Animated Short Film Research Articles

The Cultural Animation Film Festival

Reviewed by: The Cultural Animation Film Festival Elizabeth Bennett The Cultural Animation Film Festival. Doris Duke Theatre, Honolulu Museum of Art, 18–20 May 2018, Honolulu, Hawai‘i. For more information, see http://caff2018.twiddleproductions.com/ The Cultural Animation Film Festival (caff) was a three-day-long showcase of animated short films predicated on culture-based artistic expression. This year’s festival took place at the Honolulu Museum of Art’s Doris Duke Theatre from Friday, 18 May to Sunday, 20 May 2018. caff’s programming consisted of three days of screenings, two panel discussions, and opportunities to interact with companies and with the festival’s organizers. The companies and organizations present included Mana Comics, Keiki Coding, Bess Press, and Twiddle Productions. Currently in its second year, caff is a nascent forum for creative expressions of cultural identity and practices in animation. The films selected for the festival draw from elements of Hawaiian/Kanaka Māoli, Chamorro, Māori, Chinese, Indian, and First Nations/Native American cultures. They ranged in length, visual style, subject matter, and filmmakers age and professional status. The films’ diverse themes and origins marked the 2018 festival as an event that centered and celebrated community and culture. The festival’s grassroots organization engendered a lively, collaborative atmosphere. Some of the films and trailers screened at the festival were created by local filmmakers, including Kanaka Māoli. Especially exciting was the inclusion of films by youth directors Penelope O, Nalia W, and Phoenix Maimiti Valentine, who are some of the youngest filmmakers to exhibit at caff. The first two films, made in collaboration with the Queen Ka‘ahumanu School Tink Think Tank Tech Team, concern the resolution of interpersonal aggression at school and an account of the director’s daily routine, respectively, and the third film focuses on the water cycle of the Hawaiian ahupua‘a. The young film-makers’ creative use of mixed media aptly expresses their understandings of the world around them. Hopefully their submissions will inspire more youth to submit their creations to caff in the future. The festival’s programming began with a chant by Pacific Voices, a youth organization from Kokua Kalihi Valley dedicated to teaching and performing Micronesian chanting. The opening chants also included a Hawaiian ‘oli, [End Page 586] offered by Kahu Loko‘ulu Joseph Jr Quintero of the Hawaiian Church of Hawai‘i Nei. After the welcoming protocol, a screening was followed by a series of panel discussions. The first panel was titled Silent Voices: Stories That Must Be Heard in Cultural Films, Animation, and Video Games, and the panelists included Hinaleimoana Wong-Kalu, Laura Margulies, and Jenny Fraser. Wong-Kalu, also known as Kumu Hina, is a Kanaka Maoli kumu (knowledge keeper), teacher, and activist. In addition to her educational work, she advises the O‘ahu Island Burial Council. Margulies is a professional designer and colorist who has worked on numerous television shows and has taught at many schools, including the University of Hawai‘i. Fraser is an award-winning Murri artist from the Yugambeh Country in the Bundjalung Nation. In addition to her educational and activist work, she is an artist. These panelists offered complementary perspectives on the current state of and potential futures for indigenous-created and culture-based animation. Having indigenous women on this panel was essential, as indigenous people, particularly women, face significant institutional barriers in the arts. The second panel, titled Inspiration Not Perspiration: Fiscal Responsibility in Cultural Films, Animation and Video Games, featured panelists Ty Robinson and Kenneth Paulino Jr and moderator Leanne Ka‘iulani Ferrer. Robinson is a financial adviser, film producer, and video-game producer. Paulino produces digital applications and music to facilitate learning about Guam. Ferrer is a filmmaker and the executive director for Pacific Islanders in Communications. This panel’s content seemed to differ considerably from that of the previous panel, as it focused on granular financial matters. However, such discussions are essential, particularly when matters of art and resource allocation are involved. The second day of caff featured film screenings and a panel discussion concerning financial ethics in the context of cultural animation, movies, and video games. The third day of the festival was Doris Duke Theater...

An interview with Shaun Tan

Abstract Shaun Tan is a Melbourne-based artist and author, whose work is celebrated worldwide for the beautiful, dynamic, and mesmerizing story worlds that it offers readers. In 2011, Tan received the prestigious Astrid Lindgren Memorial Award in honour of his contribution to international children’s literature, and an Academy Award for the short animated film adaptation of The Lost Thing (Ruheman and Tan 2011), which he directed with Andrew Ruhemann. Tan’s work ranges from drawing and painting, to sculpture and animation, whose complex themes, and sensitive nuances resist easy classification. Instead, his sometimes surreal, playful, and evocative stories immerse readers into new and productively strange places.

