LAUAN501 - Study Task 6 - Introduction (250 - 300 words approx)

'How are British politics represented through historical and contemporary animation?'

Researching through British media for political themed animated film, cartoons and publications for political context and material that could be related to the theme and proto question, based form historical to contemporary political issues in society. Most of the animated political material is centred around the controversy of World War 2 and post war on society.

This is an important area to research because it will benefit understanding of techniques and processes in animation for political purpose. It can be argued that most dated animation was influenced by war to educate on the shocking developments of corruption in politics and regime for control over society.
Diverse and different techniques can be used to translate a message on war and politics, focusing on symbolism and graphic expressionist imagery, but mostly surrealism because it conveys more emotion through disturbing imagery and concepts of suffering in war, based on common interpretation in the media.

Texts that relate to modern political issues about consumerism and its control over society described in Juliet and Douglas (2000), how we see fit to fall into a system of constant manipulation and influence from the higher ruling powers in politics and business, we are subject to our social patterns and processes of the masses. Through war historically, Bernays (1928) the concept that we are changed by society and the ruling men, that corruption takes different more contempt forms, portrayed in our minds to serve society and to change, mould, and be controlled as described in Jacques Ellul (1965).

In relation to animation, Animal Farm, (1954), showcasing an awareness using satire about the corruption in dictatorship, as a character. 'Napoleon' the pig, the main protagonist imitating Stalin’s communist dictatorship, the control over community set in a farm but represents society. 

Pink Floyd the Wall, (1982), describing the suffering of the character 'Pink' in a relative consumerist society but also notably, strong graphic imagery, from the effects of abandonment and a similar tyrannical leadership of controlling, manipulating, and moulding of society, in a post war historical period, based on life experiences. 

LAUAN501 - Study Task 6 - Main Body 1: Context & Themes (850 words approx)

Based on the oppressive influence and control politics can have over society, through historical social reform in the education system, the control of community, through consumerism today, and the inner workings of propaganda throughout time. Through different media techniques of abstract art movements, such as surrealism to express emotion in animation and in imagery that creates figurative messages of society and on the moral values in society on British politics.

Expresses the true nature of art and design and carrying a message of courage and belief in the ability to express individuality and overcome oppression, as in Gerald Scarfe (2010), satirical, expressive and surrealist collection of paintings and illustrations of tyrannical figures using strong iconic mediums. 

The imagery and animation in, Pink Floyd the Wall, (1982) focused on these illustrations but to communicate a sense of strong emotion of hatred and of ridicule, when experiencing the oppression in society from and around World War 2, the Blitz and post war periods. 

The graphic art medium and design that illustrates the perspective on a subjective and oppressive society, is shown and described through 'Pinks' story of experience in Pink Floyd the Wall, (1982). Conveying a message to educate, to warn, and shock a society about the horrors endured, the endeavours taken, and the strict reform post war on society. With the application of mediums in various abstract art movements with Gerald Scarfe's illustrations, showing context on media techniques and the development of concepts throughout.

The art concepts and storyline are summed up in a referenced plot form Wikipedia, (2002). 'The Wall is a rock opera that explores abandonment and isolation, symbolised by a metaphorical wall. The songs create an approximate storyline of events in the life of the protagonist, Pink, a character based on Syd Barrett as well as Roger Waters, whose father was killed during the Second World War. Pink's father also dies in a war, which is where Pink starts to build a metaphorical "wall" around him. Pink is oppressed by his overprotective mother and tormented at school by tyrannical, abusive teachers.' 
This is documented with imagery of expression in, shocking, unnerving and irrational scenes depicting strange creatures, seemingly formed from imagination or based iconic objects of World War 2. 

'Pink' tells a lyrical story with these creatures, carrying strong meanings and symbolism of icons and idols of oppression in the minds of those who experienced them. Subjective, tormenting, and dark figures representing a restrict hold on young minds, binding and forming them into objects of war and of a consumerist driven society as metaphoric tools of political control on society. 
According to Jacques Ellul (1965) about the techniques used to captivate society with propaganda.
"In this way propaganda can be creative. And it is in complete control of its creations; the passions or prejudices that it instils in a man serve to strengthen its hold on him and thus make him do what he would never have done otherwise."

