Abstract
The paper describes that anime is, in essence, the Japanese form of animation. The writer explains that in general, anime is characterized by extremely stylized and colorful graphics and the use of vivacious and vibrant colors. The graphics used depict energetic and effervescent characters that are set in a large number of scenes and settings. Numerous story lines are used that are aimed at a variety of different types of audiences. The paper discusses that in English, the word 'anime' actually transliterates a Japanese term, and its history of origin can be traced back to the abbreviation of the transliteration of the English word 'animation', into Japanese.

From the Paper
"Why has anime been so very successful? How has it become globalized today? A major part of the reason for the popularity of anime is that it has managed to spread all throughout the world, and everyone knows what it is. As in the general case where something that spreads all over the world quite naturally becomes a global phenomenon, global recognition and fame means that anime has now become a global occurrence and it is well loved by people other than from whose nation it originally was created. One must study the extent of the globalization of anime based on the amount of permeation or penetration into other societies that it has managed to achieve in recent times. This also means that one must look carefully at and analyze the numerous factors involved in why exactly anime became a global phenomenon, and this would in turn mean that one would be able to comprehend how it became so very popular among a large variety of people, all over the world."

Tags:animation, Japan, subtitles, mask

Abstract
This paper discusses the marketing of Japanese anime to the United States. It looks at the success of Japanese anime in countries such as the United States and discusses whether this is indicative of the emergence of a global youth culture. The paper then discusses the social and technological forces that are making it possible for Japanese anime to transcend national borders. Finally, the paper discusses the development of the new series of "Astro Boy" cartoons and how they differ from the way Japanese anime has traditionally been developed.

Table of Contents:
The Success of Japanese Anime in Western Countries
Social and Technological Forces Making it Possible for Japanese Anime to Transcend National Borders
How does the New Series of Astro Boy Cartoons Differ from the Way Japanese Anime has Traditionally been Developed?
Will Astro Boy be Successful

From the Paper
"However, having said this, the answer to this question is that in the short term at least, the production of Astro Boy is sure to be a success due to the advertising and marketing forces that are promoting the character. What is of concern however is the extent to which the impetus of this popularity can be maintained. The advertising and marketing companies have to ensure that the mystique and the aura of the anime medium do not become too diluted by the commercial aspects."

Tags:commercial, globalization, youth

Abstract
From Pokemon to Yu-Gi-Oh, anime has captured the imaginations of thousands of American children. Anime works for adults, such as "Ghost in the Shell", "Vampire Princess Miyu" and "Gundam Wing", often inspire as much dedication in adults as their counterparts do among children. This paper explores Japanese anime, including manga (comic books) which evolved out of a synthesis between traditional American comics and ancient traditions of illustration and written literature. The paper looks at how anime differs from American animation, including differences in characters, plots and style.

From the Paper
"Japanese culture is highly open regarding nudity, and public bath houses are a common sight both in the country itself and in anime. Scenes involving individuals bathing together are not necessarily meant to be sexual (though of course there are numerous exceptions), and nudity is frequently treated in a casual and open manner. However, there are limits to this openness. As in many cultures in which nudity is acceptable, there are very tight strictures regarding actual indecency. It is illegal, throughout the country, to portray genitals or detailed pubic areas. This results in many hentai in which genital areas, when glimpsed, have been either blurred out or made androgynously featureless. It has also resulted, however, in a wide variety of creative and exotic ways of working around the rules. Hentai frequently uses excessive bodily fluids in the portrayal of graphic sex in order to hide the actual genitals. Creative "camera angles" can portray the most intimate encounters while subtly skipping around the genitalia. Additionally, much of the fascination with creature hentai comes from the fact that non-human genitals have no restrictions placed on their suitability for public consumption."

Tags:hentai, Shoujo, Ledisu

Abstract
This paper discusses the history of film animation in Japan. Particularly, it discusses anime produced by Japan's Studio, Giblias, and whether it plays a part in Japanese culture. The paper concludes that though Japanese animation has it's roots in western animation, it has developed and continues to do so in a very different direction and that it draws on its own cultural influences like kabuki theater and woodblock prints as well as developing it's completely unique style.

From the Paper
"By the 1990's anime took a more serious turn that in my opinion is not present in modern day western animation. While still outputting light-hearted so called children's anime, studios began to release more intellectual sophisticated anime such as Anno Hideaki's television series Neon Genesis Evangelion and Miyazaki Hayao's film Princess Mononoke. These films often touched on themes and issues that modern Japanese faced. To truly explain the Japanese nature of these films I believe that an in depth look at one of them in necessary."

Tags:television, film, Disney, children

Abstract
The paper discusses how in evaluating the artistic treatment of animals, it is important for those creating them to acknowledge the limits of representing nature by utilizing human-specific devices or technologies as a medium. The paper asserts that artistic portrayals of animals must work to interrogate hierarchical and false notions of animals that are purely human constructs, and find ways to express themselves without using tropes that fall victim to the assumption that certain animals (whether human or otherwise) are somehow intrinsically more valuable than others. The paper points out that trends in popular society such as increased awareness of environmental toxins, animal rights legislation, and poststructuralist theoretical approaches have offered avenues for promoting a more accurate and humane way of viewing animals, however, such recent developments will not alone suffice in generating a shift in popular consciousness regarding nonhuman nature and humanity's place in it. The paper argues that such trends must be reinforced in multiple areas to include the ways animals are represented creatively, and the values implicit in acts of representation.