Emotion Resonance and Divergence: a semiotic analysis of music and sound in “The Lost Thing” an animated short film and “Elizabeth” a film trailer

ABSTRACTMusic and sound contributions of interpersonal meaning to film narratives may be different from or similar to meanings made by language and image, and dynamic interactions between several modalities may generate new story messages. Such interpretive potentials of music and voice sound in motion pictures are rarely considered in social semiotic investigations of intermodality. This paper therefore shares two semiotic studies of distinct and combined music, English speech and image systems in an animated short film and a promotional filmtrailer. The paper considers the impact of music and voice sound on interpretations of film narrative meanings. A music system relevant to the analysis of filmic emotion is proposed. Examples show how music and intonation contribute meaning to lexical, visual and gestural elements of the cinematic spaces. Also described are relations of divergence and resonance between emotion types in various couplings of music, intonation, words and images across story phases. The research is relevant to educational knowledge about sound, and semiotic studies of multimodality.

"I wanna sing...!". Almost detective story about the folk songs from the animated film “There once was a dog”

Relevance. 1982 is a special year for the Soviet Union cinematography because this year animated short film “There once was a dog” directed by soviet artist Eduard Nazarov (1941–2016) was showed up. Cartoon is based on a Ukrainian folk tale “Sirko” about friendship between the old enemies: a gray wolf and a home dog, who was kicked out the house by owners. Phrases and songs from the film (by the way, in the initial version – “Dog’s life”) became well-known. In 1983 authors won awards at international film festivals in Denmark and France. This animated film became one of the populariest in the end of XX century.So, very frustrating is the fact that today there is no exact data about the performers of favorite folk songs, or, moreover, about their geographical origin. In the titles of the movie there is no information about music that sounds. This was the reason of the long-term confusion. A long time there was considered that all folk songs from “There once was a dog” are performed by well-known authentic folk ensemble “Drevo” from Kryachkivkavillage Pyryatyn district Poltava region. But songs from the short movie are different by songs performed by the ensemble, which were recorded by ethnomusicologists or published on audio discs. They are different by polyphonic texture, timbre and manner of the singers. Thus, it became obvious that songs from the cartoon were performed by other ensembles. The object of the article was to search for the original recordings used by E. Nazarov in the cartoon.So, after long term searching, the answer was found. Two songs from animation short film were found in the audio fund of Ukrainian Broadcasting Company. They were recorded for the radio program “The gold springs” (1980-1993) leading by Halyna Verhovynets.A humorous song "Ta kosyv bat’ko" was sung by authentic ensemble from Solonytsia village of Lubny district Poltava region.Ballad “Oi tam na hori” was performed by authentic ensemble from Pulyntsi village Lubny district Poltava region.Petrivka (ritual summer period song) “Oi do boru stezhechka”, which was sound from the third verse “Schob do mene solovei prylitav”, origins from the Nedilysche village Emilchyn district Zhytomyr region. The authentic version was recorded by ethnomusicologist of Kyiv conservatory Volodymyr Matvienko in 1977. But in short-film it is performed by reconstructive ensemble by O. Shevchuk, V. Ponomarenko, P. Aron and T. Tonkal.Due to collaboration of Kyiv ethnomusicologists all the songs of the cartoon were identified. With methods of comparative and stylistic analysis there was found original recordings used by E. Nazarov in his film “There once was a dog”.