Reading about and understanding the oppressive power and control political leaders can have in influencing a society, through texts based on historical events, according to Jacques Ellul (1965),
“We are governed, our minds are moulded, our tastes formed, our ideas suggested, largely by men we have never heard of. This is a logical result of the way in which our democratic society is organised” In relation to contemporary political events such as communism in society based after World War 2. 

Evidencing the techniques used in propaganda of moulding and changing the opinions of society with preconceived ideology, that is not based on reason or experience. Gerald Scarfe (2010), illustrations depict the experience of political oppression and propaganda in a war-ridden society, of 'Pinks' experiences in Pink Floyd the Wall, (1982). Expressing modernists styles of dramatic surrealist distortions and symbolic meanings of destruction in the horrors of war and rebelling against a system of oppression. 

Intentionally based on the opposite affect of propaganda, rebelling and expressing individual emotion and freewill, as described in Urik (2016) 'Another Brick, Part 2, is not so much a song about complete revolution as it as an anthem about reclaiming one’s individuality; it’s a criticism against the types of teachers and systems that, as in Pink’s case, ridicule an imaginative child for writing poetry.'

Pink Floyd the Wall, (1982) is illustrated through concepts with strong bleeding media, such as ink and paint combined with dark detailed drawings with ink and pencil. Scarfe (2010, p. 63) "When we grew up and went to school there were certain teachers who would hurt the children anyway they could, by pouring their derision on anything we did" These phrases used for descriptive context for the illustrations as imagined in Scarfe's drawing of concept art (2010, p. 62), "The teacher vomits bile into the mouths of the children".

Through outlining figures and shapes influenced of a surrealist art movement and painting techniques describing the imagination of the oppressed, allows the unconscious to express itself dramatically visually and lyrically. This symbolic art style has similarities related in the historical arts of war, emphasising a compassion for the suffering, devastated landscapes and ideology. 

Through abstract and surrealism themes, Kennedy P. (2016) provided descriptive information for this context. "Throughout the film, Scarfe drew and animated a number of key animated sequences, which featured disturbing and surreal images of violence, sex and gore. Scarfe brought all these elements to life with an ink-spattered flick of the wrist. This grotesque cast of characters would go on to become iconic figures in the landscape of pop culture."

The Dadaist movement in post war, is an example of this medium and similar art movement as in Gerald Scarfe's for expressing the opposite of propaganda. Its purpose was to communicate a loss of faith in culture and expressing absurdity, nonsense, surrealism and nightmares, evidenced on Moffat (no date)

"Dada attitude towards war: That it is chaos. That the world has gone mad. That war itself is craziness incarnate destroying humanity.  Dada was many things, but it was essentially an anti-war movement in Europe and New York from 1915 to 1923. It was an artistic revolt and protest against traditional beliefs of a pro-war society".

Above all the failure of logic and rationalism within political understanding, meaning for community and sanity. Similar themes and context in relation to Gerald Scarfe's illustrations for the purpose of being political cartoons, absurd with exaggeration and surrealism, emphasising in some techniques, a limit of paint as a medium to express the horrible sensations and experiences in war and other exaggerated mediums.

LAUAN501 - Study Task 6 - Main Body 2: Case Studies of Practice (850 words approx)

• Descriptive Analysis: describe the image / example focussing on details you feel are important. This will help with your later interpretation.
• Application of theoretical research and contextual information to back up your interpretations of your chosen works, use quotes / citations to back up your own ideas.

George Orwell's, 1945 book, Animal Farm, substitutes humans for animals and the satirical concepts of communism, the manipulation and misuse of political ideology and power in a communistic society. Based from a historical point of view, of political uproar from betrayal and detailing the suffering and injustice relative to the Russian Revolution and aftermath of the tyrannical figure of Joseph Stalin. 
Manipulating and using society against their will, as a society under a controversial government as described in Animal Farm, (1954) with the changing and alternations of the animals written rules of rights.
As stated in Jacques Ellul (1965, p. 38-39) “We are governed, our minds are moulded, our tastes formed, our ideas suggested, largely by men we have never heard of. This is a logical result of the way in which our democratic society is organised.”

