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Common Misconceptions About Forensic Animations

There seems to be many preconceived notions about forensic animations and their overall use in litigation. Many times, lawyers or accident reconstructionists will say that "An animation can show whatever the animator wants" or "Animations are difficult to admit in a court of law". However, to a forensic animator, this is also like saying, that your accountant can "fix your books". In reality, it is far from the truth.

Misconception #1 - "An animation can show whatever the animator wants"
Perhaps it is the fact that so much of what we see on television and in films is altered with lifelike special effects that we tend to associate anything with 3D visualization with more than a hint of skepticism. Ironically, much of the same software used to animate films such as "Spiderman" or "Lord of the rings" is also less known to be used in scientific visualization, research and forensic animations. People may associate the fact that an experienced special effects animator is capable of creating surreal, yet realistic looking effects. Therefore, it must not be accurate.

The greatest difference between a forensic animation and just any other type of animation is the "forensic" part. This implies that there is a large effort in understanding the details of what is being animated and that there is a large emphasis ensuring a high level of accuracy. An animator can spend more than 70% of his time on activities related to the verification of data and ensuring accuracy in the animation.

An experienced and qualified forensic animator would tell you that a large effort goes into building and checking each step of the animation process to the correct and accurate dimensions. In fact, very little is left to the imagination since most recreations are based on accurate data typically provided by the expert witness. A simple example is the terrain data of a particular scene. This can be obtained by means of a total station along with the positions of important features such as signs, traffic lights, debris or tire marks on the roadway.

Even the animation and motion of objects in a 3D recreation is typically based on information or data provided by the expert witness. This data is often obtained through careful calculations or through the use of simulation software. In the case of simulation software, the data can be directly converted or imported directly into the 3D animation software, leaving little room for error.
There may be cases where the forensic animator is provided with less than ideal information, however, even in these rare instances, an experienced forensic animator will have enough knowledge to ensure that the basic rules of geometry and physics (i.e. motion) are applied and adhered to.

Misconception #2 - "Animations are difficult to admit in a court of law"
Somewhere along the way, there have been animations which were so poorly constructed or erroneous they simply could not have been allowed in court. It would seem that these cases tend to stick in the minds of litigators and cause reluctance for future use of what is a perfectly acceptable and effective use of technology.

Normally, it is an inexperienced animator or lawyer which does not follow some of the basic rules of demonstrative evidence.
Some key points to consider when considering a forensic animation are:

1. The animation needs to support the testimony of the expert witness and should be considered an extension of the witness' report. The expert witness should be directly involved in authenticating and reviewing the animation.

2. Disclose the animation well in advance of the trial date. Evidence needs to be disclosed in a timely manner and the opponent requires time to cross examine the evidence.

3. The animation fairly and accurately conveys the data or matter that it purports to convey or depict. The animation should not be prejudicial in that it outweighs the probative value.

4. The animation should be relevant.

5. The forensic animator should be prepared to testify that the works created are based on sound technology, process and algorithms such that the final works are a reflection of the expert witness' opinion.

There are, of course, many other factors to consider which may be case dependent. Further materials and references are available for review including a paper entitled "The Admissibility of Demonstrative Evidence in Jury Trials:" Written by Barbara Legate of Legate and Associates and available at the AI2 forums (www.ai2-3d.com/Forums).

Today, most forensic animations are admitted into court since there are greater considerations and groundwork taken into account to ensure the accuracy, validity and quality of the animations. By choosing an experienced forensic animator and by adhering to the rules of demonstrative evidence, the risks associated with inadmissibility are greatly reduced.

Animation As a Form of Media

Animation can be used to inform, educate, advertise and express emotions just as live action can by using the same techniques; such as the use of colour, film language and sound. The NSPCC advert by Russell Brooke on television is a good example of how animation can be more effective than live action. There is no limit to how much a situation or an action can be exaggerated but still remain to be convincing. In the advert if a real child was being thrown around it would be extremely controversial and although it is actually what is going on behind closed doors it would be too much for some people to watch. The animated character is created in a way that portrays the child in a way that will get the message across. This example shows how valuable a tool animation really is, that it is not just a media form to entertain young children. It is also a good vehicle to show that cartoon violence can be used to a positive end.

On the other hand cartoon violence can be quite aggressive and graphic like the 'Grand Theft Auto' video games series and some Manga features involve a lot of violence and gore but created in a quite realistic way, not suitable for a young audience where as cartoons adapted from Marvel comics such as 'Spiderman' and the 'X-Men' are primarily orientated around fighting but done in a less bloody way. The fight sequences involve a few kicks and punches and a superhuman power is used which doesn't normally inflict much gory, physical damage on the opponent, instead the loser is left with a scratch or two on their face with a trickle of blood oozing from their mouth. The fights, realistic as they may be, are not overly graphic, otherwise they would have to be shown after the watershed, but they are descriptive enough to express what is going on within the story. Most important of all is the fact that good always triumphs over evil in these cartoons. This does not justify the fighting but neither does it encourage it. Fisticuffs in a live action feature is always more violent than fighting in cartoons as it involves real people who can get hurt whereas cartoon characters feel nothing, making the fighting seem less realistic than a live action fight sequence.

The belief that animation is a media form directed mainly at children is not necessarily true, but in some situations this can be used to the advantage of the producers. A good example of this is the recent 'DairyLea' commercials, created in a 3D Stop Motion technique it shows some talking cows encouraging children to eat their product, not just on its own, but with mashed potato. The advert shows that 'DairyLea' can be mixed with other foods and the format is more memorable to children (the talking cows), therefore they are more likely to ask their parents to buy them some. Another good example of animation aimed at children is the 'Green Cross Code' (stop, look and listen). This informative commercial shows hedgehogs crossing a road in an animated and musical way, encouraging children to do as they do and they will be safe. This format was chosen so children will remember how to safely cross the road as told by singing hedgehogs-which would not have been possible in real life through a live action format. The advert offers an interesting, memorable alternative to mundane, forgettable, live action instructions.