My Grandmother Ironed the King's Shirts by T. Kove

Kove, Torill. My Grandmother Ironed the King's Shirts. Firefly Books, 2017.My Grandmother Ironed the King’s Shirts is based on Torill Kove’s Academy Award nominated short film of the same title. The book is Kove’s retelling of one of her grandmother’s stories. This book is a fictional story set in a historical period.It is about Norway’s first king in hundreds of years. Following the introduction of the King, it becomes immediately clear that this is a fictional story. The story explains that the new King’s public reputation was harmed by his inability to iron his own clothing. In reality, the King of Norway would have likely had staff to do this. Fortunately, after his first disastrous public appearance in wrinkled clothes, he found a store that was willing to do his family’s ironing. Kove’s grandmother worked at the store and soon realized that the clothes she was ironing belonged to the King. She proudly told everyone that she ironed the king’s clothes, up until the King was forced to flee Oslo during the Second World War. When the Germans invaded, Kove’s grandmother was tasked with cleaning and pressing their uniforms. She decided to join the Norwegian Resistance by sabotaging their uniforms. All of Norway’s shirt pressers joined the movement and in 1945, when the Germans left, they had to do so without clothes.The illustrations in this book are simple line work filled in with solid colours. They are drawn in a comical cartoonish manner and all were pulled from the original short animated film. Pre-war, the images are dominated with brighter colours and they fill the entire page. During the war, the images are smaller, only occupying parts of the pages, with a white background dominating. The illustrations were all pulled from the original short film, where the images always filled the screen, which makes this change to the small images from full-page illustrations seem like it serves no clear purpose.While this story provides a historical setting, and might encourage an interest in history, it may cause confusion in children because it is presented as historical while in reality it is overwhelmingly fictitious. It also makes use of the term “gypsy” which may have been appropriate in the historical period presented in the story, but is now considered a derogatory term (the preferred term is “Roma” or “Romani”) and therefore I would not recommend it for school libraries. That said, it is a quirky and fun story for elementary aged children that communicates a message of strength in adversity. As a result, I would recommend it for public libraries.Editor’s note: One of three new titles in the Firefly Books-National Film Board of Canada partnership.Recommended: 3 stars out of 4Reviewer: Laura HamonicLaura Hamonic is an Academic Library Resident at the University of Alberta’s Science and Technology Library. She has a passion for all things crafty and spends her days cross stitching, crocheting, and costume making.

The affective function of a Greek animation-making project

ABSTRACTThis paper presents a case study realized in a Greek model high school as an extracurricular animation-making project during an after-school club. The student-participants were 20 volunteers between 16 and 18 years old. The researcher studied the affective function of moving image literacy, i.e. the feelings and emotions experienced by the student-participants during animation-viewing, animation-making as well as the affective engagement they wished to cause to their audience. Their creation was a short animation film entitled ‘The Society’, symbolically dealing with the issue of the Greek economic crisis from a social viewpoint. The affective function studied is considered as one of the benefits of moving image literacy, whether this literacy is applied within a subject of the curriculum, is taught as a subject per se or is applied in an extracurricular project addressing all age groups. So, this case study shows the range of feelings students can experience during an animation-making project and how their emotional involvement contributes to the success of the pedagogic process. Its aim is to encourage teachers to use moving image literacy as a means of affective involvement of their students with the subject taught, an aspect that has not been widely explored so far.

La ruptura de la rutina y la soledad de los protagonistas como detonante de las grandes historias breves: Análisis de los cortometrajes animados ganadores del Oscar (2011-2015)

La ruptura de la rutina y la soledad de los protagonistas como detonante de las grandes historias breves: Análisis de los cortometrajes animados ganadores del Oscar (2011-2015)

DECORADO (una vida en escena), de Alberto Vázquez

<p>Que Alberto Vázquez es un autor que dibuja y que cuenta historias es algo que a estas alturas (de la película) ofrece pocas dudas. A través de Decorado nos muestra su gusto por diferentes tipos de dibujos animados y el humor de diferentes cineastas (lo de las grafías recargadas y el uso de grabados muy del gusto de Terry Gilliam y animales del pelo de Robert Crumb es una pista a seguir).<br />En cuanto se levanta el telón, con aparente sencillez y de un modo tan inquietante como efectivo, nos presenta una oferta que no podremos rechazar, transportándonos a un territorio que nos conecta/desconecta de la realidad cotidiana analógica y nos sumerge en la realidad mediatizada. Decorado ha recibido el merecido aplauso y acogida de una interminable lista de festivales, como Cannes, Annecy, y Toronto, entre muchos otros.<br />Decorado, once minutos de disfrute que se renueva con cada nuevo visionado.</p>

Family support.

Nurses are being urged to direct parents with cancer to a short animated film that explores how to inform children about their diagnosis.

