Chance Of Meatballs Research Articles

Review: Talking #browntv: Latinas and Latinos on the Screen, by Frederick Luis Aldama and William Anthony Nericcio

This book is comprised of a mediaphilic conversation between the two authors as they revisit a wide array of Latinx representations in U.S. popular culture, and a visual essay that runs in parallel accompaniment. The latter draws on frame grabs from comics and television shows, poster art, and Nericcio’s own graphic mashups of past and present Latinx icons, from Erik Estrada to Eva Longoria, all in brilliant color. Divided into five thematically organized sections, and an introductory and concluding chapter, the protean discussion glosses an ample range of media, from animation and comics to sitcoms to dramedies and horror series, with a steady emphasis on television, spanning over five decades of transmission and what Roland Barthes would call “decanting.” In their self-reflective dialogue, the authors wax nostalgic—the prevailing perception is that, with few exceptions, the quality if not the quantity of Latinx televisual presence has declined with time. They occasionally dip into disillusionment and often express ambivalence toward the cultural objects of their collaborative cathexis. In addition to the authors, the protagonists of this exploration are mainly Latinx actors and characters, as the emphasis is on the casting politics surrounding them, and performance style and body image of human and anthropomorphized elements on the screen, laced with attention to dialogue and meaningful plot twists. The work of two Latinx auteurs, Alex Rivera and Robert Rodríguez, is showcased. The authors apply a range of analytical frames with references to poststructural and postcolonial theory. They scrutinize media performances and audiovisual compositions through the lens of semiotic close-reading, intertextual analysis, and cognitive reception theory.In the first section, the authors consider whether an amplification in screen representation, which still lags behind the statistical presence of Latinxs in the United States, has been of tangible benefit to the community. In a field driven by business rather than cultural logic, where is the substance and have Latinxs fared better as consumers than as producers and actors? Section II, “Pinche Paradoxes,” is devoted to a critique of cross-casting—both interethnic, as with the Filipino-American actor Lou Diamond Phillips, and intraethnic, as in the case of Cuban-American actor Steven Bauer. Special attention is given to the related phenomena of brown-facing and “brown-voicing,” or trying to sound “Mexican,” and what the authors perceive as occasional Latinx complicity with these practices. Section III, “Sombreros to Pistoleros” traces the trajectory of Mexican bandits and superheroes from pre-televisual silent cinema through D.C. comics characters—with an homage to Chicana Lynda Carter as Wonder Woman—to Battlestar Galactica and the music videos of Alex Rivera. Section IV is devoted to a consideration of children’s programming, such as cartoons featuring Speedy Gonzales, The Super Friends, and the Mexican show El Chapulín Colorado, as well as programming for teens and young adults, such as The Simpsons and food-focused films, Cloudy with a Chance of Meatballs 2 (2013) and Tortilla Soup (2001). In the process, the authors comment on the voicing of animated characters by Latinx actors. Section V tackles the “Latinx threat” narrative, with references to Brian de Palma’s Scarface (1983) and narcotraficante narratives, including the borderlands work of Robert Rodríguez in the Machete film series and a nod to digital webisode series such as Brujos (2017) and Agents of S.H.I.E.L.D. (2013-2016). This is perhaps the most eclectic chapter as it exposes the failings of National Geographic’s Underworld, Inc. (2015) and Breaking Bad (2008–2013) to deliver complex, informative renderings of border crossing, contrasted with the experimental ethnography of Jason de León and Lalo Alcaraz’s work in the short-lived, animated Bordertown (2016). At the end of the section, Aldama and Nericcio define #browntv as “part of an evolution of a place, the birth of a revolutionary space, where an ontological incubator appears, nurturing a decidedly brown tomorrow” (p. 131). According to the concluding chapter, that tomorrow harbors queer Latinx romantic and erotic graphic art, as well as queer Latinx characters on television shows such as The Office (2005–2013) and 13 Reasons Why (2017), and they even mention the altersexuality in Alfonso Cuarón’s Y Tu Mamá También (2001), as a corrective to the heteronormative discourse of some of the Latinx depictions previously discussed, whether disparaging or edifying. Written in a pithy, colloquial style, the book engages the reader as an ally in the quest for uplifting representations. In effect, the authors invite readers to participate in an ongoing discussion of #browntv on Facebook and Instagram. With its nuanced interpretations, attention to affect, and capaciousness with regard to the media analyzed, this is a welcome addition to the growing scholarship on Latinx representation in electronic and digital media. A well-compiled index facilitates the navigation of the book as a reference text.

