Women in Animation Production
In animation are we moving away from stereotypic depiction, are we maturing, are we changing our culture for the best? if so how? is now beter then before? Moral and Ethics in disney animation
woman representation in modern animation.
gender stereotyping and sexist imagry
Woman in the animation production an overlook
Lotte Reiniger
Mary ellen
Faith Hubley
Evelyn Lambart
Sayoko kinoshita
Gillian lacey caroline Leaf
quote from the book
Jayne Pilling
'Women and Animation'
Published in Great Britain in 1992 by the British Film institute
21 Stephen street
London W1p 1PL
"A younger generation has felt free to explore a range of subjective experiences, in a sense taking feminism for granted. some reject an explicitly feminist stance, preferring to address women'sexperiences through humour and aim for the widest possible audiece.
Clearly the development of women in animation has a lot to do with the impact of feminism on funding policies in arts institutions and television, i.e. there's been a concern to redress the traditions of women within it. In the US, the rise of independant and alternative filmmaking was a contributory factor. in the UK woman in animation have benefitted from Channel Four's remit to innovate, through developments in art education have also played a significant role Since the mid- 70s the growth in the number of courses offering animation in art colleges and ploytechnics, and the diversity of approach across these institutions, have fostered a richly creative environment of emerging talent. this has been particularly useful to women, since before the develop of more inter-disciplinary approaches to teaching , animation was usually seen as an adjunct to the larely male- sominated areas of graphic and commercial design.
The most interesting aspect of all this is that animation asa form offers such potential to explore women's issues in a way that simply isn't possible in live-action filmmaking ... its possible
woman representation in modern animation.
gender stereotyping and sexist imagry
Woman in the animation production an overlook
Lotte Reiniger
Mary ellen
Faith Hubley
Evelyn Lambart
Sayoko kinoshita
Gillian lacey caroline Leaf
quote from the book
Jayne Pilling
'Women and Animation'
Published in Great Britain in 1992 by the British Film institute
21 Stephen street
London W1p 1PL
"A younger generation has felt free to explore a range of subjective experiences, in a sense taking feminism for granted. some reject an explicitly feminist stance, preferring to address women'sexperiences through humour and aim for the widest possible audiece.
Clearly the development of women in animation has a lot to do with the impact of feminism on funding policies in arts institutions and television, i.e. there's been a concern to redress the traditions of women within it. In the US, the rise of independant and alternative filmmaking was a contributory factor. in the UK woman in animation have benefitted from Channel Four's remit to innovate, through developments in art education have also played a significant role Since the mid- 70s the growth in the number of courses offering animation in art colleges and ploytechnics, and the diversity of approach across these institutions, have fostered a richly creative environment of emerging talent. this has been particularly useful to women, since before the develop of more inter-disciplinary approaches to teaching , animation was usually seen as an adjunct to the larely male- sominated areas of graphic and commercial design.
The most interesting aspect of all this is that animation asa form offers such potential to explore women's issues in a way that simply isn't possible in live-action filmmaking ... its possible