Abstract
The author of the paper relates the history of the Hanna Barbera animation studio. The writer examines the studio's founders and their activities prior to the founding of the studio and the factors that influenced the founding of the Hanna Barbera studio. The author then goes on to describe the development of the studio, the animation productions that brought the studio to the public eye and notable productions over the course of time. The paper's writer also examines animation techniques used by the studio and innovative use of sound, lighting and special effects. The paper concludes with an overview of the company's position today.

Outline:
Brief History of Both Hanna & Barbera and How Each Evolved as Animators
How They Met or Joined Forces
What Profession Were They in Before Becoming Animators?
How They Started the Company of Hanna Barbera
What Made Hanna Barbera a Success?
What Cartoons They Created
Process of Animation They Used
Special Effects, Techniques, Lighting, & Sound Effects That Were Used
The Position of the Company Today
References

From the Paper
"When MGM closed its animation unit, Hanna and Barbera founded Hanna-Barbera Cartoons Inc., their own production company. The company was known for its magical formula of producing low cost cartoons that focused more on humor, story and characters than on action. The company gained success with the production of 'The Flintstones'. In the year 1980, the company started operating globally by distributing the work through its international network. The Hanna Barbera Company was staffed with the members of MGM animation unit. In order to keep Hanna Barbera productions a secret to the MGM officials, the show 'I Love Lucy' was anonymously promoted. Hanna Barbera made $40000-$60000 for Tom and Jerry shots as compared to $2700 given by Screen Gems for a cartoon having duration of 5 minutes. This forced them to think about earning more profit by reviving the whole cartoon concept. They shifted the focus from visual action, which was followed at MGM, to dialogue and story. They made cartoons which were cheaper by limiting the amount of drawings. However it was not a fruitful solution to remain competitive in the industry. Then the introduction of voices to the cartoons was intended to gain the interest of the audience. In 1957, Daws Butler and Don Messick gave voice to the characters of Ruff and Ready. This enabled the company to produce shows in less time, thereby increasing the sales and enriching the development of the shows. Later the company was sold to Great American Broadcasting in 1987 when there was a slow growth witnessed, and later Turner Broadcasting purchased it in 1991. Turner Broadcasting later merged with Time-Warner Inc. In 1992, Turner started 24-hour cartoon network with Hanna Barbera cartoon series. (History of Hanna Barbera Cartoons Inc)"

Tags:animators film sound movie cartoons turner mgm studio, the flintstones, time-warner television

Abstract
This paper describes how, while working within the most innovative period in Soviet cinema, before the coming of sound, Dziga Vertov created the film "Man with a Movie Camera", a tribute to the newly formed Communist State, urban environments and technological advancement. It analyzes how in order to create a variety of themes, including those comparing the bourgeois and working classes, man and machinery and the nature of film itself, Vertov uses editing to relate a series of seemingly unrelated shots. It looks at how these shots are comprised of five types of images: industrial construction, traffic, machinery, recreation and citizen-workers. It also shows how he constructs meaning through editing in the film to form an argument in favor of the newly formed soviet state by juxtaposing disjunctive images, but also linking the images through composition.

From the Paper
"The main theme of Vertov's film is a cameraman performing his daily routine in an urban environment, and this meaning is produced through the films ability to show both the cameraman at work and the reaction he receives from the people he films. The entire film is reflexive in the sense that the audience is constantly reminded that film is a constructed environment, designed by the filmmaker. Mixing in shots of the camera, the cameraman, and the editing process maintain the idea that the film is just a part of Vertov's usual routine. The sequence opens with a shot of the cameraman reflected in the camera's lens, continues with a shot of the urban setting in which the events will unfold, and then returns to the filmmaker's "work" of filming traffic."

Tags:working, classes, bourgeois, cameraman, recreation

Abstract
The paper discusses the first feature-length cartoon film "The Adventures of Prince Achmed" that was made by the animator Lotte Reiniger, using cutout silhouette figures and a technique called stop-motion animation. The paper describes the film's creation, destruction in the war and subsequent restoration. The paper maintains that contemporary animators somehow fail to reproduce the same captivating magic that Reiniger achieved in this film.

From the Paper
"Animation is an art with a rich history of artists whose patience and attention to detail in their work has led to many timeless treasures of film for adults and children alike. These works have lasted through time from the 1930's to today, and are still enjoyed as if they were brand new. It is widely known that the first feature-length animated film was Walt Disney's 1937 film Snow White. It was the first commercially successful full-length animated film and the earliest that still exists entirely in its original form. However, a feature that pre-dates Snow White was made by an animator named Lotte Reiniger using cutout silhouette figures and a technique called stop-motion animation. This film was made in 1926 and is called The Adventures of Prince Achmed."

Tags:stop-motion, animation, silhouette, figures, musical, score, puppets

Abstract
In this paper, the writer examines the nature of plot, narrative, editing, and characterization in the film: 'The Big Sleep' (1946) by Howard Hawks. The writer discusses that by creating a plot that verges on the brink of chaos, Hawks directs Bogart and Bacall in their traditional film noir roles, which ultimately rely upon their acting and characterization as catalysts for the mystery and intrigue through murder. The writer further points out that by understanding the narrative of these two characters, the plot seems to take a secondary apparatus to the romance involved between these two actors.

From the Paper
"This film study will present the aesthetics that pertain the film noir genre when deciphering the complex plot of The Big Sleep (1946) by director Howard Hawks. By understanding the aspects of editing (flashbacks), acting and the plot structure of the film in relation to Hawks' visuals, this film offers a classic representation of the `noir' genre. Also, this study will present the various aspects of dialogue, which provide the slapstick narratives and dry characterizations that define 'The Big Sleep' as a classic in depicting the criminal world of detective Philip Marlowe."