The historical political themes associated based of war are, survival, heroism, leadership, political responsibility, and the 'making of a hero' from a community. An icon for rebellion or hope from under dictatorship, community would join together when faith is lost in government, this is a common concept for political animation and imagery as such after World War 2. This is a common concept from examples of the principles of culture and the community opposed by any political indifferences in society. Showing how socially, communities can be oppressed from cultural regulations and leaders. 
These themes describe many animated films of the time and future, they convey the most signifying heroism of all, a struggle for freedoms and retribution, and by building on these beliefs can change the face of politics, dominant in the many influential elements of society described in, Jacques Ellul (1965, p. 38-39).
"Only if it rests on the proper collective beliefs will it be understood and accepted. It is part of a complex of civilisation, consisting of material elements, beliefs, ideas, and institutions, it cannot be separated from them" 
These collective beliefs are affected and amplified with propagandic images and imagery, that animation and cartoons can solely communicate to a larger audience, as a nation with a combination of the themes associated, as stated in Reed (2017) 'Film served as the most effective means of communicating with all facets of a country’s population. During a time of anger, fear, and uncertainty, films entertained, while also delivering a steady stream of subtle themes and key messages.'

The contemporary political themes are more formations of trends and the attitudes of the people in society,

governed by the authority of power, they are responsible for the images we see, the materialistic goods we possess and the consumerism of items and goods that are considered of high value and meaning. 

'What Shall We Do Now?' by Pink Floyd, 2000, describing and showing a decay into greed, 'Pink' experiences a need to fill an imagined hole in his being with materialistic things, following society in trends of invalidating community and defining a person’s being by what materialistic items they possess.

The notion that a person should be defined by what he owns and what social trends he hollowly maintains. 'Pink' wondering how he should fill the final gaps in his wall, a number of modern day vices and other things that keep us from truly connecting with others and ourselves. 
Urik (2016) 'The message is clear, and is as individual as it is universal: These personal and social barriers we build up around us – the cocoons of possessions and obsessions to which we retreat – all but stifle individuality, split our very notions of community and interconnectedness, and eventually lead to social decay, personal degradation, and violence.'

Juliet and Douglas (2000). “Consumption is a social relationship, the dominant relationship in our society, one that makes it harder and harder for people to hold together, to create community.”

Society bases its self-worth and conformity with material goods, a community never satisfied, needing more acceptance for self-assertion. Mistakenly believing through possessions and valued livelihoods, that we are acceptable, taking community into a more oppressed society than that of free will and individuality based on being.

Urik (2016), 'True to the undercurrent of previous songs like “Another Brick in the Wall, Part II,” this attempt at individuality (in this case, materialistic/consumerist individuality) is only achieved through conformity to commercialised social norms. Abandoning your personal idea of self for the one that a collective media says you should be only leads to further dissatisfaction, cycling back into newfound obsessions, new trends, and new, pointless minutiae to govern your life and define who you are.'

Vulnerable to manipulation as a society for the attitudes of the economy, controlling the population as much as the political consumerist ideology feeds them material goods. Politics in consumerism, as a means of control over a society. A social and economic order and ideology that encourages the acquisition of goods and services in mass production, planned obsolescence and advertising to increase consumer spending.

Bernays (1928). "The conscious and intelligent manipulation of the organized habits and opinions of the masses is an important element in democratic society. Those who manipulate this unseen mechanism of society constitute an invisible government which is the true ruling power of our country."

Made from TV's, radio, vehicles boats record players, and other various materialistic items and expensive products. A “sea of faces” but of possessions, the identity of society represented by the symbolic meaning of objects and items in our lives. Idolising technology as more than our very individualist views, these view and ideology of freedom and expression are exchanged for materialistic concepts. The political element of oppression in modern society as developed from dictatorship into representing societies greed and consumerism, a contemporary political influence and control on all, as described in analysis. Urik (2016), 'The masks worn by the schoolchildren in “Another Brick in the Wall, Part 2.” The massive barrier of consumer greed plunges onward, breaking the peace of the countryside with the screams of the “the people caught up in the wall” (Scarfe, DVD). Everything the wall passes is corrupted.'