From the Paper
"In evaluating the artistic treatment of animals, it is important for those creating them to acknowledge the limits of representing nature by utilizing human-specific devices or technologies as a medium. That said, artistic portrayals of animals must work to interrogate hierarchical and false notions of animals that are purely human constructs, and find ways to express themselves without using tropes that fall victim to the assumption that certain animals (whether human or otherwise) are somehow intrinsically more valuable than others. Trends in popular society such as increased awareness of environmental toxins, animal rights legislation,..."

Tags:animals, literary, representation

Abstract
The paper argues that animal cruelty is a serious problem that continues to increase; each year more animals are either abused or neglected with this problem being associated with child abuse and domestic violence. The paper reveals that children, teenagers, and adults commit crimes of animal cruelty whether it is through game fights with animals or by showing violence to animals. The paper maintains that strict laws concerning animal abuse should be passed to stop animal cruelty.

From the Paper
"Approximately 60 million families have one or more pets in the United States (Through Their Eyes). How many of these families with pets have sprayed or neutered them? How many animals are not receiving the basic care that is needed for these pets to survive? How many of these families have an abuser who regularly harms the family pet? Animal cruelty is a serious problem that continues to increase. Each year more animals are either abused or neglected with this problem being associated with child abuse and domestic violence. Children, teenagers, and adults commit crimes of animal cruelty whether it is through game fights with animals or by..."

Tags:animals, cruelty, laws

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 begins with a look at the history of animation, focusing special attention on the history of computer animation. The paper explains the advances in technology that have helped improve computer animation techniques and then takes a look at some of the ethical questions that have developed regarding the use of computer animation. The paper then discusses one of the primary concerns, the fear that this type of animation will replace real actors, and explains why actors really have no reason to feel threatened by computer animation.

From the Paper
"Visual representation of ideas, history, and stories has been an important part of human culture since prehistoric times, when cave paintings and other primitive drawings were used to record and relive events. As human culture developed, so did the visual arts, and primitive cave paintings gave way to more complex drawings, paintings, and engravings that told stories ranging from epic mythological tales to a simple moment from daily life. While a talented artist has always been able to bring drawings "to life" and have a sense of movement in the work, actual animation has its roots in the 1800s. Devices such as the zoetrope, also known as the "wheel of life", were simple and used a cylinder with slits in the sides to make the drawings inside appear to move when a person peered through the sides as it spun."

Tags:clay, figures, 3-dimensional, entertainment, visual, art, special, effects, animated

Abstract
This paper briefly looks at the evolution of the Western world's views on the treatment of animals and how the lack of a agreement on what an animal precisely is causes difficulties in addressing the issue of animal rights. It goes on to present a debate on the issue of animal rights through three different perspectives: ethical relativism, utilitarianism, and ethical egoism.

Sentient Rights in a Solitary World
The Essential Problem of the Definitions
Framework of the Debate within this Context
Taking A Position -- Modified Personal Responsibility
Ethical Traditions Within The Framework
Summary

From the Paper
"In recent years, the ethical issue of animal rights has seriously entered into the realm of philosophical debate. This in itself shows a change in perspective, for until relatively recently the issue was not even seriously broached by philosophers, save maybe in sport or to highlight the absurdity of a line of reasoning. However, increasingly within modern philosophy, the issue may be broached. While one would think that the demands of such philosophies as egoism and utilitarianism would subjugate the position of animals, it seems historically that the reverse has somewhat been true. The question then becomes, within a humanistic mind-set, what potential exists for a healthy construct of the rights of animals? The answer lies in comprehending the individual focus of these philosophies, and treating this issue not as one of social or legal mandate, but as one of personal cognizance."

Tags:soul, sentient, beings, animal, equality, theories, animal, cruelty

Abstract
This essay examines many of the issues associated with the consumption of animals for food. It is argued that this practice is flawed from two perspectives: ethically and as an issue of human health. As the writer shows in this article, from the perspective of ethics the only supportable position is to refuse to consume animals for food while, from a health perspective, the clear dangers from animals fats and, in particular, the transmission of toxic pollutants from animals to humans suggests that the consumption of animals for food carries with it considerable health risks for the human species.

From the Paper
"In September 2001 the well-known animal rights organization People for the Ethical Treatment of Animals (PETA) sponsored a billboard in Vancouver, British Columbia that triggered widespread controversy within the environmental and animal rights movement. The billboard read, simply: "Eat the Whales". Not surprisingly, this advertisement provoked a heated response from many environmentalists and, in particular, from the influential anti-whaling movement. However, PETA was unrepentant and argued that their advertisement made an important point: why do so many people, including environmentalists and anti-whaling activists, make distinctions between species and consider eating domestic pigs, cows or chickens permissible but whales, dolphins or seals abhorrent?"

Tags:food, animals, ethics