Essay and imagery for picture book (COP)

Essay and imagery for picture book (COP)

The shadow idea is based from the darkness in fairy tales and the evil villains and the Nosferatu research,

I will illustrate a map of troubles during the child's journey through his or her experience with reality and childhood fears and overcoming them.

begging with mostly evil figures and curiosities about the harshness of life. Then the truth behind the evil and the light in the darkness becomes more clearer and the truth behind not only the evil but the iconic hero, as in  lies and deception is among the larger evils a child faces.

The truth that you can become courageous and defeat the common evil but most of all the hidden evil that lurks within us all.

God may use physical evil for a higher purpose: to test us and prepare us for glory (1 Peter 1:6-7, 5:10, 2 Corinthians 12:7-9), or to make us more compassionate.

God gives all of us the free will to choose between good or evil, and many choose to follow the ways of evil (James 1:13-15). Unfortunately, when some people choose the path of evil, others may suffer as a result. However, in eternity, the righteous will be rewarded and the evildoers will be punished. (Luke 16:19-31, Romans 6:23). 

At all costs we should avoid participating in moral evil (Luke 17:1-2, Mark 9:43-47). We must also avoid the temptation to retaliate or take revenge (Leviticus 19:18, Matthew 5:43-48, 1 Peter 4:12-19, James 1:19-20). We may also cause suffering to ourselves as the natural consequence of sinfulness and unwise actions (Proverbs 1:29-32, 6:9-11, 10:8-9, 11:27-30, 17:9, 23:21, 29:3, Romans 7:14-23, Galatians 6:7-9). Evil Cannot Be Completely Eliminated Jesus said He did not come to eliminate evil from the world, but so that the kingdom of God can grow amid the evil of the world until the time when all evil is destroyed (Matthew 10:34-36, 13:24-30, 13:36-43). We cannot eliminate all evil in the world, but we can and should do our best to minimize the suffering it causes (Matthew 5:7, Acts 20:35, Matthew 25:31-46, 1 Corinthians 13:4-7, Ephesians 4:32, 1 John 3:17-18).

Morality cannot be derived from science
On atheism, there is no objective standard of good or evil, because atheism declares that the natural world is all that exists, and the natural world is valueless: There is no such thing as a good or bad bird, or a good or bad tree, etc. Therefore, one cannot use the study of the natural world (science) to determine right and wrong. As Albert Einstein put it:

“You are right in speaking of the moral foundations of science, but you cannot turn around and speak of the scientific foundations of morality.”

In judging that something is evil, we are making a distinctive kind of moral judgement, rather than committing ourselves to a contentious super naturalistic worldview. Believing in the reality of evil is like believing in the reality of greed. When we say that greed exists, we don’t think there must be some free-floating force called greed that can enter someone’s body and control his or her actions. If there are any greedy actions or greedy persons, then greed is real. Similarly, if there are any evil actions or evil persons, then evil is real. You might grant this point, but remain sceptical nonetheless. You could claim that when people judge that something is evil, they make moral assumptions that are not only mistaken but dangerous.

If someone is an honest person, honesty is part of his or her character. He or she can be relied upon to be honest when it counts. Someone who tells the truth on some occasions might nonetheless be a characteristically dishonest person.

Similarly, not everyone who performs an evil action counts as an evil person. In judging that Hitler was not only an evildoer but an evil person, we assume that evil was part of his character. That’s is not to say we assume he was innately evil, nor that he had no choice but to do evil. Rather, it is to say he came to be strongly disposed to choose to perform evil actions.

In calling Hitler an evil person, we suggest that he could not be fixed, or made into a good person. Once someone has become an evil person, he or she is a moral write-off. That’s why some philosophers are sceptical of the idea that any actual person is evil. If everyone can be redeemed and made good, then no-one is evil.

I think it’s overly optimistic to think that we could have fixed Hitler, or Ted Bundy, or Dennis Rader, so I conclude that evil persons, as well as evil actions, are real.

But be the serpent under it.” “Out, out, brief candle! Life's but a walking shadow, a poor player that struts and frets his hour upon the stage and is heard no more. It is a tale told by an idiot, full of sound and fury, signifying nothing.”