Lip Synchrony of Rounded and Protruded Vowels and Diphthongs in the Lithuanian-Dubbed Animated Film “Cloudy with a Chance of Meatballs 2”

In this article, the problems of dubbing, especially related to lip synchrony as one of the most challenging aspects of audiovisual translation, are scrutinised. Contrarily to the traditional focus on bilabials and open vowels, the object of this research is lip synchrony of both rounded and protruded vowels and diphthongs since lip rounding is a visibly marked feature, which cannot be neglected especially in close-ups. The study aims at determining the inaccuracies in lip synchrony of the mentioned phonemic group in the dubbed animated feature film Cloudy with a Chance of Meatballs 2 from English to Lithuanian. Qualitative and quantitative analysis is carried out by employing a comparative method. The research methodology is based on the theoretical insights and assumptions provided by Frederic Chaume (2004, 2006, 2012), Richard Barsam & Dave Monahan (2010), and Indrė Koverienė (2015). The research findings demonstrate the main issues of lip synchrony a translator might face while adapting a piece of audiovisual material for the target language audience. Also, it provides insights into the quality of the overall translation of the chosen film.

Rendering Climate Comedy in Cloudy with a Chance of Meatballs 1 (2009) and 2 (2013)

This paper analyzes the Sony Pictures Animation franchise Cloudy with a Chance of Meatballs 1 and 2 (2009, 2013) in terms of its affective engagement with climate issues. Throughout the two films, the trope of constantly changing food weather is the subject of analysis and representation both diegetically by the films’ characters and extradiegetically by the films’ technical directors. Rendering the climate in an appealing way becomes paramount on the level of narrative and production. The treatment of food weather in the Cloudy films demonstrates the ways in which environmental animation mediates between, in the terms of C. P. Snow, the two cultures of the arts and the sciences. The Cloudy films, like many other examples of environmental animation, respond to Snow’s call by deploying imaginative, often comic approaches to topics that in the mainstream media are treated logically and seriously, but with little impact on policy. In the case of the Cloudy films, that comic approach to environmentalism is tempered by the films’ cooptation into a corporate responsibility campaign against food insecurity and by the fact that comedy is part and parcel of the business model of industrialized animation. Still, the technical challenges of animating and rendering food weather demanded that animators imaginatively experiment with actual food in a way that went over and above corporate policy. The arresting beauty and sensory engagement of the resulting animated food appeals to characters and viewers alike. Therefore, animated food—mediating nourishment and communication, science and art—may provide a productive inroad to exploring environmental issues.

Análise de jogos de palavras nas legendas de Tá chovendo hambúrguer 2


 
 
 Neste artigo, analisamos a tradução de jogos de palavras nas legendas da animação Tá chovendo hambúrger 2. Vinte e três jogos de palavras foram selecionados, comparados com as legendas (português brasileiro) e analisados, objetivando verificar se do ponto de vista idiomático e pragmático os efeitos haviam sido, de alguma forma, preservados. Nossos resultados mostram que 20 jogos de palavras foram traduzidos por outros jogos de palavras, um foi traduzido por recurso retórico relacionado de aliteração e dois não foram traduzidos por outros jogos de palavras. Constatamos que, de modo geral, o tradutor manteve os efeitos idiomático e pragmático do original.
 