Since animation is made popular by children, (for example, the phenomenon of the 'Pokemon' series) there are a number of ways producers can capitalise on the launch and success of a series. The producers see many ways of making more money from a successful cartoon because they know that children will do anything to get their hands on elements of merchandise, for example the 'Pokemon' battle cards. Merchandise does not just stop at playing cards though; there is stationary, cutlery, bags, toys, clothing, books, posters and video games. It is this side of animation that results in adults distancing themselves from the genre because of the fact that the cartoon series is blatantly aimed at children and so this is enough to put them off watching. Formerly the animation format adopted a biased approach aimed solely at a younger audience. In the early d`ys animation it was fascinating concept, a drawing that was moving. Since it was a new concept people of all ages took an interest.

Now the omnipresence of the format through the years that people find it entertaining up to a point in their lives then just stop watching animation as they get older, then when they have kids of their own the viewing process starts again. It is because of this misconception of the format and its association with youngsters that successful attempts have been made to break this mould. Since some adults have an interest in animation specific titles and series' have been aimed at an adult specific audience, these include the '2DTV' series, some 'Manga' titles, Comedy Central's 'South Park', 'The Simpsons', 'Futurama' and the Japanese 'Hen-Tai'. To conclude this point, John Serpentelli writes in an article, that "The connection between children and animation seems simple enough. To a child, anything is possible and the same is true for animation." The animation format is also able to inadvertently teach children about the artistic side of animation, as John Serpentelli says, "Since animation is an art form that can involve almost all other art forms and children can directly encounter the art world in an unfiltered manner."

A recent comeback of 80's animation has shown resurgence in popularity of classics such as 'The Clangers', 'Bagpuss' and 'The Magic Roundabout'. Adults who viewed these animations when they were younger tune in to see these classics of their day, and their children join in. Some adults are required to watch animated videos in the workplace, on issues of safety. Having to watch, follow and understand irritatingly obvious and drab pieces of animation could be enough to put some adults off the format, believing the genre is as bad as the video they had to view. This also shows that animation can be as realistic and informative as live action, but simpler to understand, where as on the other hand cartoons aimed at children, however unrealistic, sometimes incorporate a moral or advice at the end of the episode, in an effort to teach the youngsters watching what is right and what is wrong. The reason being for this is that if children see their favourite cartoon character doing something or telling them to do something then they might be encouraged to do as they say. This just shows that if done correctly animations can be as entertaining as they are informative or educational for a range of audiences.

Within video games the games character which the player controls is brought to life by using animation. The character would be lifeless if it was not animated and so the use of animation is crucial. The incorporation of animation does not stop there as FMV's (Full Motion Videos) are also used to tell a story within a video game. This is a good example of how animation can make the impossible possible; by giving inanimate objects and characters life.

The Animal and the Human

Recent DNA analyses have revealed that humans share a majority of our genetic makeup with other animals. Physically speaking, our similarities with our fellow beings far outweigh our differences. In the Western mindset, however, a sharp line is drawn between human beings and other animals. Because they do not communicate in our language, it is thought, we do not have much in common beyond physical structure. For Westerners, only humans have a soul, a wide range of emotions, and the unique capacities of reason, imagination, and the changing of our environment on a grand scale to meet our needs. Despite the division in our thinking, we still have intimate relationships with the animals closest to us and cannot seem to resist anthropomorphizing them. There are several societies whose conception of humans' place in the animal world is far different from ours.

Although these kinds of belief systems are widely varied, many see us as more
closely related to other creatures, both physically and spiritually. Here, I will
examine a few of these non-Western ideologies and compare their conceptions of
the human-animal relationship to each other and to Western ideas.

Several cultures which hold traditionally animistic religious beliefs share the concept
of a time long ago during which humans were animals and vice versa. In this
"Distant Time," "Dreamtime" or "Mythtime," as it is variously referred to, animals
were able to take human form. Most animals, it is believed, once possessed human
souls, and some cultures think that they still do, although the average person is now
unable to perceive them. Folklorist Charles L. Edwards hints that this idea may have
evolved out of a memory of a much earlier period in the evolution of the human
species, when the common ancestor of both humans and apes roamed the earth.
This apelike being lived no differently from the other predatory mammals who
shared his environment. Some of his offspring later began the process of change
and adaptation that would produce our species. "In outwitting his foes, instead of
throttling them the diverging elementary man began to make plans of strategy." As
their thought process grew more complex, Edwards argues, early humans expanded
their thinking beyond their immediate surroundings and contemplated the unseen
forces that governed their world. "[T]hese forces took form in the gods who dwelt
beyond the clouds, and the myths of cosmogony and transformation arose." Now,
when people belonging to animistic traditions look for ways of explaining the
phenomena around them and of connecting their rituals to the greater processes of
continuing cyclical transformation, they recall the time when myths were formed,
when humans were much closer to other animals than we are today.

Edwards connects the deep sense of spiritual communion with other beings out of
which myth and belief in the supernatural arise to the formative period in the
development of each human being known as childhood. He relates a story of his
own childhood and the time he spent watching ants in his backyard, inventing
stories to match the escapades of "the ant-people." He envisions them as soldiers
engaged in various industries at peacetime, but in wartime displaying "remarkable
valor and extraordinary strategy." This depth of imagination, which is now the
exclusive domain of children, is the fertile ground from which spring "the miracles
of transformation" and the deeper sense of connection through the
anthropomorphism of playful storymaking. "So we see in the child, as in primitive
people [sic], the projection of his own fancies born of fear, or love, or desire, into
the things about him which then become personified."

