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After the structuralism period but also the boom of poststructuralist deconstruction, this study aims to explore the functionalityof the models of narrative organization proposed by Formalist andStructuralist theories, by taking contemporary themes as a basis. Thefavored corpora for demonstration: the film Snow White and the Huntsman(2017) – to which we apply the 31 functions developed by Russian folkloristVladimir Propp – and the computer animation Shrek (2012) – consideringthe model of predictability developed by Lithuanian linguist A.J. Greimas. Después del período estructuralista, pero también del apogeode la deconstrucción postestructuralista, este trabajo tiene como objetivoexplorar la operatividad de los modelos de organización narrativapropuestos por el formalismo y el estructuralismo, a partir de temascontemporáneos. Los corpus de análisis son la película Blancanieves y elcazador (2017), en la aplicación de las 31 funciones desarrolladas por el folclorista ruso Vladimir Propp, y la animación digital Shrek (2012), en el modelo de previsibilidad creado por el lingüista lituano A.J. Greimas. Passado o período estruturalista, mas também o apogeuda desconstrução pós-estruturalista, esse trabalho tem por objetivoexplorar a operacionalidade dos modelos de organização narrativapropostos pelo formalismo e pelo estruturalismo, apoiando-se emtemáticas contemporâneas. Os corpora de análise são o filme Branca deNeve e o Caçador (2017), na aplicação das 31 funções desenvolvidas pelofolclorista russo Vladimir Propp, e a animação digital Shrek (2012), nomodelo de previsibilidade elaborado pelo linguista lituano A.J. Greimas.

U ovom radu govorit će se o antidiznilendističkim elementima u stripu i filmu trećeg milenija te će biti predstavljeni uvodom. Nadalje, predstavit će se Walt Disney Pictures i njezin nastanak. U nastavku rada analizirat će se antidiznilendistički elementi u filmovima Začarana i Shrek te u internetskim stripovima. Uz to će se analizirati pjesma Ljubomira Pauzina Čega ima čega nema u smjeru depatetizacije idealiziranog te će se na kraju izvući zaključak i prikazati literaturu i izvore.

Mucins and mucin-like molecules are highly glycosylated, high-molecular-weight cell surface proteins that possess a semi-rigid and highly extended extracellular domain. P-selectin glycoprotein ligand-1 (PSGL-1), a mucin-like glycoprotein, has recently been found to restrict HIV-1 infectivity through virion incorporation that sterically hinders virus particle attachment to target cells. Here, we report the identification of a family of antiviral cellular proteins, named the Surface-Hinged, Rigidly-Extended Killer (SHREK) family of virion inactivators (PSGL-1, CD43, TIM-1, CD34, PODXL1, PODXL2, CD164, MUC1, MUC4, and TMEM123), that share similar structural characteristics with PSGL-1. We demonstrate that SHREK proteins block HIV-1 infectivity by inhibiting virus particle attachment to target cells. In addition, we demonstrate that SHREK proteins are broad-spectrum host antiviral factors that block the infection of diverse viruses such as influenza A. Furthermore, we demonstrate that a subset of SHREKs also blocks the infectivity of a hybrid alphavirus-SARS-CoV-2 virus-like particle. These results suggest that SHREK proteins may be a part of host innate immunity against enveloped viruses.

This analysis deals with the postmodern feminine beauty ideal in the computer-animated film Shrek, and considers the impact this has had on the resultant change of the feminine representation in contemporary film productions and fairy tales. More specifically, the analysis will focus on the representational value of female characters in classic fairy tales, compared with the postmodern revision carried out by gender studies. This approach aims at offering some observations on the changes occurred in the classic framing of feminine roles, considering Fiona, Shrek’s wife, as an example of ‘contemporary princess’., Iperstoria, No 2 (2013): Django Unchained di Quentin Tarantino