Studio Brief 2 - Visual Investigation

Produce a critical visual journal that visually explores the quote / theme (CoP themes: Aesthetics, Politics, Society, Culture, History and Technology) identified as part of your response to Studio Brief 1. 

Using the journal to presents the opportunity to explore a range of media and image making processes and techniques. 

The ongoing visual investigation and extension of the exploration of themes, theories and concepts that have been delivered as part of the lecture and seminar programme. 


Uses of enchantment - Quote:
'In order to master the psychological problems of growing up [...] a child needs to understand what is going on with his conscious self so that he can also cope with that which goes on in his unconscious. [...] It is here that fairy tales have unequaled value, because they offer new dimensions to the child's imagination which would be impossible for him to discover as truly on his own.'



Requirements: Contextual research 
Find visual images that relate your quote to specific contexts, be that contemporary society and its socio-politics or important historical and contextual events. 

These images do not necessarily have to relate to animation but should visually communicate the importance and relevance of investigating this theme / quote for a contemporary (modern animator technique) creative practitioner.

- Include key dates and contextual information for all key historical events.







Ideas/BrainStorm
The first ideas that come to mind are that of hero's depictions, knights, medieval fantasy icons of the imagination and their courageous influence depicted through pictures of mighty triumph over evil.

Fighting against frightening figures of evil or accomplishing extreme tasks like slaying a dragon and saving weak or physically lesser people.

But also (Nah) how folklore can influence the child negatively... Maybe the propaganda side of it, through military influence in eastern countries. 


ANIMAL FEARS
Legendary creatures!! but also maybe some animals that children fear, like horses and other large animals but also dogs (growling, barking, bared teeth, large body. Also 

Scary experiences, television films that scared the child, adult movies, series, show. 

Monsters and nightmares - Fantasy tales that help depict friendly responses in relation to creatures and animals that are scary.

I could illustrate how the child develops his fears into realities and overcomes them.

I could illustrate how the child journeys through the enchantment of fairy tales and overcomes all curiosities and fears.

Lecture:

Previous lecture part 1 - An introduction into colour theory

How language developed over 3 thousand years, how it has developed, through the ability to communicate, literacy, histories and context.

Develop the ability to ask questions, relevant to development in practice. Developing awareness and discipline.

Metaphoric coloured, contextual, what's around it and how rare colour isn't surrounded, there is an infinite gradient of colour

Personally I'm dealing with isolated colour in my work,

But there is the physical, physiological psychological

The diamond that divides colour from lighting, colour is linked with light.

Human interpretation of colour is based on fundamentals of light, we can't determine colour without light. Always a series from a spectrum. Vibrating at different wavelengths.

We perceive light through it bouncing of surfaces, white is neutral, and assumes light as colour. Pure black absorbs all light. Other colour absorbs light and is perceived as another colour.

Reflection determined by two kinds of receptors, RODS and CONES

CONE - Type 1 red, Type 2 green, Type 3 blue perceived proportions of adjustments of wavelength

What we determine colour as individually in reality is a variation through our own perception. Pigments and the theory of colour

Colour... system... s... -.-

Study Task 3 -  Animation Analysis Triangulation

The uses of Enchantment 1976, Bruno Bettelheim

Triangulation:

Fairytales are essentially a symbolic and metaphorical guide for a child's morals, a really beautifully written tale that can incorporate lots of moral divides and predicaments that always test the characters in the story and effect the mind of the child who sides with what they feel represents them morally and emotionally. Overcoming the fear of monsters, monstrous characters and the monster within, because evil lives in all of us, it cannot be denied that is why it exists in tales, but always is deceased in the end or overcome by the good in all of us.

Breaking the magic spell

The role of most tales is to distinguish the good and bad, but what if the roles themselves are affected by a definitive icon that isn't always seen as justifiable in life, but in traditional tales is seen as almost cliché in relation to modern stories.

‘A good fairytale is like art, depending on the quality of the tale and the meaning. Art which is strong enough to enchant the mind and influence the understanding of good and evil in the world.’