단편 애니메이션에 나타나는 은유적 상상력과 스토리텔링 - <페이퍼맨>을 중심으로 -

'그려진 움직임을 다루는 예술'인 애니메이션은 작가의 상상력에 의해 만들어진 인공적인 이미지이다. 애니메이션의 세계가 현실의 일부를 모사하여 만든 시각적 이미지라는 사실을 인지하고 있음에도 불구하고 관객은 이 세계에서 일어나는 사건을 사실적이라고 믿고 진실된 메시지로 수용한다. 관객은 디에게시스적으로 구조화된 허구의 세계를 진짜도 가짜도 아닌, 제 3의 감정으로 대하고 '믿는 척(make-believe)' 하기 때문에 실제 감정적 반응을 느끼게 된다. 더 나아가 이 '믿는 척 하는' 상태를 활발하게 작동하기 위해서는 적절한 환경과 소도구가 필요한데, 단편 애니메이션의 경우 은유적 상상력에 의한 스토리텔링 기법으로 확장되어 '믿는 척 하는' 상태를 강화시키고 있다. 따라서 본 고에서는 디즈니의 단편 애니메이션 <페이퍼맨>의 은유 스토리텔링을 분석하여 단편 애니메이션에서 메시지를 전달하고 허구의 세계를 믿게 하는 방법론을 도출해보고자 한다. 이와 같은 연구는 짧은 러닝 타임에 하나의 사건으로 단일한 메시지를 전달해야하는 단편 애니메이션의 한계를 극복할 수 있는 방안을 모색한다는 점에서 그 의의가 있다고 할 수 있다. 또한 은유 스토리텔링이 관객의 역동적이고 적극적인 참여와 창의적 상상력을 자극하고 그 결과로 다성적 의미 생산을 만들어낼 수 있다는 점에서 단편 애니메이션이 갖는 미학적 특질을 밝힐 수 있다는 점에서 의미있는 연구라 할 수 있다. Animation is an artificial image created by artist's imagination. Animation is defined as "the art of the animated image" in the sense that immobile images can be seed as a living creature. In other words, the term "diegesis" in modern arts genre is generally considered as something that indicates fictional world in which narration develops. Therefore, when we say that animation world is formed based on diegesis, it represents the fictionality of animation world. The problem occurs at this point. Even thought the animation world is recognized as a fictional world, we contradictorily believe that the event occurring in the screen world are real and accept them as a true message. This condition is called "quasi-emotion". Quasi-emotion is not fake bit not real either, and it is the third emotional state. It happens when we "make believe" that we believe a fictitious figure or a situation. However, in order to actively operate this "make-believe" state, an appropriate environment and props are required, specially metaphorical imagination and storytelling in short animated film. So that this article will draw a conclusion from the method that make-believe the fictional world and communicate the message through analysing the short animate film, <Paperman> form Disney.

Toward “Reciprocal Legitimation” between Shakespeare’s Works and Manga

In April 2014, Nihon Hoso Kyokai (NHK: Japan Broadcasting Company) aired a short animated film titled “Ophelia, not yet”. Ophelia, in this animation, survives, as she is a backstroke champion. This article will attempt to contextualize the complex negotiations, struggles and challenges between high culture and pop culture, between Western culture and Japanese culture, between authoritative cultural products and radicalized counterculture consumer products (such as animation), to argue that it would be more profitable to think of the relationships between highbrow/lowbrow, Western/non-Western, male versus female, heterosexual versus non-heterosexual, not simply in terms of dichotomies or domination/subordination, but in terms of reciprocal enrichment in a never-ending process of mutual metamorphoses.

&lt;b&gt;&lt;i&gt;To be or not to be&lt;/i&gt; nas malhas híbridas do suporte digital &lt;i&gt;YouTube&lt;/i&gt;: práticas de leitura, linguagens e o sujeito

Neste artigo, observa-se e reflete-se sobre as práticas de leitura de um curta-metragem de animação da cena de Hamlet, To be or not to be, no suporte digital YouTube. Partimos da premissa de que mudanças relativas ao suporte podem promover alterações nos procedimentos de leitura e, consequentemente, produzir efeitos de sentido que reverberam na constituição dos sujeitos discursivos, especialmente no que se refere à autoria. A reflexão sustenta-se na Análise do Discurso de ‘linha’ francesa e na Psicanálise lacaniana, em que os postulados ocupam-se da determinação histórica dos processos de significação, ao considerar que os sentidos são construídos de forma singular, na relação com o outro e em seu ambiente, e, para isso, o sujeito tem que se apropriar do campo da linguagem. Com base nesses pressupostos, o corpus configura-se na narrativa virtual do curta-metragem de animação no site Mabinogi: Hamlet - To be, or not to be, Scene One, o qual faz um recorte da obra clássica literária Hamlet de Shakespeare. Os resultados apontam para gestos de leitura múltiplos, híbridos, em que os sentidos e as possibilidades de coautoria podem reverberar no trabalho do sujeito adolescente, que se constitui por meio da/na linguagem e do questionamento sobre si mesmo.