For many non-Westerners, the rituals associated with storytelling and traditional
practice comprise an extension and evolution of childhood, where the wonder and
intimacy in the natural world they experienced as children develops into a greater
understanding of ourselves and other forms of life. Most Western adults are, on the
surface, all too eager to put childhood behind them. Our deep longing to connect
to the wider life community manifests itself in other ways, though, such as our
feelings towards our companion animals.

The Distant Time stories of the Koyukon people, who inhabit the boreal forests of
central Alaska, show another instance of the interrelatedness of humans and other
animals in a non-Western culture. Once again, the time when human-animal
transformations occurred is seen as a dreamlike phase in the formation of the earth
and cosmos:

During this age [Distant Time] 'the animals were human'--that is,
they had human form, they lived in a human society, and they spoke human
(Koyukon) language. At some point in the Distant Time certain humans died and
were transformed into animal or plant beings [...] These dreamlike metamorphoses
left a residue of human qualities and personality traits in the north-woods
creatures.

Distant Time stories account for natural features and occurrences, as well as for the
physical forms and personalities of the animals. The myths also dictate how they
must be treated. Since the animals were once human, the Koyukon believe, they can
understand and are aware of human actions, words and thoughts. Although the
spirits of some animals are more potent than others, it is important to treat all
animals with respect because they can cause grief and bad luck for those who do
otherwise. Because Koyukon people were no different from other animals in Distant
Time and because of the awareness and power of animal spirits, it may appear that
they do not conceive of a separation between human and animal realms. However,
the Koyukon believe that only humans possess a soul which is different from the
animals' spirits. But because they accept that humans were created by a human-
animal (the Raven), the distinction is less sharp than in Western cultures. The
similarities between us and other animals derive not as much from the animal
nature of humans as from the human nature of animals, having been human in
Distant Time.

The relative absence of a boundary between the human and animal realms figures
widely in the mythology of the Inuit and Eskimo. Their stories of a similar time long
ago explain the way they see their world and also guide their traditional
observances, rituals and overall lifestyle, much as the Distant Time stories do for
the Koyukon. Just as the myths account for such things as the shape of the land,
the cycles of sun, moon and seasons and the generation of all life forms, they also
dictate how each person is to play his or her role in society. Tom Lowenstein
investigates this phenomenon amongst the Inuit of Tikigaq Peninsula in
northwestern Alaska in a poetic book entitled Ancient Land, Sacred Whale.
For these people, the annual whale hunt and the elaborate preparations for it
reenact a mythic cycle. The rituals surrounding the whale hunt represent a complex
interplay between them and the spirit of the whale, whose power is seen as greater
than that of humans. Their belief system comprehends the union of many
opposites, including the human and animal. "Just as Raven Man had the double
character of bird and human, and the uliuaqtaq [unmarried woman who marries
Raven Man in the story] was a double creative/destructive presence , so the whale
was perceived in terms of two main elements: animal and land." By reenacting the
ages-old epic every spring, the Tikigaq Inuit play an essential role in keeping the
forces of nature in balance, thereby ensuring their survival and livelihood.

A central aspect of the religious traditions of several Eskimo tribes of northeastern
Canada and Greenland is the existence of the Sea Mother, who is both as a real
creature living on the ocean floor and a spirit residing within sea creatures (as well
as land creatures, according to some tribes). The ancient story of her coming to be
the spiritual ruler of the submarine world is similar across these cultures and it
serves to bind the animal and human worlds together. According to one version of
the story, the Sea Mother (who goes by different names, Sedna being one of the
most recognized) was once a young woman living with her father. She had refused
to marry, but a sea bird disguised as a man succeeds in winning her hand and
whisks her across the sea. Her life with him is miserable, and eventually her father
comes and takes her with him in his boat. The bird-man is furious, so he causes a
windstorm which capsizes the boat. The woman is left hanging on by her fingertips.
In anger and desperation, her father decides to amputate her fingers, each of which
becomes a sea creature as it drops into the water. Once the last finger is cut, the
woman sinks to the sea floor, where she becomes the Sea Mother, having dominion
over the souls of the creatures made from her fingers.

Since the Eskimo depend on sea creatures for most of their food supply, keeping the
Sea Mother happy is an important aspect of their endeavors. She is seen as having
control of the souls of many creatures, which are able to take either animal or
human form, and as a union of opposites. Her power is respected as greater than
the human because people are utterly dependent on other creatures for survival.
However, she is also scorned because of her refusal to join human society (which is
indicated by her refusal to marry) and her insistence on living in a dream world. The
human/animal boundary is central to the Sea Mother's status both as an abject
outcast and as a great power to be feared and obeyed. The people's lukewarm
relationship with her is indicative of their respect for and struggle with the animals
and the natural world, with which they must maintain the proper balance in order to
ensure survival and sustainability.

In "Witches' Transformations into Animals," M. A. Murray investigates an example of
human-animal transformation in a Western setting which took place among witches
in sixteenth- and seventeenth-century England and France, as well as in colonial
New England. These witches carried on pre-Christian traditions. Each witch's
transformation ability was limited to one or two animals, usually a cat or a hare, but
occasionally a dog, mouse, crow, rock or bee. Transformation was accomplished
"by being invested with the skin of the creature, by the utterance of magical words,
the making of magical gestures, the wearing of a magical object [amulet], or the
performance of magical ceremonies." These methods appear as motifs in many
cultures. "Distant Time" stories tell of humans becoming animals by doing any of
these things, and shamans continue this practice in several places. Another
common belief which Murray argues is a corollary to zoomorphism is that wounds a
person receives while in the shape of an animal remain on the body after a return to
the human form. Witches saw taking on the form of their particular species as a
way of becoming one with that animal's spirit, as shamans use ritual objects made
of animal parts to communicate with the spirit world.