What remains is a society bound on one purpose, soulless and moulded into serving political influence and 'become another brick in the wall', all community founded elements are replaced with symbolic and items for war and reformation. All society is influenced, ruled from production and changed into the most efficient ways for governmental power and ruling, even over religion. 

(((PHRASE)))

Flowers turn into barbed wire; an innocent infant morphs into a beast and then a uniformed (the same Nazi-inspired uniform of Pink’s fascist regime later in the movie), who bludgeons an innocent bystander to death. Blood splatters the wall. Communal religion is destroyed next as the wall continues its course straight through a church, setting up a “new god” in the form of a casino-like neon building that spews mass-produced neon bricks (Scarfe, DVD).

LAUAN501 - Study Task 8 - Reflective Writing/Conclusion

Studio Brief 2 - Theory into Practice Reflective writing

Reflective
Researching related imagery and animated clips for experimentation, certain media could portray the best describe meaning and expression behind the chosen concept. I found strong graphic imagery depicting the education system and society at the time, showing the suppression of individuality, expressing the suffering, humiliation and oppression through strong graphic media. Taking the concept of 'Teacher' and concerning it with socialism and oppression of freedom, a tyrant in a system molding the minds of children to become 'just another brick in the wall'.

Strong imagery of drained bodies expressing the concepts of excruciating emotion and pain, with bleeding, heavy media such as inks, bold lines and shapes.
A molded society, represented in the form of a wall, created from blended students in a press.
Gerald Scarfe's art best represents these abstract and surrealist concepts, over exaggerating the characters to an obscene point and in a sense exposing their true forms to the world and the imagery that would be depicted in the minds on those who experienced the monsters within. Spewing ill content down upon the minds of the community and the obscenity of their own existence with plenty of graphic images parts representing the distorted effect they have on society.

Experimenting with paints and inks, the flowing effect represents emotion of children being formed into bricks to unwillingly serve a oppressed society, suffering from the recent war, unable to rebuild their community with inspiration or freedom, only from breaking down into metaphoric material to feed a wall of division, destroying anything beautiful or natural, reducing freedom into an abstract concept itself.

The meanings and concepts I wanted to convey with the contemporary examples about materialism and the political use in society, is that it is a way of subduing community from having stronger faith in culture or conscious of individualism, separating from the struggles of life with a wall of materialistic desires, separating community from society, becoming an element of economy that runs the political machine, in the form of dividing concepts of community valued at their own expense on material goods. Consumerism is a political technique for achieving a greater objective of controlling society, taking common values of an 'ideal world' of hypocrisy.
Interpreted by the media and images as a contemporary political 'propaganda' materialism is government and politics controlling society by dividing freedom in conformity, like a wall of consumerism, a form of reality and destruction of dreams and the belief of community without political influence.




Conclusion

'How are British politics represented through historical and contemporary animation?'

The theme for the project is British politics in historical and contemporary animation, concepts, and ideals communicated in relation to economics, propaganda, and socialism.

My work changed through this project through the research, beginning at historical political influence based from Pink Floyd the Wall, (1982) introduction and plot, but then developing my work into the contemporary concepts of consumerism in society and reading about how this is used politically to influence and even suppress society. 

I have developed my ideas through reading and triangulating, economical and consumerist growth in society in Juliet, B. and Douglas, B. (2000), The Consumer Society Reader, as well as techniques of propaganda from history and today in, Bernays, E (1928), Propaganda, and viewing animated film expression and surrealist art in Pink Floyd the Wall, (1982), Directed by A. Parker and G. Scarfe for practical journal and concept art.

Researching and developing these concepts, I found really in depth texts, explaining about Political influences and in relation to material in Pink Floyd the Wall, (1982) on society. Explaining the social reform, mould and change on society metaphorically, as a historical example example based around the character 'Pink'.
This was a tricky project to understand and explain in my work, when evaluating each concept and I feel that I had to explain a lot of detail and reasoning for having taken the project in this direction. Understanding lots of various ideals and pathways that I could have taken to explore the theme, and I am surprised at the amount of work produced in Pink Floyd the Wall, (1982) film because of this.
Contemporary forms of political oppression included exchanging with a consumerist society. 'Pink' from Pink Floyd the Wall, (1982), was a victim of this consumerism and its influence on community when it diminishes his moral values based from the products or, 'material' he possessed and found that it only deepened his emotional struggle, separated by a wall of consumerism and losing faith in him self.
Reading Juliet, B. and Douglas, B. (2000) on the significancy of consumerism I found that, signified as a currency for a government value in capitalism as a means of mass production for a consumer driven society.

