My purpose is to theorize Walt Disney enterprises as a storytelling organization in which an active-reactive interplay of premodern, modern, and postmodern discourses occurs. A postmodern analysis ...

Stories of the storytelling organization: a postmodern analysis of disney as "tamara-land"

1 Footprints in the Snow.- 1.1 Introduction.- 1.2 Mapping Social Navigation.- 1.3 Shifting Perspective.- 1.4 Social Navigation and Methodology.- 1.5 The Future of Social Navigation.- References.- 2 Where the Footprints Lead: Tracking Down Other Roles for Social Navigation.- 2.1 Introduction.- 2.2 Perspectives on Social Navigation.- 2.3 Spatial, Semantic and Social Navigation.- 2.4 New Opportunities for Social Navigation.- 2.5 Social Navigation and Collaborative Awareness.- 2.6 Social Navigation and Models of Space.- 2.7 Conclusions: New Opportunities for Social Navigation.- References.- 3 Social Connotations of Space in the Design for Virtual Communities and Social Navigation.- 3.1 Introduction.- 3.2 Social Navigation.- 3.3 Open Issues in Social Navigation.- 3.4 Social Connotations in Real and Virtual Spaces.- 3.5 Summary.- References.- 4 Informatics, Architecture and Language.- 4.1 What Underlies HCI?.- 4.2 Space Syntax.- 4.3 Information Structures Seen as Architectural Plans.- 4.4 The Path Model: An Information Access Approach Based on Activity.- 4.5 Conclusion.- References.- 5 Information that Counts: A Sociological View of Information Navigation.- 5.1 Introduction.- 5.2 The Fieldwork and the Setting.- 5.3 The Empirical Examples.- 5.4 Implications for Information Navigation on the Web.- 5.5 Conclusion.- Reference.- 6 Screen Scenery: Transposing Aesthetic Principles from Real to Electronic Environments.- 6.1 Introduction.- 6.2 Electronic Landscapes.- 6.3 The Ethnographic Study.- 6.4 Spatial Grammars.- 6.5 Presence and Orientation in Electronic Environments.- 6.6 Everyday Practices of Orientation and Perception and Spatial Grammars.- 6.7 Conclusion.- References.- 7 Navigating the Virtual Landscape: Co-ordinating the Shared Use of Space.- 7.1 Introduction.- 7.2 Shared Information Spaces.- 7.3 Methodological Approach and Research Setting.- 7.4 Observations.- 7.5 Summary and Conclusions: Co-ordinating the Shared Use of Space.- References.- 8 Spaces, Places, Landscapes and Views: Experiential Design of Shared Information Spaces.- 8.1 Introduction.- 8.2 Personal Spaces versus Public Places.- 8.3 Information Cities, Islands, Vehicles and Views.- 8.4 The Experiential Approach to HCI Design.- 8.5 Presences and Concealment.- 8.6 Conclusions.- References.- 9 The Conceptual Structure of Information Space.- 9.1 Introduction.- 9.2 Study: Users Describe Web Experience.- 9.3 Discussion.- 9.4 Conclusion.- References.- 10 A Contrast Between Information Navigation and Social Navigation in Virtual Worlds.- 10.1 Navigation.- 10.2 Home Hunting.- 10.3 Extension to Digital Representation and Social Navigation.- 10.4 Computer-Assisted Home-Hunting.- 10.5 Social Navigation: Cocktail Party Browsing.- 10.6 Computer-Assisted Remote Acquaintance.- 10.7 Comparisons: Information vs Social Navigation.- 10.8 Conclusions.- References.- 11 Understanding Representations of Space: A Comparison of Visualisation Techniques in Mainstream Cinema and Computer Interfaces.- 11.1 Introduction and Some Distinctions.- 11.2 Understanding Cinematic vs Digital Representations.- 11.3 Concluding Comments.- References.- 12 The Role of Wearables in Social Navigation.- 12.1 Introduction.- 12.2 Defining a Wearable.- 12.3 Wearables and Social Navigation.- 12.4 Augmentation.- 12.5 Time-Space Trajectories.- 12.6 Wearables in Context.- 12.7 Future Work.- 12.8 Summary - Creating Cultural Footprints.- References.- 13 Evaluating Adaptive Navigation Support.- 13.1 Introduction.- 13.2 Adaptive Navigation Systems.- 13.3 Evaluations of Adaptive Navigation Systems.- 13.4 Evaluation Criteria.- 13.5 Summary.- References.- 14 Footsteps from the Garden - Arcadian Knowledge Spaces.- 14.0 Introduction: Personal and Social Navigation in Shared "Organic" Landscapes.- 14.2 Information Finding, Memory and Social Navigation.- 14.3 From Applications to Agents - Ecologies in the Interface.- 14.4 Organic Metaphors.- 14.3 The Knowledge Garden.- 14.4 (By Way of Some) Conclusions.- References.