Jean Buxton examines animal and human identities in the traditional culture of the
Mandari people of southern Sudan in "Animal Identity and Human Peril." For these
people, the physical location where an animal lives relative to the human homestead
and village determines its cultural and spiritual status. Like many Westerners, the
Mandari draw a sharp line between the animals of the home (dogs and other
domesticated animals), the animals of the village (cattle and other farmed animals),
and animals of the three tiers of the wild, separated according to distance from the
village.

The Favicon, an Untapped Image Promotion Trick - Animated Favicons?

A favicon is that little image that most browsers display on the address line and in the favorites (bookmarks) menu. Tabbed browsers like Firefox and Opera extend the functionality of favicons, adding them to their tabs. The name was coined based on Internet Explorer (the first browser to support it) and derives from "Favorites Icon". Each web browser has a unique user interface, and as a result uses the favicon in different ways. The favicon allows a company to further promote its identity and image by displaying a logo, a graphical message, etc. Often, the favicon reflects the look and feel of the web site or the organization's logo.

A traditional favicon is actually a Microsoft Windows ICO file. An ICO file is actually a repository of bitmap like images. They are used because in some locations a 16x16 pixel image is desired, and sometimes a 32x32 image may be needed. Sometimes a 16 color image is desired, and sometimes a 256 color icon is desired.

You probably already knew all of the above.

But did you know that Firefox can display animated favicons? If you don't believe me, open Firefox and go to my site, bsleek.com (there should be a link at the bottom of the article). if you don't have Firefox, download it, it's a "must have" and you will quickly fall in love with the simplicity and convenience of tabbed browsing. Even if you are not a designer but just a site owner, in today's environment you absolutely must know how your site looks in all browsers. You would think that all websites should look the same, but as browsers become more diverse and more sophisticated, standards are not respected and things can get messy. For example, I just discovered that a few pages on my site don't look as expected in the latest version of Opera and need to be adjusted.

Ok, I hope by now you saw my animated favicon in Firefox and came back to the article to learn more about it...

The main reason why you can see animated favicons in Firefox is because Firefox abolished the proprietary ICO format in favor of the ability to display any supported image format in the favicon location, including BMP, JPG, GIF, PNG and... animated GIFs.

So now you know the big secret, the animated favicon is nothing but a tiny animated GIF.

Here's a very neat trick, that can actually be used to visualize how any image looks like as a 16x16 pixel icon - once you start designing one of those, you will realize that it is extremely hard to produce a legible image on a 16 square pixels canvas:

Find any page with any graphic that you are interested in. Right click the image and chose "View Image" from the dialog. A blank page should display with your chosen image and surprise: you can see a miniature 16x16 copy of the image as a favicon! Uhh... do I have to mention again that we are doing all this in Firefox?

A hacker's mind will immediately think of how great it would be to use this feature as a conversion tool. Unfortunately, unlike Internet Explorer and Opera, Firefox doesn't store FavIcons in .ico files, the icons are stored in an encoded format directly in the bookmark file.

You can apply the same principle to animated GIFs and you will notice that a miniature version of the animation also plays in the address bar and on the tabs.

Perhaps one of the main reasons why you don't see that many sites using animations is browser compatibility. Animated favicons are not treated at all by Internet Explorer. A static image will not be extracted from the animation either. Instead, the default .htm icon (as defined in Windows' filetypes) will be placed under one's Favorites - once added, that is. The animations are not supported by Netscape, Opera, Konqueror, Safari; at least so it seems at the time of this writing. The Firefox family seems to be the only friend to animations, yet as browsers evolve, broader support for animation will probably come along (or, the concept will die).

So, why not take advantage of this *now* and 'beat the rush'?

Basically, this is how it's done:

1. You make a 16x16 animated GIF.

2. You upload the animated GIF to the "root" of your site, or to any other location.

3. You hardcode in your page the location where Firefox should look for the animation.

That's really it, "big picture" wise.

If you don't feel too creative or just don't have time and/or patience, a reputable professional design firm (such as Bsleek) should be able to make a nice animated favicon for you. Another option - I don't endorse it, as your goal should be to excel through unique content and push your own image out there - is to find one of the many galleries online and either download a ready made animated favicon or take a large animated GIF and resize it and/or edit it in one of the many available tools. There also are sites that offer online animated favicon creation from a standard image (check out chami.com, find "FavIcon from pics", they have a simple but neat scrolling text feature).

Modern American Animation

This article describes the history of animation in the United States of America since the late 80's until the early twenty-first century. This period is often called the renaissance of American animation, during which many large American entertainment companies reform and reinvigorate its animation department after the decline suffered in the 60, 70 and 80.

From 1988 to the present

Disney's return

In the mid 80's, the American animation industry fell into disgrace. Toy commercials masquerading as entertainment programs cartoons dominated the evening and the morning of Saturday, and the only experiment was carried out by independent developers. Even animated films were projected in theaters at times, but the glory of the old days was gone. Even the animation giant Disney, which had fought a corporate acquisition in the 80's, was considering abandoning the production of animated feature films.

Both the enthusiastic audience, critics, and the animators were taken by surprise when the long-awaited renaissance of animation began in the oldest and most conservative corporation, Disney.

