Yates v. United States and United States v. Marshall, extension entails extending the statutory term to varying facts, while abstraction keeps the facts constant and abstracts out key qualities to find an appropriate term. Critically, this article argues that abstraction offers a way to avoid the frequency fallacy. Second, to use abstraction properly, one must analyze not only the presence of the legal term in question but also its absence; that is, one must determine the presence or absence of other terms to describe a similar factual scenario to distinguish between artifacts of language and facts about the world. This article concludes by arguing that this method has a beneficial emergent quality. Not only does this answer make legal corpus analysis methodologically sound, but it also paves the way for the first tool to approximate how an ordinary person would read the law, thus potentially furthering the rule of law.

Satisfying a Spirit of Adventure

2018 ◽  
pp. 224-231
Author(s):  
Christopher Holliday
Keyword(s):  
Adult Child ◽  
Genre Analysis ◽  
Contemporary Culture ◽  
Childhood Experience ◽  
Cultural Experience ◽  
Future Opportunity ◽  
Animated Films ◽  
Animated Film ◽  
Adolescents And Adults ◽  
Children's Films

The conclusion reflects on the meaningfulness of genre analysis as paving the way for more rigorously formalist approaches to computer-animated films, but also as a way of positioning industry, technology and textuality in relation to each other. The conclusion also argues that the features of the computer-animated film identified in the book engage with discourses of juvenile behaviour to stretch the terms of the adult/child distinction, with many computer-animated films demonstrating a notable fascination with the vicissitudes and values of the childhood experience. The narratives of computer-animated films invite a specific consideration of what it means to be a child within contemporary culture. I challenge directly Judith Halberstam’s notion that certain children’s films appeal to the “disorderly child” and instead look to the fuzzy distinction between adolescents and adults engendered in portmanteau terms pertaining to cultural categories such as “kidult,” “manchild” and “adultescents.” The child/adult distinction is thus not fixed or ‘frozen,’ but flowing, and the conclusion identifies how computer-animated films offer future opportunity to examine how, as a genre, they mobilise questions about the cultural experience and significance of childhood, at the same time as their narratives redefine adulthood.

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