Keep It Simple: A Lesson in Linking Teens to Health Care

The Keep It Simple package, which includes a short animated film (available online for streaming or download), a lesson plan, and supporting materials, was designed to be used with adolescents ages 15–19 to empower them to seek sexual and reproductive health care, and emphasize the availability of long-acting reversible contraception (LARCs). The materials in the package can be used together to deliver a 45 minute educational session that provides information to teens about the sexual health services available to them at local health centers, their rights to obtain those services, and how they can link to high quality and adolescent friendly sexual health care. The animation can also be used as a standalone product. All components of the Keep It Simple package are available for free and are also offered in Spanish as No te compliques.

모션 캡처 애니메이션 프로세스 연구

모션 캡처 애니메이션 프로세스 연구

Audiovisual e semiótica: algumas aproximações resultantes dos estudos de uma adaptação literária para a linguagem da animação

O campo do audiovisual é muito amplo e abarca inúmeros desdobramentos. O encantamento pelo cinema, mais precisamente pelo campo da animação, foi a motivação necessária para um trabalho de conclusão de curso direcionado à produção de um curta-metragem em animação. A curiosidade pelas mais diversas formas de adaptação de obras literárias em audiovisuais gerou o desafio em mergulhar nos estudos da semiótica discursiva, com a pretensão de investigar as minúcias de uma produção literária infantil. A obra intitulada O coelhinho do halo azul, refere-se ao texto escolhido para ser objeto de investigação e propõe um convite a tangenciar esse mundo complexo e intrigante da linguística, pleiteando, com os instrumentos de análise da semiótica discursiva, um espaço mais amplo nesse universo audiovisual. Esse é o foco do presente artigo, que apresenta, por fim, a articulação pontuada do plano de conteúdo do texto para o plano de expressão na linguagem de animação.

How to Describe and Measure Obstacles of Narrative Immersion in a Film?

Abstract The aim of this study is to describe and measure obstacles of narrative immersion in a film. Inspired by a literature review within both game research and film studies, we propose a circular model to describe the dynamic process of different levels of involvement viewers can be in while watching a film. The evaluation is based on a 3D animation short film we have developed to achieve total immersion among viewers. The methodological design involved an attempt to decrease viewers’ involvement in the animation film by using distractions during the viewing. The study follows a mixed method strategy combining observation, a questionnaire and a structured interview. The results revealed that viewers react very differently to the distractions. For some viewers, the animation film was not the perceptual focus, where others were totally immersed. The number of distractions was not dependent on whether the film was watched individually or in groups, and for all participants, the distractions occurred in certain rhythms.