Disney had a drastic change in the 80, its new chief Michael Eisner the company relocated to his feet, returning to its roots and revitalizing their studies. With great fanfare, in 1988 the study worked with Steven Spielberg to produce the animated film Who Framed Roger Rabbit, directed by Robert Zemeckis. The film was a success, and gave to the animation industry awaited push for that time. Roger Rabbit not only earned him a pile of money for Disney, but also sparked the popularity of the classic animation that continues to this day. The history of animation suddenly became an object of study (and their fans). Several directors, business legend, such as Chuck Jones and Friz Freleng were suddenly in the spotlight, being acclaimed after decades of being virtually ignored by audiences and industry professionals.

Disney continued the success of Who Framed Roger Rabbit? with "The Little Mermaid", the first of a series of animated films that seemed to recapture the magic of the golden age of Walt Disney himself. The studio invested heavily in new technology of computer animation for such purposes, but could do super-productions like "Beauty and the Beast" and "Aladdin," which attracted audiences that were not seen in decades, and Once provided a visual feast that has not been exceeded since the 40. The peak of the hit Disney was in 1994 when his film "The Lion King" exceeded all expectations of the study to become one of the most successful of all time. Even later Disney films as "Pocahontas," "The Hunchback of Notre Dame", "Hercules," "Mulan" and "Tarzan" was blockbusters.

Disney has also made inroads into the neglected area of the animated TV series. With the success of shows like "The New Adventures of Winnie the Pooh", "The Adventures of the Gummi Bears Disney" and "Duck adventures", the "new" Disney made his mark in TV pictures. Through association and repetition, Disney can provide high quality animation for TV. A series of large diffusion was conducted in mid-nineties, with some critics designating "Gargoyles" as the Disney animation project for TV's most ambitious and best done artistically. The soundtracks of each of these animated films were an important part of its success, because Disney was including in each of these projects a loud voice from the world of music, such as Elton John (The Lion King), Luis Miguel (The Hunchback of Notre Dame), Ricky Martin (Hercules), Christina Aguilera (Mulan), Celine Dion (Beauty and the Beast), Ricardo Montaner (Aladin), Jon Secada (Pocahontas), among others.

Spielberg and animation

Spielberg and Bluth

While Disney gave new life to animation, Steven Spielberg was making his own way. Animation amateur life, Spielberg was also interested in making high quality animation, and worked with his rival, Don Bluth animation producer to produce "Fievel and the New World." The box office success of this and Bluth's next film, "In The Land", Hollywood made him realize that Disney did not hold a monopoly on animated features. The other Hollywood studios resumed production of its own animated features, but still falling into the trap of trying to imitate Disney's 1997 film Don Bluth, "Anastasia", produced by Fox, is mentioned as the one launched the Fox Animation Studios and Disney's rival, however, these studies failed to succeed after "Anastasia" and closed in 1999. Like most successful productions of Disney, "Anastasia" was attended by Thalia, who played the central theme of the soundtrack in its versions in Spanish, English and Portuguese.

Spielberg and Warner Bros.

Spielberg, meanwhile, switched to TV and worked with animation studio Warner Bros. to produce "The Tiny Toon Adventures," a high quality animated series that paid homage to the great cartoons of Termite Terrace. "The Tiny Toon Adventures" had a good rating thanks to its young viewers, which inspired the Warner Bros to resurrect his dying animation studio and once again a contender in the field of animation. The Tiny Toon Steven Spielberg were continued by presenting "Animaniacs" and "Pinky and the Brain". The latter not only attracted new viewers to Warner Bros., but also captured the attention of viewers adolescents and adults.

Bakshi's return

Ralph Bakshi, director of innovative animated films like "Fritz the Cat" and original "Lord of the Rings", returned to animation after making a brief stop in the mid 80's. In 1985, he teamed up with the young Canadian animator John Kricfalusi and the legendary British band "The Rolling Stones" to make an animated music video for "The Harlem Shuffle", which was completed in early 1986. Although the music video did not talk much, he built a production team "Bakshi Animation" project continued with the short-lived but well received, "The New Adventures of Mighty Mouse." Bakshi & Co, worked on numerous projects at the end of the 80, but the biggest project was "Cool World: a blonde between two worlds", which premiered in 1992. The production got out of hand and ended up being severely criticized and forgotten by almost everyone.

Humans Are Animals But Animals Are Not Human

Introduction:

It seems that there is a lack of understanding and more than a few misconceptions when it comes to the subject of animals. This article will discuss some of these misconceptions and the realizations that we need to make if we are to avoid deaths and animal attacks. The problem seems to lie in our misconceptions that animals are driven by emotions rather than by pure survival instincts. This causes us to attribute an animal attack to the human emotion of anger or revenge. I know that all people do not hold these misconceptions, which would be presumptuous. What I am saying is that a majority of people do, simply based upon the evidence. The evidence I refer to includes television shows on Discovery, Animal Planet, TNT, etc. It also includes the news media, and even Academia. Again, some shows are guiltier than others, but the fallacies range from the small to the absurd.

The main point the reader needs to take from this article is that animals are animals, driven by basic instincts necessary for their survival. They do not feel anger, jealousy, love, or plot revenge. Although some animals may contain the capacity for these emotions, I doubt those senses are as highly developed or reasoned through as ours seem to be. So, when we attempt to attribute human emotions to animal motivations we are making a silly mistake. We need only try to look at the situation from the animal's point of view. This shouldn't be hard, because we have the ability to reason. We need only attempt to return to a state of mind that we haven't had since we rubbed sticks together and drew on cave walls.

The Main Issues:

The tree hugger is as much to blame as the hunter. When a nature lover is attacked brutally by an animal and survives they usually make the statement; "It didn't know what it was doing". This is not true. The animal knew full well what it was doing. They would also make the claim that they should not have put themselves in that situation. That statement actually is true, to an extent. When we venture out into nature we cannot expect that we will not be attacked by a wild animal. What we must expect is that there is a possibility, and we must accept responsibility for this if we are going into the woods anyways.