1870'li yıllarla birlikte resim alanında adından söz ettirmeye başlayan `postmodernizm`, 80'li yıllarla birlikte sinema alanında etkisini göstermeye başlar. Postmodern sinema anlatısı, bir yandan klasik ve modern anlatı kalıplarını kullanırken, diğer yandan; klasik anlatının klişelerine, izleyiciye evrensel gerçekliği sunma çabasına, modernizmin üst anlatılarına, dünyayı homojen bir mekâna dönüştürme amacına, her şeyin rasyonel akılla anlamlandırılabileceği inancına reddiye olarak doğar. Postmodernizm, diğerlerinin bu amaçlarına; fikirlerin, türlerin, yaşamların çoğulluğu, üst anlatıların ve evrensel gerçeklik idealinin reddi, yüzeysellik, nostalji, şizofreni, belirsizlik gibi özelliklerle cevap verir. Postmodern sinema, teknolojiyle değişen yaşamda kaybolan gerçeklik algısını ve oyuna dönüşen hayatı, metinlerarası ilişkilerle ve farklılaştırıp dönüştürdüğü kahramanlık, zaman ve uzam sunumlarıyla harmanlayarak filmin anlatısını oluşturur. Postmodern anlatı; bu ilkelere bağlılığı ekseninde klasik ve modern anlatı yapısından ayrılarak, anlatı türlerine kattığı yeni özellikler sayesinde izleyicileri alışılmışın dışında alımlama pratikleri geliştirmeye zorlar. Bu çalışmada; postmodern anlatı tarzının ve metinler arası ilişkilerin sanata ve sinemaya olan etkilerini örneklemek için postmodernizm kavramı açıklanmış, 2000'li yıllarla birlikte yükselişe geçen animasyon sinemasında, postmodernizmi yansıtan biçim ve içerik özellikleriyle ilklere imza atan Shrek filmi ve postmodern anlatı öğelerini ve metinlerarasılığı sayıca ve nitelik olarak yoğun bir şekilde kullanan 2018 yapımı Ralph Breaks the Internet filmi örnek olarak seçilmiş ve filmler; imajların derin anlamına ve katmanlı yapısına ulaşabilmek için metin analizi yöntemiyle çözümlenmiştir. Örnek filmler özelinde animasyon sinemasının özellikle son 20 yılda; kahramanlarını, zamanı ve uzamı postmodern anlatının nitelikleri çerçevesinde seçtiği, postmodernizmin; çoğulculuk, oyunsallık, yüzeysellik, şizofreni ve nostalji düşünceleri ile metinlerarasılığın; parodi, pastiş, ironi, kolaj, üstanlatı, çift kodlama ve çok katmanlılık yöntemlerini kullanarak, klasik anlatının klişelerini ve modern anlatının derin ve ciddi yapısını yıkma eğiliminde, `postmodern anlatı` tarzına sahip filmler ürettiği sonucuna ulaşılmıştır. `Postmodernism` which started to be mentioned in the field of art painting in the 1870s, began to show its effects also in the field of cinema in the 80's.While using classic and modern narration patterns, postmodern cinema narration on the other hand emerges as the refusal to the clichés of classical narrative, its effort to present the universal reality to the audience, to the upper narratives of modernism, its purpose of transforming the world into a homogeneous space, the belief that everything can be interpreted by rational reason. Postmodernism addresses these aims of others; the plurality of ideas, species, lives, refusal of superior narratives and the ideal of universal reality, superficiality, nostalgia, schizophrenia, uncertainty. Postmodern cinema creates the narrative of the film by blending the perception of reality lost in the life changing with technology and life transformed into a game with inter-textual relations and heroism, time and space presentations that it differentiates and transforms. Separating from classic and modern narrative structure on the axis of its adherence to these principles, postmodern narration forces audience to develop unusual perception practices thanks to new features it contributes to narration types. In this study; to illustrate the effects of postmodern narrative style and intertextual relations on art and cinema, the concept of postmodernism has been explained, in the animation cinema, which has been on rise in 2000's, the movie Shrek, which broke new ground with the form and content features reflecting postmodernism and 2018 production Ralph Breaks the Internet movie which used postmodern narrative components and intertextuality both in terms of quality and quantity were chosen as samples, and films were analyzed by using text analysis method with the purpose of reaching deep meaning and layered structure of the images. On the basis of sample movies, especially in recent 20 years of animation cinema, it was concluded that heroes, time and space were selected within the framework of the characteristics of the postmodern narrative, postmodernism by using pluralism, playfulness, superficiality, schizophrenia and nostalgia; parody, pastiche, irony, collage, superior narrative, double coding and multilayer methods, movies were produced with `postmodern narration` style with the trend of demolishing cliché of classic narrative and deep and serious structure of modern narrative. 199