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Social Navigation of Information Space.

This article describes my experiences teaching a course on Transmedia Entertainment and Storytelling at the University of Southern California, a course which sought to bridge across multiple media and methodologies, to integrate the perspectives of industry insiders, and to encourage students to apply what they learn to the challenge of “pitching” a media franchise to a panel of creative practioners. The essay both shares the syllabus as a resource for other teachers and reflects on the challenges of teaching such cutting edge content. [Electronic Arts game designer] Neil Young talks about ‘additive comprehension.’ He cites the example of the director's cut of Blade Runner, where adding a small segment showing Deckard discovering an origami unicorn invited viewers to question whether Deckard might be a replicant: ‘That changes your whole perception of the film, your perception of the ending … The challenge for us, especially with the Lord of the Rings is how do we deliver that one piece of information tha...

Transmedia Storytelling and Entertainment: An annotated syllabus

Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters

This study employed content analysis to examine animation and animated spokes-characters in television advertising. The majority of spokes-characters observed in this study were humans, animal personifications, or product personifications. Characters were more likely to speak for the product than provide visual demonstration although they did both in more than half the cases. There were far more non-celebrity than celebrity spokes-characters, and a large majority of them were male. Significant differences were found in the use of animation across dayparts, program types, product classes and product categories. Although no increase was evident in the use of animation since the last study was completed, there was evidence to suggest that the role of animation has been changing in the past decade. Findings indicate that animated spokes-characters are being used more often to present high involvement products to adult audiences.

A Content Analysis of Animation and Animated Spokes-Characters in Television Commercials

In the twenty years preceding the First World War, cinema rapidly developed from a fairground curiosity into a major industry and social institution, a source of information and entertainment for millions of people. Only recently have film scholars and historians begun to study these early years of cinema in their own right and not simply as first steps towards the classical narrative cinema we now associate with Hollywood.The essays in this collection trace the fascinating history of how the cinema developed its forms of storytelling and representation and how it evolved into a complex industry with Hollywood rapidly acquiring a dominant role. These issues can be seen to arise from new readings of the so-called pioneers--Melies, Lumiere, Porter, and Griffith--while also suggesting new perspectives on major European filmmakers of the 1910s and 20s.Editor Thomas Elsaesser complements the contributions from leading British, American, and European scholars with introductory essays of his own that provide a comprehensive overview of the field. The volume is the most authoritative survey to date of a key area of contemporary film research, invaluable to historians as well as to students of cinema.

Early cinema: space frame narrative

This witty and fascinating study reminds us that there was animation before Disney: about thirty years of creativity and experimentation flourishing in such extraordinary work as Girdie the Dinosaur and Felix the Cat. Before Mickey, the first and only in-depth history of animation from 1898-1928, includes accounts of mechanical ingenuity, marketing and art. Crafton is equally adept at explaining techniques of sketching and camera work, evoking characteristic styles of such pioneering animators as Winsor McCay and Ladislas Starevitch, placing work in its social and economic context, and unraveling the aesthetic impact of specific cartoons. "Before Mickey's scholarship is quite lively and its descriptions are evocative and often funny. The history of animation coexisted with that of live-action film but has never been given as much attention."--Tim Hunter, New York Times

Before Mickey: The Animated Film 1898-1928

Contents List of Illustrations Preface Acknowledgments Introduction: Six Cartoon Conundra Part One: Animation Performance 1. Performance in and of Animation 2. Live and in Person: Toons! Part Two: Historical Contingencies 3. The Acme of Variegated Entertainment 4. Shadow of a Mouse: Animation Performance Spaces Part Three: Instrumental Animation 5. Infectious Laughter 6. Animation and Autophagy: Art that Consumes Itself Coda: The Shadow of a Mouse's Tail Notes Bibliography Index

Shadow of a Mouse: Performance, Belief, and World-Making in Animation

This article challenges the widely held view that cinema is a subcategory of the larger entity, animation. Tracing the etymology of the word ‘animation’ reveals how it acquired two separate meanings: one to endow with life or to come alive, and the other, to move or be moved. In trade and professional discourses about cinema, ‘animation’ did not refer to single-frame cinematography or to the class of films using that technique until the early 1910s. The genealogical argument that animation was the ancestor of cinema exploits the semantic serendipity of these two meanings, but the approach distracts from a larger understanding of animation as a film form, genre and social practice. A negative result of this line of reasoning is that the distinctive features of the optical toys of so-called pre-cinema are valued only inasmuch as they resembled later cinema and may not be studied in their own right.

Donald Crafton

Papers

Early cinema: space frame narrative

Before Mickey: The Animated Film 1898-1928

Shadow of a Mouse: Performance, Belief, and World-Making in Animation

The Veiled Genealogies of Animation and Cinema

"Collaborative Research, Doc?"