Animals are finding their natural lands threatened by housing developments, businesses, and other activities that bring human beings into areas where animals used to roam. Their territory is shrinking. So, when we go out into the woods than it is our responsibility. If a person enters the forest for any reason, and is attacked by an animal, whatever the reason; it's their fault. Why? Because they know in the back of their mind that it is a possibility. If you go into the woods with your children and they are attacked, then it is the parent's fault. Why? Because they knew it was a possibility. You have every right to take the risk, but when and if something bad happens, you can't blame the animal.

There are people out there who believe that animals are of no consequence. The only thing that matters in this world is the human race. If an animal is hit by a car, shot, or killed by anything other than natural means; so what. This is a very ignorant viewpoint to have for one reason. We live in a world that is governed by balance. One thing affects another and if one species disappears it will affect other species. Sometimes it can be in a good way for that species and sometimes it can be in a bad way. If all predatory birds were to go extinct than it would be great for rodents. It would not be so good for whatever the rodents feed upon and it most certainly would not be good for us. Granted some species can go extinct without greatly upsetting the balance of things. It's when multiple extinctions occur that a major problem will arise. These individuals that do not hold animals in high regard, when attacked by animals, usually are quick to anger. That animal attacked me and therefore must die! I doubt that they would even consider the possibility that they bore any responsibility whatsoever for entering the woods that day. The bottom line is that if people enter the woods, we must be aware of the dangers. This goes for any natural environment that we consciously enter, knowing full well that we could be attacked by a bear or a shark.

I will never forget an episode of Worlds Most Amazing Video or maybe it was the Most Extreme, where an elephant was rampaging through the streets of Mexico. If I remember correctly, this elephant was performing in a circus, turned on its trainer (killing him), and then began running through the streets. This elephant ended up being shot to death in the street. I had no problem with that, it was clear the animal had to be taken down. What I did have a problem with was the statement made by the bonehead commentator of the show. He stated, "This is a tragic event, but let's not forget why this was necessary." That may not be his statement word for word, but the point is clear. The elephant had to die because it was a rampaging monster! How ignorant is that? In my opinion that was an extremely ignorant statement that had me cursing out loud at my television set. It is true that the elephant did kill his trainer. It is also true that the elephant was out of control. Why are these the only valid points? Did anyone stop to think that the elephant should not have been there in the first place? Elephants do not belong in circuses and they do not belong in zoos. The only purpose a zoo should serve is to rehabilitate injured animals or to shelter animals that are endangered.

Animal Hoarding - A Serious Threat

We may know of a "dog lady" down the street who hides away the animals she "saves". We turn a blind eye and perhaps think - what harm can it do? We may even think of her as a kind person. But if she is an animal hoarder she can not only harm - she can kill, maim, and cause unspeakable torture for generations of helpless animals. Even purebreds are not immune, for the animal hoarder may also be a breeder. Animal hoarding is far more prevalent than most people realize. Up to 2,000 cases of animal hoarding are discovered in the United States every year - which adds up to the suffering of many thousands of animals - and that may only be the tip of the iceberg.

According to HARC, the Tufts University Veterinary Medical School Hoarding of Animals Research Consortium, animal hoarding, previously known as collecting, is a poorly understood phenomenon which transcends simply owning or caring for more than the typical number of pets, and affects every community in the US. It has serious consequences for people, animals, and communities. New cases are reported in the media each day, with dozens of others unreported, and still more undetected. Animal hoarding is a community problem. It is cruel to animals, can devastate families, be associated with elder abuse, child abuse, and self-neglect, and be costly for municipalities to resolve. Without appropriate post-intervention treatment, recidivism approaches 100%. Increased awareness, leading to more comprehensive long-term interventions, is needed. Animal Hoarding is not about animal sheltering, rescue, or sanctuary, and should not be confused with these legitimate efforts to help animals. It is about satisfying a human need to accumulate animals and control them, and this need supersedes the needs of the animals involved. Animal hoarding is becoming a growing problem since it is becoming more recognized. Animal Hoarding was first identified and researched in 1997 by Dr Gary J Patronek, DVM, Ph.D., and his team through HARC at the Tufts University School of Veterinary Medicine, North Grafton, Massachusetts. Dr Patronek and his associates were the first to use the term animal hoarding and to write a definition of the phrase, thus, an animal hoarder is defined as:

Someone who accumulates a large number of animals, fails to provide even the minimal standards of nutrition, sanitation and veterinary care, and fails to act on the deteriorating condition of the animals (including disease, starvation and even death), or the environment (severe overcrowding, extremely unsanitary conditions) or the negative effect of the collection on their own health and well-being and on that of other household members.

Hoarders can fool you. In public they may appear to be well dressed, productive members of society. They often take great care with their appearance and may present a polished, even superior image which belies the filth and degradation in which they live. Perhaps the most prominent psychological feature of these individuals is that pets (and other possessions) become central to the hoarder's core identity. The hoarder develops a strong need for control, and just the thought of losing an animal can produce an intense grief-like reaction. This may account for the difficulty this causes some observers of hoarders who misunderstand the grief reaction for a real concern for the animal's welfare when, in fact, hoarders are concerned with their own needs and not the condition of the animals at all. One of the main points made by HARC about the disease of animal hoarding is that while hoarders may view themselves as saviors of the animals, they are driven by a need to control. Hoarding is not about loving or saving, it is about power and control- the power to control a helpless creature. Animal hoarding is a form of obsessive compulsive disorder (OCD) - the rationale is that nobody could possibly care for the animal as well as they can, nor, more importantly, love them as much as they do.