I looked into the Dadaist movement for war and post war time inspired abstract art and artists for inspiration and reference to Scarfe (2010) projects while working with concepts from Pink Floyd the Wall, (1982). In my practical I focused on these ideas with research and inspiration for examples of surrealist art and media based around World War 2. 

I feel that through out this project I have taken on a challenging but very interesting stream on political concepts in art and animation, and because of this the researching has in turn taken a lot of time to formulate into a strong concept for experimenting and development. Because of this I feel that  the work flow was held up at the begging and resulted in a limited development of concepts and examples to evaluate and understand in the final production.
Overall I feel that I have developed my own skills in this project for reading complex texts on politics and have adapted (halfway through the project unfortunately) to the techniques of understanding political meanings and context shown through art and design in animation.

LAUAN501 - Study task 7 - Visual Journal - Context

Studio Brief 2 - Theory into Practice Context
Contextualise, reference, analysing the work.

Referenced art from Gerald Scarfe, I have created an inspired painting to express similar emotion and imagery of human forms being subjected and tormented my taller figures and creatures. The main subjects are concepts taken and illustrated, of figures representing deformed or moulded and changed people.

Using acrylic media the composition shows an arrangement of expressionist type art, the foreground is an individual experiencing the metaphoric concepts in the background, of society and tyrannical figures controlling and manipulating him in a tormenting way.

The black eagle, a symbol of horror and oppression, representing the German bombers from WW2, the Blitz, from the Music video from Pink Floyd The Wall. "Goodbye blue sky"

I have taken that symbolism and applied the idea of mind control on society, as the black eagle from Germany can also, through the experiences of WW2, represent an over arching terror in the skies, and through expressionist concepts of a similar theme use the dominating symbol as political control and influence on society.

This subject is painted with black ink media and is based from developing the Black eagle concept. Fitting in with the project, the aspects I like are how this image represents strong looming terror in the skies as symbolism of murder and destruction of community and lives.

Society and consumerism concept, of a person experiencing the word of materialism and it tormenting him as his individuality and soul are corrupted, from constant torment from society.

The controlled scribbles of line mixed with watery inks and washes conveys a murky texture and feeing, all the fumes, dirt and disgust from society in a contemporary age. The shapes and tones help convey the compositions elements, from most referenced material, the figure being tormented is usually the main foreground of the image with the reason for his destruction represented around them in the background.

LAUAN501 - Study task 7 - Visual Journal - Media and Process

Studio Brief 2 - Theory into Practice - Media and Process
Visually and practically explore my subject using the following media and processes:

Researching into Gerald Scarfe's art and all concept art included in Pinks Floyd, The Wall.
Dark images of black inks and acrylic with toned background and figurative line work with further ink. Texture and shape of bled inks and run watered down acrylic convey a smooth but dark subtle feeling and look.

Detailed illustrations mixed with explosive mediums of ink and paint, splattered across the page, any colour either communicates a mixed ill or destructive vibe, dark figures and shadows, overall these examples express a tormented feeling and destruction from war and devastated landscapes.

Using similar media and techniques, i have produced these concepts.

LAUAN501 - Study task 7 - Visual Journal - Secondary research

Studio Brief 2 - Theory into Practice Secondary research
Draw, photograph, record and develop my own visual material through the following activities:

Imagery for researching further into the drawings and application of media for conveying the message and the production of animation for the chosen proto question. 'How British politics are represented through animation and cartoons?'

Media options and graphic design, referencing concept art from Pink Floyd and Animal Farm.


Animal farm animation

Cartoons that are portraying political leaders or political motives through anthropomorphic characters and animals to represent the themes and messages about the impact on a society.

Colour and media express more emotion and meaning, especially with the application of traditional media in the practical journal, this image has a strong concept behind it, the red could represent suffering and blood, the white pig standing on two legs represents an evil corruption through unnatural sentience, applying a conscience to a pig. How would a pig think? Why does it represent corruption and greed? These are all good examples as to why the pig symbolises an illness in wealth and a sickness in mortality in my opinion.