Treball Final de Màster Universitari en Professor/a d'Educació Secundària Obligatòria i Batxillerat, Formació Professional i Ensenyaments d'Idiomes. Codi SAP419. Curs: 2018/2019. The considerable growth of new technologies and the Internet has influenced many aspects of people’s daily life. One of those areas that have been greatly affected is the field of education. Due to this development, nowadays teachers and students have at their disposal different types of materials which were previously not so easy to access. Among them, it is worth mentioning authentic audiovisual language materials. The aim of the current Master’s Degree Final Project is to examine the benefits that authentic audiovisual language materials offer to English students. In particular, this project comprehends a practical example of the use of authentic audiovisual materials in the English classroom, focusing on listening and speaking. More precisely, the proposal focuses on the design of a set of activities based on the use of cartoons, specifically the film Shrek, as a supporting tool in the EFL classroom. Shrek (2001) was the film selected because it is popular, it has several action scenes and it is available on different online platforms such as Netflix or Movistar +. Moreover, as it is addressed to young audiences, so the vocabulary is not extremely complex. In order to create a project as clear as possible, the present document has been divided into two parts. The first section corresponds to the theoretical review, where the most relevant aspects will be illustrated, going from the most general to the most specific. Then, the second part comprises the contextualization of the project, the methodology and the data collection. Moreover, after the analysis, the results will be depicted and interpreted, and the final conclusion will be also illustrated. El considerable desarrollo y expansión de internet y las nuevas tecnologías tiene una gran influencia en la vida diaria de las personas. Una de las áreas que ha sido enormemente afectada es el campo de la educación. Debido a este crecimiento, hoy en día profesores y estudiantes tienen a su disposición diferentes tipos de materiales a los que antes no era tan fácil acceder. Entre ellos, conviene mencionar los materiales audiovisuales con lenguaje autentico. El objetivo principal de este Trabajo Final de Máster es estudiar los beneficios que los materiales audiovisuales con lenguaje autentico ofrece a los estudiantes de inglés. En concreto, este proyecto abarca un ejemplo práctico del uso de materiales audiovisuales auténticos en la clase de inglés, enfocado hacia la comprensión y la expresión oral. Más específicamente, esta propuesta se centra en el diseño y creación de un conjunto de actividades basadas en el uso de dibujos animados, concretamente la película Shrek, como herramienta de apoyo en la clase de inglés como lengua extranjera. Shrek (2001) ha sido la película seleccionada porque es conocida, tiene escenas de acción y está disponible en diferentes plataformas online, como por ejemplo Movistar + o Netflix. Además, al estar orientada a un público joven, el vocabulario no es extremadamente complejo. Con el objetivo de crear un proyecto lo más completo posible, el presente documento ha sido dividido en dos secciones. La primera sección se corresponde con el marco teórico, donde los aspectos más relevantes serán ilustrados, desde los más generales a los más específicos. La segunda parte comprende la contextualización del proyecto, la metodología y la recopilación de datos. Además, tras el análisis, los resultados serán representados e interpretados, y las conclusiones finales también serán ilustradas.

