Bachelor of Science of Communication Studies (BSC), Ohio University, 2023, Media Arts and Studies

"A Man Out of Time" is a an animation piece meant to briefly summarize the history of the fundamentals of animation. This project follows the logic of animation 'eras' as described in Charles Solomon's book, "Enchanted Drawings of Charles Solomon," including the Precursory Era, the Silent Era, the Disney Era, the Studio Cartoon Era, the Television Era, and the Modern Day. In the Precursory Era, Pieter Von Mussechenbroek discovered that moving projected images can create the illusion of motion. In the Silent Era, "Gertie the Dinosaur" pioneered keyframing. In the Disney Era, the fundamentals of modern animation were developed and the introduction of sound changed much of the animation landscape. In the Studio Cartoon Era, animation bifurcated into those who kept true to the rubber hose animation style of the past and those who followed Disney's example for progressing animation's evolution. In the Television Era, animation began to be made more quickly and stories had to adapt to the new production schedule. In the Modern Day, animation pipelines such as Toon Boom and Flash have expedited the production process of animation, as well as have made animation available to anyone with the means to do so. "Man Out of Time" seeks to represent these six eras of animation history by using 'Everyman,' a figure drawing, as a focal point. Everyman is comedically thrust out of the present and into each period of animation history, adapting his animation style to fit with the times, before crashing back home. The pieces wishes to briefly summarize this history for a casual audience to enjoy.

Committee: Kate Raney (Advisor); Beth Novak (Advisor) Subjects: Art Criticism; Art Education; Art History; Mass Media; Performing Arts

Master of Science (MS), Ohio University, 2021, Journalism (Communication)

This paper aims to find similarities and differences in the portrayal of female characters in seven Disney's original films and their modern remakes. With the help of qualitative film analysis, the researcher takes a closer look at five scenes per movie to filter out crucial information on whether portrayals have changed throughout the years and if so, how these changes manifest. The analysis pays particular attention to the external appearance of the female characters, their behavior and personality, their relationship with others, and their role in society. In addition to the pure analysis of the portrayal, the main message of the films is examined for differences and similarities, to determine which values and norms are transported and how these have developed over time, if this is the case. The analysis finds that some films have been adapted to modern times, showing female characters more active and independent, and not make it all about men. Nevertheless, it also becomes clear that the perfection of actors' looks is still very present, and even if external beauty is no longer as much of a theme in remakes as it is in most of the originals, one can find almost no optical flaws in the characters' appearances.

Committee: Hans Meyer (Advisor); Kelly Ferguson (Committee Member); Rosanna Planer (Committee Member) Subjects: Film Studies; Gender

Doctor of Philosophy, Case Western Reserve University, 2018, Musicology

The films that constitute the Walt Disney Studio's Golden Age represent landmark achievements in the history of American cinema. Through technical and aesthetic developments alike, Disney's Golden Age films indelibly cultivated and expanded the possibilities of the still-nascent medium of animation. Yet these films also signaled the emergence of a new form of expression: the animated musical. As an aesthetic mode that negotiates the tensions between speech and song within the theoretically limitless medium of animation, the animated musical stands as a distinct medium that carries unique dramatic potential. This project traces Disney's development of this form, examining the expressive properties of song and animation working in tandem while simultaneously locating these films in the landscapes of contemporaneous music-drama. I begin by analyzing the synthesis of music and images that the studio first explored in early shorts such as Steamboat Willie (1928) and The Skeleton Dance (1929). Initially developed as a practical solution for synchronizing sound to animated film, this technique resulted in a unique diegetic space in which musical and visual gestures conjoin in symbiotic harmony. This approach allowed the studio to find increasingly sophisticated ways to navigate the dramatic dissonances between direct speech and musical performances and facilitated the leap into Snow White and the Seven Dwarfs (1937), the world's first feature-length animated musical. I argue that Snow White articulated properties of synthesis that carried robust critical weight at the time, allowing the film to extend beyond mere novelty to position itself as an important contribution to American culture. My study of Pinocchio (1940) turns within the studio walls to illustrate the roles of music and song in the creation of sympathetic, appealing characters. Finally, I consider Dumbo (1941) and Bambi (1942), two of the studio's most dissimilar features, to uncover the ways in which (open full item for complete abstract)

Committee: Daniel Goldmark (Advisor); Susan McClary (Committee Member); Francesca Brittan (Committee Member); Robert Spadoni (Committee Member) Subjects: Aesthetics; American History; American Studies; Film Studies; Fine Arts; History; Mass Media; Motion Pictures; Music; Performing Arts; Philosophy; Theater History; Theater Studies

Doctor of Philosophy, The Ohio State University, 2017, EDU Teaching and Learning

Temptation is replete in literature, both in fiction and non-fiction. Even though it may jeopardize a long-term goal, temptation is the underlying desire to partake in short term yearning for enjoyment. It is manifested in the forms of money, sex, fame, and even ambition. The cause of temptation can be something as simple as envy or craving. This study examined the select fairy tales of Hansel and Gretel, Cinderella, and Snow White, and how their impoverished protagonists (abandoned, shunned, or dealt with depressed times) responded to various lures, leading them to temptations which ultimately shape their futures. Using qualitative approaches of close reading and content analysis, the texts were coded based on character descriptions, settings, lures, and ultimately identifying the temptations that the protagonist faced. Each of these elements gave the reader a glimpse into the feelings and rationales of the characters and provided a foundation for the tales to be further scrutinized using the theoretical lenses of Marxism and Psychoanalysis. This research designated some fascinating, deeper meanings and subconscious motivations of these protagonists. Curiosity and longing for a better life for these characters, was a natural impulse. It was the temptation of nourishment (physical and emotional), wealth, sex, marriage, and motherhood. The most important outcomes of this study are the implications for educators, parents, and caregivers. The issue of temptation and its consequences is an important value to be reinforced. If children were exposed to the earlier versions of these fairy tales that have more examples of temptation and lures – and if they were instructed as to how to properly channel those “wants,” they would be better equipped to deal with these attractions.

Committee: Barbara Kiefer Ph.D. (Advisor) Subjects: Elementary Education; Literacy; Literature

Master of Arts (M.A.), University of Dayton, 2015, English

This thesis explores the spectrum of female representation and feminine experience in Helen Oyeyemi's Boy, Snow, Bird, a postmodern fairy tale retelling of “Snow White.” Within the novel, Oyeyemi creates several female characters that represent various feminine experiences. The image of the mirror enables me to navigate these characters and their stories. As each character searches for her identity within the constraints of patriarchal oppression, she develops a voice through the act of storytelling. I contend that the novel, as a postmodern fairy tale, engages in social-resistance as it uses the mirror to expose and confront patriarchal constructions of women.

Committee: Tereza Szeghi Dr. (Committee Chair); Kara Getrost Dr. (Committee Member); Bryan Bardine Dr. (Committee Member) Subjects: Gender; Literature