 

The Animator as Inventor: Labour and the New Animated Machine Comedy of the 2010s

Around 2010, the inventor character started to populate animated blockbusters. Computer 3D animated films and their sequels such as Robots (Chris Wedge and Carlos Saldanha, 2005), Cloudy with a Chance of Meatballs (Phil Lord and Christopher Miller, 2009), Despicable Me (Pierre Coffin and Chris Renaud, 2010) and Big Hero 6 (Don Hall and Chris Williams, 2014) all feature inventors and their extravagant machines. In this article, the author explores the inventive artisan character as a self-reflexive trope of the animator. She expands Crafton’s thesis of the animator’s self-figuration and Tom Gunning’s work on machine comedy and operational aesthetics to further discussions on the animator and thereby the labour of animation. The article seeks to reveal the political agenda in the new animated machine comedy of the 2010s, which not only reflects the modes of production of contemporary animation studios, but also the larger concerns in the post-Fordist mode of production.

Cloudy with a chance of meatballs: the value of clinical governance, risk and quality in CFM

Cloudy with a chance of meatballs: the value of clinical governance, risk and quality in CFM

Relações de gênero, ciência e tecnologia no currículo de filmes de animação

Resumo: Invenções, tecnologias, experimentos, livros e ferramentas são elementos que fazem parte das tramas de Tá chovendo hambúrguer I e II. O presente artigo tem o objetivo de analisar as relações de gênero em tais filmes de animação que apresentam como pano de fundo invenções e verdades científicas e tecnológicas, permeadas por demandas generificadas. Desse modo, argumento que, nos filmes analisados, são produzidas posições de sujeito diferenciadas para homens e mulheres por meio do discurso científico-tecnológico. Nos artefatos culturais analisados, alguns sujeitos são próprios do fazer científico, do racional, da inventividade tecnológica. Outros possuem papel secundário, coadjuvante e de assistência. Isso contribui para a produção de sujeitos generificados na ciência. Assim, em meio a hambúrgueres, queijos e molhos, chovem discursos e demandas para o governo daqueles/as que os assistem.

EDEBİYAT-SİNEMA İLİŞKİSİ BAĞLAMINDA KÖFTE YAĞMURU FİLMİNİN YENİDEN YAZMAK VE METİNLERARASILIK YÖNTEMİNE GÖRE ÇÖZÜMLENMESİ

Intertextuality was turned into a theory by Julia Kristeva in 1960’s. Literature theoreticians did not make an exact and complete definition of intertextuality. However came to agree that all the texts rewrite previous ones. In the study first of all it was analyzed what is intertextuality . Then, the animation movie “Cloudy With a Chance of Meatballs” which was written by Judi Barrett and illustrated by Ron Barrett and then adapted to cinema was analyzed in the context of intertextuality. In the sense of scenario, there are some references to events in the Bible in movie. According to this, it was concluded that some of the versicles in the Bible was transformed and rewritten in movie text. The animation movie Cloudy With a Chance of Meatballs is shown how a new work is created through intertextual relations and rewriting method which draws attention in postmodernism

Postfeminist Fatherhood in the Animated Feature Films Chicken Little and Cloudy with a Chance of Meatballs

Drawing on Hannah Hamad's concept of postfeminist masculinity, this article analyzes how the animated films Chicken Little (Disney, 2005) and Cloudy with a Chance of Meatballs (Sony, 2009) construct postfeminist fatherhood in opposition to two traditional stereotypes: the emotionally distant authoritarian and the bumbling pal. In contrast to films from the 1980s and 1990s, in which sons struggle to live up to their fathers’ expectations, these films demand a change in paternal attitudes, requiring fathers to adapt to their sons’ needs instead. The article argues that the films offer a didactic message to fathers as well as sons, which suggests that in postfeminist fatherhood older parenting models are no longer viable, and a new culture of fatherhood is needed, which may offer a way of challenging hegemonic masculinity.