The Black Eagle, Goodbye Blue Sky, Pink Floyd the Wall.

A Black Nazi eagle (Reichsadler) tearing up the lands and leaving trails of blood and gore.

LAUAN501 - Study task 7 - Visual Journal - Primary research

Studio Brief 2 - Theory into Practice Primary research
Identify, collect, record and evaluate visual material from the following sources:


Practical responses to your subject
A visual investigation of your developed question exploring the themes, theories, insights and methods through image-making. This visual investigation will take the form of a Visual Journal (format of your choosing) and will lead towards the development of a more resolved outcome.

Making a start on sketchbook using material from project.
Words of relation to project, expressed through Practical journal:

Identifying, reference, readings, concepts.

Pink Floyd The Wall, descriptive words, depression, loneliness, trapt, seclusion, stuck, sacrifice, suffering. Pressurise (someone) into adopting radically different beliefs by using systematic and often forcible means.

Research might be explored practically through character design, sequential image, layout, backgrounds or artefacts.

Disdainful teacher, the feeling that someone or something is unworthy of one's consideration or respect.

Inks, Acrylic, colouring pencils (water soluble), soft pastels, pencil, and fine-liner

First section - Referencing images from concept imagery form books and themes such as 'Pink Floyd The Wall'.

LAUAN501 - Bibliography

Reference List (bibliography):


Pink Floyd the Wall, (1982), Directed by Alan Parker Gerald Scarfe (film). MGM/UA Entertainment Company.


Referencing



websites:

Wikipedia: The Free Encyclopedia, (2002), The Wall, Pink Floyd album, Available at: https://en.wikipedia.org/wiki/The_Wall, (Accessed 18 March 2018).
(example citation)
The Wall, Pink Floyd album... (2002), 'The Wall is a rock opera that explores abandonment and isolation, symbolised by a metaphorical wall. The songs create an approximate storyline of events in the life of the protagonist, Pink, a character based on Syd Barrett as well as Roger Waters, whose father was killed during the Second World War. Pink's father also dies in a war, which is where Pink starts to build a metaphorical "wall" around him. Pink is oppressed by his overprotective mother and tormented at school by tyrannical, abusive teachers.' 




Urick, B. (2016), The Wall Analysis, Pink Floyd's The Wall: A Complete Analysis. Available at: http://www.thewallanalysis.com/what-shall-we-do-now/, (Accessed 19 March 2018).
(example citation)
Urik (2016), 'Another Brick, Part 2, is not so much a song about complete revolution as it as an anthem about reclaiming one’s individuality; it’s a criticism against the types of teachers and systems that, as in Pink’s case, ridicule an imaginative child for writing poetry.'

'The message is clear, and is as individual as it is universal: These personal and social barriers we build up around us – the cocoons of possessions and obsessions to which we retreat – all but stifle individuality, split our very notions of community and interconnectedness, and eventually lead to social decay, personal degradation, and violence.'

'True to the undercurrent of previous songs like “Another Brick in the Wall, Part II,” this attempt at individuality (in this case, materialistic/consumerist individuality) is only achieved through conformity to commercialised social norms. Abandoning your personal idea of self for the one that a collective media says you should be only leads to further dissatisfaction, cycling back into newfound obsessions, new trends, and new, pointless minutiae to govern your life and define who you are.'

'The masks worn by the schoolchildren in “Another Brick in the Wall, Part 2.” The massive barrier of consumer greed plunges onward, breaking the peace of the countryside with the screams of the “the people caught up in the wall” (Scarfe, DVD). Everything the wall passes is corrupted.'



Kennedy P. (2016–2018), How Gerald Scarfe and Pink Floyd Built 'The Wall'. Available at :http://illustrationchronicles.com/How-Gerald-Scarfe-and-Pink-Floyd-Built-The-Wall (Accessed 20 Tuesday 2018).

(example citation)

Kennedy (2016–2018), "Throughout the film, Scarfe drew and animated a number of key animated sequences, which featured disturbing and surreal images of violence, sex and gore. Scarfe brought all these elements to life with an ink-spattered flick of the wrist. This grotesque cast of characters would go on to become iconic figures in the landscape of pop culture."