Tags:hawks, noir, film

Abstract
This paper examines the genre of 'film noir', the name given to the trend of the dark and black, looks and themes of many of the American crime and detective films released following the World War II. It discusses the influences on these films such as World War II and postwar disillusionment, postwar realism, the work of German expatriates making use of German Expressionism and even the hard-boiled literary tradition of the 1930s and 1940s. It shows as an example how Orson Welles used the style in his late-1950s film "Touch of Evil", a film that develops a film noir style and structure in the context of tense international relations and an era of police abuse. It discusses how Orson Welles shapes what could have been a standard crime story in a new way by the creative use of the camera and by strong characterizations.

From the Paper
"For the film noir aspect of the film, the underlying attitudes of the character are as important as lighting and camera work. Sheriff Quinlan is a huge mass of bloated flesh and exudes evil from his first appearance in the film, standing as a cop who will do anything not to be wrong. He is contrasted sharply with the tall and stalwart look of Ramon Vargas, the policeman from South of the border who must not be allowed to show up the great Quinlan. Quinlan has the look of a man who was once great and who has fallen, though he sustains his position through force of will, reputation, bullying, and the sycophancy of Sgt. Menzies, who follows Quinlan around singing his praises to all who will listen."

Tags:world, war, camera, dark, black, crime, detective, disillusionment, postwar, realism

Abstract
This paper discusses the beginning of the end of the silent motion picture industry. The paper examines the resistance shown to the emerging trend of films with recorded sound sequences. The resistance came partly from the public, partly from technology and partly from the industry. First, it took some time for "talkie" film sound to be perfectly synchronized with the picture. This generated a level of indifference from the public, who had become well accustomed to silent film and generally preferred it due to a high level of familiarity. Second, the industry, similarly, had become ensconced in the business of silent film, and the many movie theaters in the United States produced a gross revenue of about 360 million dollars by the mid 1920'=s. Consequently, an enormous business had grown out of the production and distribution of almost exclusively silent films and "talkies" stood as a distinctly risky endeavor.

From the Paper
"Additionally, by 1927 the film industry had truly come into its own as a fully fledged art form. The art of drama had been nearly perfected by the silent stars. "Even ordinary actors seemed more than that when effectively presented in a silent film because their own specific identity was somewhat nebulous." (Eyman 73). In fact, the very absence of sound permitted the audience to draw their own conclusions and insert their own feelings and imagination into the film. Much like a reader conjures their own image of characters and settings, the silent film viewer envisioned the omitted aspects of reality according to their own, personal feelings. The consequences of this made silent film a particularly potent devise from an artistic perspective. Obviously, as an art form, film was not required to accurately mimic reality, but instead, render a representation of it that was equally powerful to the audience. This fact made arguments in favor of sound based upon accurate depiction of events groundless; they were analogous to saying that Picasso's paintings were somehow worth less than more realist-based works of art."

Tags:movie, motion, picture, sound

Abstract
This paper looks at the basic structure of the film industry set by eight major corporations. The paper examines the studio system and the identification of each studio with its own product, style, and stars. The paper also looks at the development of the star system.

From the Paper
"At one time the term "movie studio" meant just that - a location where the company conducted its business, filmed its product, and performed the remainder of the tasks necessary to make a finished film. A studio may or may not also have had a ..."

Abstract
The paper discusses Disney's creation of the feature-length movie, "Snow White and Seven Dwarves", and how it showed the great merchandising potential of animated characters. The paper further discusses how television has become today the major source of new characters for the children's toy industry. The paper looks at the Australian Children's Television Foundation (ACTF), and its goal of providing Australian children with quality, age-specific, culturally relevant television. Finally, the paper looks at the expansion of animation into computer graphics and identifies the differences between dramatic, lyrical, didactic or comic animation, as well as the differences in Disney, Warner Brothers and Japanese animation.

From the Paper
"Commercial Alert, a consumer watchdog group, has repeatedly asked the FTC to investigate product placement in TV shows for guidelines that would require an on-screen disclosure when a product placement appeared. The organization argues that consumers do not always know if a product placement is an ad unless they are told. In 2005, the FTC stated that failing to tell consumers that a product placement is an advertisement does not violate Section 5 of the FTC Act, which bans unfair and deceptive acts or practices. However, the organization is trying again. The FCC is presently asking for comments on whether to make it more obvious to TV watchers that some shows are filled with embedded ads. According to the Nielsen Company, American Idol logged an impressive 4,636 product placement shots only during the first half of one year."

Tags:programming, ads, commercials, storyline, characters

Abstract
This paper provides a comprehensive description of DreamWorks Pictures' animated film "Shrek", looking at animation, editing, sound, acting, storyline, and writing. The paper argues that the film challenges the traditional Disney fairy tale-animation conventions.

From the Paper
""Shrek", released by DreamWorks Pictures has been characterized by critic Todd McCarthy as an instant animated classic that rudely sends up even the most beloved fairy tale traditions while at the same time effectively embodying them. The film is the story of an ogre's odyssey from oblivion to love, thus suggesting elements of Disney's "Beauty and the Beast". Indeed McCarthy believes that one of the key aspects of the film was that it challenges the traditional Disney mode of presenting animated films..."

Tags:Shrek, film, animation, plot

Abstract
This paper discusses the issue of sacred representation, particularly those that are Christian in nature, in modern film using the movies. The paper uses the films, "Seven," "The Green Mile" and "Dogma" as examples. The paper also includes an annotated bibliography.

From the Paper
"Chris Arthur stated that there are some important questions as yet unanswered as to where film intersects or should intersect with religion in contemporary society Arthur believes that popular film can be an important ..."

Tags:Film, sacred representation, Seven, The Green Mile, Dogma