Marjan Manček: Illustrator – Slovenia

Marjan MančekIllustrator – Slovenia Milena Milutinovic Click for larger view View full resolution When you’re drawing, the word comes, the line comes, the figures come, you add to them, repair them and then something emerges from this, a story develops. M. Manček marjan mançek is one of Slovenia’s most recognizable illustrators due to his unique style. He has illustrated more than 200 books, written and illustrated comics and children’s picture books, and made several short animated films. He has received a number of awards in Slovenia and abroad for his work. Manček was born in 1948 in Novo Mesto in Slovenia. During his years as a student of English and History at the University of Ljubljana, he earned money publishing cartoons, particularly caricatures. After having worked briefly as a teacher, and later as an editor in a publishing house, he started working full time as a freelance artist. Manček’s artistic style is informed by his experience as a caricaturist. His drawings seem to be designed to express the content as clearly as possible, while using the smallest possible number of lines. Yet, this does not mean that Manček does not pay attention to detail. Movement, for example, is an important feature of his illustrations, and he makes use of his experience from working with animated film when depicting, for example, laughter or crying. Manček’s early work on caricatures and cartoons has also influenced his style in terms of the comedic elements and humor present in his illustrations. There is a sense of playfulness in his drawings and he expresses humor in a number of ways. Sometimes it is by exaggerating and contrasting certain parts, sometimes it is by facial expressions, and other times it is by the sheer oddity of his drawings. Though Manček puts a lot of effort in the detail of each individual illustration, the overall design of each book is equally important. For instance, he is guided by both aesthetic deliberation and educational aims when illustrating a book. Accordingly, he may for example decide to link the text with his drawings, hoping that the connection between text and illustration will lead the child towards reading through play. In fact, the most important factor for Manček when making his creative decisions is the readers. “In creating for children and young people, I am aware for whom the work is intended, and when it comes onto paper, in some way, I feel whether it is right,” he says. In other words, Manček always takes his readers into account when illustrating, considering them a starting point for his drawings. SELECTED BIBLIOGRAPHY Peter Klepec [Peter Chatterbox]. By France Bevk. Ljubljana: Mladinska knjiga, 1978. Print. Google Scholar Pedenjped [Pedenjped]. By Niko Grafenauer. Ljubljana: Mladinska knjiga, 1979. Print. Google Scholar Kozlovska sodba v Višnji gori [The Famous Goat Trial]. By Josip Jurčič. Ljubljana: Mladinska knjiga, 1977. Print. Google Scholar Hribci. Zgodbe iz pradavnine [The Hillies: Stories from the Distant Past]. By Marjan Manček. Ljubljana: Državna založba Slovenije, 1993. Print. Google Scholar Koroška pripovedka [Carinthian Tale]. Mojca Pokrajculja, Ljubljana: Mladinska knjiga, 1976. Print. [End Page 52] Google Scholar Copyright © 2016 Bookbird, Inc.

Summary of three-dimensional animation creation based on ethnic culture element

three-dimensional animation is a product combined by technology and art. It is an artistic ex-pression form combining painting, film & television, digital technology, music, and literature. As an audio and visual art, three-dimensional animation has its own unique culture-loading function, technical aesthetic charac-teristics, and requirements for national art expression. This paper aims to find the method to combine digital technology and national art in combination of three-dimensional animation short film creation, and hopes to clear the road for the cultivation of domestic three-dimensional animation quality project.

Talking for meaning: The dialogic engagement of teachers and children in a small group reading context

This paper reports a UK study which investigated the instruction of comprehension strategies for elementary children in small group discussions about short animated films. The qualitative analysis of three lessons is reported to illustrate the differing approaches taken by the teachers, showing how they initiate discussions and follow up responses from the children. We examine how children’s ideas are elicited, selected for further discussion, developed and evaluated by the teachers. Findings highlight operating principles for how teachers conceptualise and realise reading comprehension instruction and how these relate to the use of key language, focusing on whether this produces a ‘performance’ of dialogue or genuine dialogic engagement.

The Blind Boy &amp; the Loon by A. Arnaquq-Baril

Arnaquq-Baril, Alethea. The Blind Boy &amp; the Loon. Illus. Alethea Arnaquq-Baril and Dan Gies. Iqaluit, NU: Inhabit Media, Inc., 2014. Print.This volume is unique among Inhabit Media’s publications in that it is produced from an animated short film called Lumaajuuq by accomplished Inuit filmmaker Arnaquq-Baril. Both the text and the images have been converted from the film. Anarquq-Baril tells us that the story of Lumaajuuq is an old one and a very long one. She has adapted and shortened it for the film. It tells of a boy who was deliberately blinded by his mother and has his sight restored by a loon. Subsequently, he tricks his mother into spearing a whale that will pull her into the sea, where she drowns and turns into the narwhal. The story ends with the admonition that “every act of revenge is a link in a chain that can only be broken by forgiveness”.The text is brief and is presented in white on a black side-bar that runs to the left of each two-page image spread. The black side-bar adds to the overall visual darkness of the book, reflecting the darkness of the story. The images by Arnaquq-Baril and Daniel Gies are usually on black, dark blues, greys and browns. All of the images are uncluttered. The characters are drawn in profile, outlined in thick black line, while the backgrounds are shaded or layers of colour. In contrast to other parts of the images, the boy consistently has an unnaturally white face, which makes him the focal point of each image.Overall this book does successfully make the conversion from film to print and makes another traditional story accessible to new audiences. It would be a good addition to public school libraries, elementary school libraries and libraries collecting polar fiction.Highly recommended: 4 stars out of 4Reviewer: Sandy CampbellSandy is a Health Sciences Librarian at the University of Alberta, who has written hundreds of book reviews across many disciplines. Sandy thinks that sharing books with children is one of the greatest gifts anyone can give.