-Bruno Bettelheim.

Typically, most tales feature a divide between male and female and their individual statement in the story, typically a male will be the hero and the term 'damsel in distress' is applied to the female being a plot point in the story usually, they usually need saving by a hero. Some cultural fairytales also feature a distinguish between sexes, to emphasize on an environment or setting the scene. Ambitious women in featured fairy tales are portrayed as evil from within and scheming, wielding over other women and men, examples would be the stepmother in Snow White, the stepmother in Cinderella, and the stepmother of Hansel and Gretel who left the children in the forest.

I think traditional tales aim at the male hero because naturally the male is a strong and protective figure, but that doesn't make sense because tales are meant for children of both sex, the damsel in distress will weaken the view of female figures and icons as strong metaphors in life. This concept commonly reflects on the child’s conscious life because it is the belief of the story teller, in good faith to protect their child and inform them of such icons who fight evil, the fact that evil takes many forms yet the sword of justice is wielded by a common figure. This maybe to familiarize the child of the perfect hero or possibly introduce a dominance over others as far as traditional tales would go, stating characters’ immediate importance and influence on a story and such is the reality of traditional tales and folklore.

From the Beast to the Blonde, on fairy tales and their tellers

‘To educate the mind and strengthen the initiative of a child with its social relativity and meaning through symbolic context of aspirations, they are 'endeavors to grasp the social values of transformation'.

-Marina Warner

This is the transformation from childhood into adulthood, and endeavors meaning journeys or education in the distance and experience it takes to develop, achieve, and to stimulate the mind to progress. Social values are that of experiences the child holds dear to his heart and what they represent for the child to accomplish throughout their life. 

A genre largely told by women to their children despite there being such a large amount of evil female counterparts, despite the Brothers Grimm’s tended tone in Snow White, familiar situations in fairy tales can be traced to their growth in a culture ‘There are examples, girls in fairy tales who are brave and witty, such as Gretel, who exhibits common sense and kills the evil witches.’ This relates to the chosen quote, prove strength in the imagination of the child, helping them understand their strengths and weakness comparing their emotional reactions to the fairytale told. Without understanding of the unique roles of these figures in the world around them they are accepted with increased understanding of the social reality of different people, their beliefs and how it is translated through fairy and folktales.

The Theory and History of Folklore

‘What makes the folklore attractive if the representation of reality is not its purpose? The lack of correspondence with reality, fiction as such, offers special delight.’ -Propp

This describes how humorous tales are when reality is turned inside out, this is what fascinated the child and what makes it so interesting, this is a Romantic prose.  Female characters are described as foolish or almost dreamy in attitude and willing to be influenced or taken, this element is shown through most fairy tales and is ultimately the main plot point, which I imagine is a metaphor for a boy in traditional tales to influence him on the protecting of the female character in real life.

The volume begins with sections on the “Nature of Folklore" dealing with theoretical curiosities that the child would undertake in their lifetime, the principles of folklore genres like the relationship between folklore and literature and the reflection of reality in folklore, the type of teachings folklore can describe in reality, I find this prominent for the child to understand his subconscious and expose his mind to symbolic realism ultimately answering to the kind of curiosities and experiences he is searching for.

Russian regard for moral law, Propp believed that literature was composed of discrete identifiable elements and their relation to the story as a whole. The function of character action in this book which must be perceived according to its actor ‘the subject of the action is considered part of the action itself and not its own independent element’ - Propp.

The “who” in fairy/folktales is not important because characters are basically undefined, not describing the character by gender of race and often derive their names from their social relationship or profession. This describes how in fairytales, individuals are simple and largely free from conflict, leaving the judgment to the audience of the tale, the child. This concept described by Propp is the most important element of a fairytale because in reality there is no distinction between characters and the child must understand and use intuition to determine the outcome of social elements in life.

Harvard referencing

The International Journal of Social Sciences and Humanities Invention

Volume 1 issue 4 2014 page no.246-250 ISSN: 2349-2031

The Portrayal of Women in the Fairy Tales

Author, Dr Silima Nanda