Moffat C. (no date), The Art History Archive, DADA, Art Movements, Available at: http://www.arthistoryarchive.com/arthistory/dada/arthistory_dada.html, (Accessed 19 March 2018)

(example citation)

Moffat (no date), "Dada attitude towards war: That it is chaos. That the world has gone mad. That war itself is craziness incarnate destroying humanity.  Dada was many things, but it was essentially an anti-war movement in Europe and New York from 1915 to 1923. It was an artistic revolt and protest against traditional beliefs of a pro-war society"



Reed G, (2017), The Surprising Impact of World War II Propaganda Animation Design, Available at: https://www.ethos3.com/2017/04/the-surprising-impact-of-world-war-ii-propaganda-animation-design/, (Accessed 20 March 2018)

(example citation)

Reed (2017)...

Books:

Orwell, G. (1945), Animal Farm, UK paperback edition, Harvill Secker
...George Orwell (1945).

Ellul, J. (1965), PROPAGANDA - The formations of men's attitudes, Vintage Books Edition, Knopf inc.
(example citations)
...Jacques Ellul (1965, p. 38-39),"Propaganda must not only attach itself to what already exists in the individual, but also express the fundamental currents of the society it seeks to influence. Propaganda must be familiar with collective sociological presuppositions, spontaneous myths and broad ideologies"

“We are governed, our minds are molded, our tastes formed, our ideas suggested, largely by men we have never heard of. This is a logical result of the way in which our democratic society is organised”

"Only if it rests on the proper collective beliefs will it be understood and accepted. It is part of a complex of civilisation, consisting of material elements, beliefs, ideas, and institutions, it cannot be separated from them"

"In this way propaganda can be creative. And it is in complete control of its creations; the passions or prejudices that it instils in a man serve to strengthen its hold on him and thus make him do what he would never have done otherwise."

Juliet, B. and Douglas, B. (2000), The Consumer Society Reader, illustrated edition, New Press.
(example citations)

Juliet and Douglas (2000, p. 190-191). "It is from the (theoretically isolatable) moment when the exchange is no longer purely transitive, when the object (the material of exchange) is immediately presented as such, that it is reified into a sign."

"The sign object is neither given nor exchanged: it is appropriated, withheld and manipulated by individual subjects as a sign, that is, as coded difference."

“Our civilization is first and foremost a civilization of means; in the reality of modern life, the means, it would seem, are more important than the ends. Any other assessment of the situation is mere idealism.”

“Consumption is a social relationship, the dominant relationship in our society, one that makes it harder and harder for people to hold together, to create community.”

Bernays, E (1928), Propaganda, Illustrated reprint edition, Ig Publishing

(example citations)

Bernays (1928, p. 37-38), “The conscious and intelligent manipulation of the organized habits and opinions of the masses is an important element in democratic society. Those who manipulate this unseen mechanism of society constitute an invisible government which is the true ruling power of our country."

"In almost every act of our daily lives, whether in the sphere of politics or business, in our social conduct or our ethical thinking, we are dominated by the relatively small number of persons...who understand the mental processes and social patterns of the masses."

Scarfe, G (2010), The Making of Pink Floyd, The Wall, illustrated edition, the orion publishing group.

(example citations)

Scarfe (2010, p. 63), "When we grew up and went to school there were certain teachers who would hurt the children anyway they could, by pouring their derision on anything we did"

"When we grew up and went to school there were certain teachers who would hurt the children anyway they could, by pouring their derision on anything we did" 

(2010, p. 62), "The teacher vomits bile into the mouths of the children".

Films:

Animal Farm, (1954), Directed by J. Halas and J. Batchelor [film]. New York: Distributors Corporation of America.

(example citation)

Animal Farm, (1954)...

Pink Floyd the Wall, (1982), Directed by A. Parker and G. Scarfe [film]. London: MGM/UA Entertainment.

(example citation)

Pink Floyd the Wall, (1982)




Songs:

Pink Floyd (2000) 'What Shall We Do Now?', Is There Anybody Out There? The Wall Live 1980–81 [CD] EMI Records

..... (Pink Floyd, 2000) ...