Understanding the Use of Low Frequency Words through Animated Videos in Working Memory: Cloudy with a Chance of Meatballs

In this study, the main aim is to explore the use of low frequency words in five selected animations to find out their roles in learning and teaching vocabulary. The preliminary hypothesis is that less frequent words might be rather difficult for second language learners. To produce and analyze corpus-based data, an NLP (Natural Language Processing) tool was used throughout the study. This study suggests that in each animation, there are a great number of recommended words for second language learners among low frequency words, especially for primary and secondary students. This means that according to different thematic roles in the context, both high frequency words and low frequency words are mixed and used regardless of the difficulty level of the words. Therefore, it is not desirable only to focus on high frequency words in teaching and learning words. In addition, it seems that those less frequent words appear to be repeated and practiced based on the conception of a working memory, proceeding unknown words by using visual-sketch pad and audio support from the animations. It is possible to notice that by enhancing the visual and phonological effects of movies, learners are able to be familiar with those less frequent words.

The Marshmallow Incident (review)

Reviewed by: The Marshmallow Incident Jeannette Hulick Barrett, Judi. The Marshmallow Incident; illus. by Ron Barrett and Paul Colin. Scholastic, 2009 32p. ISBN 978-0-545-04653-4 $16.99 Ad 5-8 yrs Long ago, the two towns of Right and Left (so named for the handedness of their residents) were separated by opposing philosophies and a painted yellow line; when a resident of Right accidentally crosses over the line into Left, the knights panic and launch the ammunition at hand—marshmallows—at the town of Right. Finally, after a confectionery pelting, "one of the knights realized how silly the whole thing was," and the two towns meet. The decision is made to abolish the line between them, peace, love, and marshmallows reign, and the occasion is henceforth commemorated annually in a campfire marshmallow-roasting event. Though this new work by the author of Cloudy with a Chance of Meatballs (BCCB 2/79) begins promisingly, it's ultimately as fluffy and insubstantial as a marshmallow itself, as well as being rather pointless and unfocused about its fairly hackneyed message. The eradication of the yellow line is presented so suddenly and conveniently that it deflates the narrative buildup. The main appeal lies in the marshmallows and their creative uses as they are, by turns, food, ammunition, and recreational inspiration. Ron Barrett's detailed pen and ink drawings (digitally colored in muted tones by Paul Colin) effectively convey the festive faux-medieval setting. Strategic placement of marshmallows (one fallen marshmallow is made to look as though it's the tail of a rabbit, while another lands egg-like in a hen's nest) and clever signs (signs in Left bluntly state, "Righties, go home!") capitalize on the plot's humorous potential. Though this isn't as clever as it could have been, the marshmallows are diverting, and there's some seriously sweet potential for post-reading activities. Copyright © 2010 The Board of Trustees of the University of Illinois

Critical Approaches to Food in Children’s Literature (review)