It has also been suggested that animal hoarding is a form of passive cruelty. Hoarders typically profess a great love for their animals and yet, by everyone else's standards, the conditions under which the animals live are nothing short of barbaric - homes are usually cluttered and unsanitary with feces all over the house, debris, rats, fleas and other parasites and, in many cases rotting corpses of the very animals that these people profess to love so dearly. Conditions in a lot of these homes are often such that even the Animal Control officers who are ultimately called to deal with these cases have been known to vomit at the sights that greet them when they finally gain access. The stench of rotting debris, of feces and ammonia from pets that do all their 'business' within four walls make it not only a dangerous and unhealthy proposition for these case workers, but also for the residents who live with the animals, and of course the animals thdmselves.

Studies suggest that in hoarding cases, for the most part, there will usually be one person involved, or perhaps a couple. Typically, animal hoarders tend to be female, older and solitary. They concentrate on one or two species of animals and fail to acknowledge the extent of the lack of sanitation and animal suffering. They may also be on disability, retired or unemployed.

Hoarding, by definition, is a condition in which animals are deprived of even minimal standards of care. The consequences of this deprivation vary in each situation, depending on how far it deteriorates until discovered. In some cases, particularly in the early stages, the visible signs of suffering are few - perhaps mild weight loss, poor hair coat, and parasites. Despite whatever physical afflictions do or do not develop, the psychological suffering from intensive confinement will go even more unnoticed. As conditions deteriorate and / or crowding increases, irritating levels of ammonia develop from the accumulated feces and urine, infectious diseases may spread, injuries develop and are not treated, sick animals are ignored, and the early stages of starvation may begin. As conditions spiral downward, animals die from lack of food or water and untreated illness or injury. It is not unusual for dead animals to be found among the living, with some animals cannibalizing the corpses of others. In some cases, this may involve only a few animals, in other cases, homes or farms become literal graveyards, with bodies scattered where they fell.

Animal Totems - Accept the Gifts They Have To Offer You

Imaginary Guides
You can think of your Animal Totems as imaginary guides on your life journey. You might also think of them as Power Animals because each one imparts a special energy, or power, to your life.

By observing how each animal lived, found mates, located food and protected itself, Native Americans were able to define the animal's particular strengths and weaknesses. For example, bears hibernated during the winter, so it was said that they possessed the magic of dreams. They were also formidable foes, so Bear Energy was also about physical power and strength.
It's fascinating to note that different cultures (not just Native Americans) came up with similar interpretations for all individual animals.
Spiritual Energies
Native Americans as well as other cultures used Shamans to help them connect with the Earth around them, and with the power of the animals. Using dreams and visions, these Shamen would connect with the "manitou" of the animals. The manitou of an animal is its primal spiritual energy- wolfness, deerness, foxness...etc.
It was believed that every human being had a particular manitou (or several) which they were especially attuned to. These were their personal animal totems.
They discovered their totems through vision quests, although sometimes the totem made themselves known in other ways. For example, if you were attacked by a wild animal, it was believed that that particular animal totem had chosen you itself.
Physical and Spiritual Qualities
Each animal that exists has several qualities, both physical and spiritual. The qualities in your personal Animal Totems are qualities that you might connect with, feel a deep affinity towards, or simply need more of in your life.
Here are some brief descriptions of the qualities of a few animals. Read carefully. One of them just might be one of your Animal Totems.
Skunk: Self-confidence, self-esteem, self-respect, creative energy, paying attention to intuition and inner knowings
Alligator: Power to survive, keeper of ancient wisdom, clairvoyance
Cat: Magic, mystery, curiosity, independence, healing, unpredictability, inner balance, moving through fears
Frog: Seeing in all directions, physical and emotional cleansing, metamorphosis, creative power
Shark: Peace, solitude, emotional transformation, power of protection
Your Animal Totems instruct and protect you throughout your life's journey. When you discover an animal that speaks strongly to you, an animal you feel you must draw more deeply into your life, try surrounding yourself with images of this animal. This will let the animal know it is welcome in your space.
Finding Your Animal Totems
One way to "meet" one of your Animal Totems is to do a guided visualization (this one is adapted from the book SOULCOLLAGE, by Seena Frost).
Create Sacred Space by using music, a candle, incense, or a smudge stick. Sit quietly and very slowly scan your body, paying particular attention to each of the seven chakras. Then choose one chakra to return to and focus your attention there. Ask the animal who resides there to make its nature known to you. Wait. Listen. Watch.
Remember to be patient. Don't give up. You might not "see" anything the first time you do this.
Sometimes your Animal Totem is nearby, just out of your sight, watching you to see if you're serious about connecting with it. Continue to do this guided visualization until one of your animals makes itself known to you.
During your meditation, when you do "meet" one of your Animal Totems, look it in the eye and remember to greet it with affection and curiosity. Ask it how it's feeling today. Ask it its name.
Remember that this encounter is totally in your imagination; therefore it is in your control. There is nothing to fear.
At some point, move from your body into the body of the animal. Look at yourself from the eyes of this sacred animal and notice what you see. After a while, return to your own body and continue your conversation with it.
Ask your Animal Guide the following questions, so that you can learn more about its meaning for you and its place on your journey:
Who are you?
What do you have to give me?
What do you want from me?
How will I remember what you have taught me?
Be sure to give it ample time to respond, and expect to be surprised!
You might be pleasantly or unpleasantly surprised by an animal that makes itself known to you. Try to accept the animal who wants to be with you rather than forcing a different one to be there.
Trust the process- My Summer of Skunks
It is generally believed that an Animal Totem chooses you, and not vice versa. The animals you love just might be your totems but then again, they might not! The animals which come to you when you are open and accepting are the ones you need to work with. They will have the strengths and weaknesses that you already posses, and they will have lessons for you to learn.
A few years ago, I was continually seeing skunks in our front yard, even in broad daylight. This is highly unusual skunk behavior, I assure you! A few times I also glimpsed a white skunk with a black stripe!
Later, I learned that skunks are really about self-respect, self-esteem, and inner protection through intuition. And I was seeing them at a season of my life when I felt completely powerless and unprotected regarding some difficult family situations which directly affected my self-respect and self-esteem.
Coincidence? I think not! I haven't seen them brazenly walk across my front yard since that summer several years ago. I believe that Skunk had a message for me that year, and I believe that if I need him again, he will be there.
Honor Your Animal Guides with SoulCollage®
SoulCollage® is a personal growth tool that is a mystical magical blend of intuitive art and imaginative play. It was created by Seena Frost in 1989 as she worked with clients in her therapy practice in California.
One of the suits in the SoulCollage® deck is Companions, where you can create unique collaged cards to honor your special animal guides. Making a card like this, and working with it within the SoulCollage® process is an excellent way to honor these special animal energies, and to get to know your animal totems in a creative, imaginative way.