Muchas películas de animación parten del cuento de hadas tradicional para construir su relato. Por eso mismo, suelen compartir con él gran parte de su estructura y también estereotipos. La historia de un príncipe apuesto y encantador que va a rescatar a una bella princesa en apuros, por ejemplo, es de lo más frecuente. Varios de estos estereotipos, así como algunas estructuras propias del cuento de hadas también aparecen reflejados en Shrek (Adamson y Jenson, 2001), aunque sorprende ver que aquí estas herramientas se han utilizado como medio para transmitir precisamente un mensaje contrario al de los cuentos. Es interesante, por tanto, realizar un análisis más detenido de esta película para comprobar cuáles son los aspectos del relato que parten del cuento de hadas tradicional, cómo han sido utilizados estos para llegar a un mensaje distinto, así como cuáles de los recursos habituales han sido sustituidos por su opuesto. Universidad de Sevilla. Grado en Comunicación Audiovisual

La película de animación digital Shrek (2001), dirigida por Andrew Adamson y Vicky Jenson, supuso toda una innovación en la industria de la animación cinematográfica. El hecho de recurrir a la estructura típica de los cuentos de hadas para subvertirlos y desmontar toda una serie de tópicos generando una visión paródica de todo este universo es, sin duda, la clave de su éxito. Sin embargo, la principal subversión la encontramos en quien se acaba erigiendo como el héroe de la película: Shrek, un ogro ermitaño que se define a sí mismo como monstruo porque es lo que la sociedad le ha hecho creer. No obstante, la realidad es bien distinta, porque el ogro vive pacíficamente en su ciénaga sin hacer daño a nadie y solo hace uso del papel de monstruo que le han otorgado para divertirse y defenderse de los intrusos. Este personaje se ve empujado a asumir el papel más opuesto a su naturaleza: el de caballero-príncipe que ha de emprender una misión para rescatar a una princesa. A raíz de este cometido, el supuesto monstruo irá asumiendo progresivamente su nuevo rol como héroe, hasta el punto de triunfar allí donde ningún príncipe lo ha conseguido.

In the 21st century alone there have already been released plenty of computer-animated comedy-adventure cartoons that have become blockbusters in a very short time. America-based animation studios, such as the worlds oldest Walt Disney Animation Studios (1934), Pixar Animation Studios, DreamWorks Animation, Blue Sky Studios, or the most-recently established Illumination Entertainment (2007), have all been entertaining not only children themselves, but whole generations of viewers, including those childrens parents (e.g. the author of this article), grandparents, and great grandparents as well. Titles such as Shrek (2001), Ice Age (2002), Finding Nemo (2003), Tire Lion King III - Hakuna Matata (2004), Madagascar (2005), Cars (2006), Rio (2011), Frozen (2013), Minions (2015), The Secret Life o f Pets, or the most-recently released Sing (2016), have already become trendsetters for an entirely new genre of cinematic and home entertainment. In the opening part of the article the author discusses the various reasons for which contemporary comedy-adventure animated films have been so successful in recent years. This analysis is then followed by investigating the ąuestion of whether or not dubbed translations of such cartoons can still be considered faithful; this part of the paper is partly based on the personal views of the most renowned Polish dubbing translator and dialogue writer - Bartosz Wierzbięta. The following section comprises a short discussion of Danuta Buttlers classic publication Polski dowcip językowy (1968), including her list of possible mechanisms of Polish-language verbal humour, which leads to the analysis of a few examples of verbal humour in both English and Polish versions of Shrek (2001). The article concludes with several observations regarding the significant differences that can be traced between the two language versions of this animated film.

Fairy tales as a form of social acculturation can subvert and/or perpetuate potentially harmful social norms. In this essay, Chris Anne Wolfe’s lesbian romance novel Bitter Thorns (1994) and the film Shrek (2001) are analysed as adaptations of the fairy tale Beauty and the Beast, with a focus on the extent to which they challenge and/or reinforce three fairy tale norms: women as tradeable objects, heteronormativity and idealised beauty. Both these texts can be seen as subversive, Bitter Thorns in how it challenges heteronormativity and Shrek in how it challenges the norm of idealised beauty. This subversion, however, is limited, as both texts do more to perpetuate fairy tale norms than to challenge them. They both reinforce the idea of women as objects for trade, Bitter Thorns perpetuates the norm of idealised beauty, and Shrek advocates heteronormative relationships and the dominance of heterosexual masculinity.