Reviewed by: Critical Approaches to Food in Children’s Literature Judy Rosenbaum (bio) Critical Approaches to Food in Children’s Literature. Edited by Kara K. Keeling and Scott T. Pollard. New York: Routledge, 2009. C. S. Lewis’s book The Lion, the Witch and the Wardrobe takes Lucy Pevensie through the wardrobe door to the otherworld of Narnia. In this land of marvels, the first thing Lucy does is sit down with Tumnus the faun to tea, which Lewis describes in considerable detail: “a nice brown egg, lightly boiled, for each of them, and then sardines on toast, ” and so on through to “a sugar-topped cake.” It is not, it would seem, a feast befitting a wondrous kingdom. Yet meals of this simple, hearty variety abound in Narnia. One reason might be that as Lewis wrote the Narnian Chronicles, England was still living under stringent wartime/postwar food rationing. Every English child would have savored reading about these meals. The Chronicles thus provide an escape not just into Narnia but into England as it should be. Because it is one of our most basic daily needs, food has meaning far beyond just something to satisfy our hunger. Studying food in children’s literature can give insight into issues of character, culture, historical context, societal values, body image, and gender. Critical Approaches to Food in Children’s Literature, which declares itself the first scholarly collection dealing with this topic in literature for young readers, gathers together essays that examine a wide variety of books. The comprehensive introduction covers the history of the rather young field of food study in literary criticism. In the essays themselves, writers explore not only Anglo-American issues of both historical and modern eras but also matters involving other cultures. Some of the essays tend toward the speculative, notably “A Consuming Tradition: Candy and Socio-Religious Identity Formation in Roald Dahl’s Charlie and the Chocolate Factory,” by Robert M. Kachur. Others, such as “Trials of Taste: Ideological ‘Food Fights’ in Madeleine L’Engle’s A Wrinkle in Time” by Elizabeth Gargano, analyze food in a manner that confirms themes expressed by an author in other ways in the work. In Gargano’s essay L’Engle’s well-known impatience with conformity and rigidity, and the high value she places on family and friendship, are shown to be reflected in several very different meals that occur throughout the story. One essay that would tempt people to go out on a book-finding expedition is “Delicious Supplements: Literary Cookbooks as Additives to Children’s Texts,” by Jodie Slothower and Jan Susina. This article surveys the huge variety of cookbooks based on children’s books. Some interesting cookbooks, which the essayists call “text extenders,” provide recipes that “would be appropriate within the cultural context of the original narratives.” The authors remark on the way literature-based cookbooks can help create “a community of child readers and adults assisting child cooks.” Essays dealing with gender or body issues include Lisa Rowe Fraustino’s “The Apple of Her Eye: The Mothering Ideology Fed by Best-Selling [End Page 297] Trade Picture Books”; Martha Satz’s “Prevailing Culinary, Psychological, and Metaphysical Conditions: Meatballs and Reality” (with discusses the humorous classic Cloudy with a Chance of Meatballs by Judi Barrett); and “Nancy Drew and the ‘F’ Word” by Leona W. Fisher (the “F” word being food). Leona Fisher’s study deals additionally with the way food reflects changes in American culture across Nancy Drew’s long publishing history. Essays dealing with diverse cultures in the United States include “Eating Different, Looking Different: Food in Asian American Childhood” by Lan Dong. The authors featured in this study, Jade Snow Wong and Jeanne Wakatsuki Houston, write about challenges that their families encountered while trying to adapt to life in the United States—sometimes, as in the case of Jeanne Wakatsuki Houston, who was interned during World War II, in the face of unfathomable adversity. For these authors and their families, food provided a cultural identity and the comfort of a familiar context. In “The Keys to the Kitchen: Cooking and Latina Power in Latin(o) American Children’s Stories,” Genny Ballard examines two books...

An Interview with James Hannigan

James Hannigan is a composer with involvement in a variety of media industries. Starting his career at Electronic Arts in the mid-1990s after a short stint in television, James worked on various EA Sports titles ( FIFA/F1 series) and hits such as Origin’s Privateer: The Darkening (1996) – one of the earliest games to use live action – along with others of the era such as Warhammer (Mindscape, 1996). James later returned to freelance work and based himself at Pinewood Studios in West London, securing four BAFTA nominations for video game music, and winning with EA in 2000 with Theme Park World . His credits include: Harry Potter and the Half-Blood Prince , Primeval (ITV), Lord of the Rings: Aragorn’s Quest , Harry Potter and The Order of the Phoenix , Cloudy With a Chance of Meatballs , Command and Conquer: Red Alert 3 , Red Alert 3 Uprising , Freelancer , Republic , Evil Genius , Brute Force , Catwoman , Reign of Fire , Conquest , Grand Prix 4 , Mr. Bean , Lost In Space and many others. Our discussion focused on his music for the Harry Potter games, but also branched out into other areas.