Anne Marie Bennett is a freelance writer and self-taught artist who enjoys playing with mixed-media collage, and all forms of color and words. She has a BS degree in Education from Southern Connecticut State University and has taught children, teens and adults throughout the East Coast. She is a breast cancer survivor and feels closest to her own soul when she is writing, creating art, teaching, and sharing the gift of SoulCollage® with others. She lives in Beverly with her husband Jeff and two highly cherished (and spoiled) feline companions named Sasha and Scooter. Please visit her website http://www.kaleidosoul.com for more information on animal totems, and to learn how to make SoulCollage® cards, a unique way to honor your animal totems.

No Animals Were Harmed - All About Animal Actors

ANIMAL ACTORS: Interview with Sandi Buck, American Humane, Certified Animal Safety Representative

Q: What is the American Humane Film & TV Unit?

A: American Humane (AH) Film & TV Unit is based in Los Angeles and we monitor the use of animals in media. American Humane is a national organization with headquarters based in Denver, Colorado. I'm one of the Certified Animal Safety Representatives who go on set and monitor the use of animals in film and television. We award the "No Animals Were Harmed® in the Making of this Movie" disclaimer seen at the end of the credits in a movie.

Q: How did the American Film & TV Unit start?

A: Back in 1926, AH set up a committee to investigate abuses of animals in the movie industry. At that time, horses were the most at-risk animal actors. But, then, as now, animals have no inherent legal rights, so we couldn't mandate the safety of the animal actors. In 1939, for the film "Jesse James," a horse and rider were sent hurling over a 70-foot cliff into a raging river for an action shot. The stuntman was fine, but the horse's back was broken in the fall and it died. Outrage over this sparked a new relationship between AH and some motion picture directors and producers and caused the Hays Office to include humane treatment of animals in the Motion Picture Code. The following year, AH received authorization to monitor the production of movies using animals. We worked on set for quite a while after that until the Hays Office was disbanded in 1966, ending our jurisdiction and excluding us from sets. This was a pretty dismal time for animal actors who were being used in some brutal ways. Then, in the early 1980s, another incident caused another public outcry and American Humane was added to the agreement with SAG that mandated that union films contact us if they were using animals. This agreement now includes any filmed media form, including television, commercials, direct-to-video projects, and music videos. A more detailed history is on our website. Right now, we monitor about 900 films a year, maybe more. That's not counting commercials.

Q: Did you say animal actors no have legal rights?

A: That's correct. Animals have no "legal" rights in the sense that humans have. But because of our SAG agreement, animal actors in SAG films have "contractual" rights because the AH office must be contacted by productions using animals and an AH Film & TV Unit representative be on set during the filming.

Q: What about nonunion productions?

A: Nonunion productions are not contractually bound to contact us, but we find that a lot of people want us there anyway. I've worked with several productions that say - "We want you here. We want that rating at the end of our film and we want people to know what we had you on set."

Q: So people on set are happy to see you?

A: Generally yes, but sometimes no. Actors always love seeing us there. They look at the AH patches on my jacket and come up to me constantly on set and say - "Oh, you're here for the animals. That's so great, I'm so happy you're here." That's what we want. We want people to look for us, to know we're there, and why we're there. As for production, it depends on their perception of us and if they've worked with us in the past. People we've worked with before love having us there. The ones who haven't worked with us before sometimes think "oh, no, here comes the animal police to patrol us," like I'm going to stand there with my hands on my hips telling them what they can and can't do. It's not like that. We're not there to criticize. We're there to work with filmmakers, not against them. If we see a problem, we'll address it and work it out together. In Florida, for instance, one of the big concerns is heat. During one production, the producer wanted a dog to walk back and forth across the pavement. I told the director there was a problem with this. I already knew he didn't like having me on set, but I told him anyway, "You take off your shoes and walk across that street." He went out to the street, put his hand on the pavement, and said - "Yeah, you're right." He wasn't trying to harm the animal, he just wasn't thinking about the animal, the heat, and the pavement. That's part of the reason we're on set. We don't expect filmmakers to also be animal experts. Even producers who personally don't care about animals usually realize it makes sense for them to have us there. Many people say they won't watch a movie in which they think or have heard that an animal was injured or killed. People look for the AH disclaimer at the end of movies saying - "No Animals Were Harmed® in the Making of this Film."

Q: How do filmmakers get a "No Harm" disclaimer for their movies?

A: The process starts when production contacts our Los Angeles office to let us know that they plan to use animals. We direct them to our Guidelines which are available on the internet and we request their script. We review the script and arrange to come in and observe the animal action to ensure that the conditions in which the animals are working and kept is safe and comfortable. This doesn't cost the union production anything - that's part of the arrangement with the SAG office.