Final Assignment for December 16

As we prepare to wrap up our final class session there are just a few items that you’ll need to submit to complete the semester.

You must bring the following to class on the 16th (if you have not done so already):
– Your final poster, ready for presentation,
– Your research journal, including all assignments (handwritten or printed-out), notes on readings, and your independent research conducted for the poster.

You must submit the following as OpenLab posts (if you have not done so already):
– Your bibliography,
– Images of your poster; these can be in a PDF, a link, or snapshots of the assembled poster,
– Any missing assignments for the semester (the Assignments Page serves as a checklist).

Looking forward to our second round of presentations. Please be on time, ready to engage with your peers’ presentations, and let me know if you have any questions in the meantime.

Dennis Ulloa Final Bibliography




(Modern Language Assoc.)

Works Cited

Miller, Cyndee. “Disney Launches Huge Ethnic Campaign for Aladdin.” Marketing News, vol. 27, no. 2, Jan. 1993, p. 12. EBSCOhost,


Works Cited


Works Cited

Zorthian, Julia. “Disney Directors Just Confirmed This Popular Aladdin Fan Theory.” Time.Com, Oct. 2015, p. N.PAG. EBSCOhost,

Works Cited

Munk, Nina. “Disney’s Magic Lamp.” Forbes, vol. 152, Nov. 1993, pp. 42–43. EBSCOhost,

Bergren, Joe. “’Aladdin’: 25 Things You Didn’t Know About the 1992 Animated Classic!” Entertainment Tonight, Entertainment Tonight, 22 Nov. 2017,


Beauty and the beast

Works Cited

Smith, Katherine E. “‘It’s a Pity and a Sin’: Images of Disability, Trauma and Subverted Power in Disney’s Beauty and the Beast.” Word & Text: A Journal of Literary Studies & Linguistics, vol. 8, Dec. 2018, pp. 111–128. EBSCOhost,

Works Cited

ROMANELLO, LINDA. “Beautiful! Beauty and the Beast: A Disney Classic, Reimagined in Live Action.” Computer Graphics World, vol. 40, no. 2, Mar. 2017, p. 32. EBSCOhost,

Works Cited

Breznican, Anthony. “REBEL BELLE. (Cover Story).” Entertainment Weekly, no. 1454/1455, Feb. 2017, p. 24. EBSCOhost,

Works Cited

Swan, Susan Z. “Gothic Drama in Disney’s Beauty and the Beast: Subverting Traditional Romance by Transcending the Animal-Human Paradox.” Critical Studies in Mass Communication, vol. 16, no. 3, Sept. 1999, p. 350. EBSCOhost, doi:10.1080/15295039909367100.

Vox. (2019). Is Beauty and the Beast “a tale as old as Stockholm syndrome”? Depends how you read it.. [online] Available at: [Accessed 9 Dec. 2019].


Inkbot Design. (2019). History Of The Disney Logo Design And Branding Evolution. [online] Available at: [Accessed 9 Dec. 2019].



Rana Abdelnaby “Final Bibliography”

Futuristic Movement as the Major Theory of the Readings

The major concept outlined in graphic design and art is concerned with the futuristic movement. The futuristic movement concentrates on associating natural beauty and humanity (Lissitzky 30). In the past 40 years, an artist influenced by Moholy-Nagy’s is Peter Halley’s Neo-Geo paintings in 1962 (Art Work Story np.). The development of the telephone painting prefigured an entire range of modern art which was inclusive of Warhols factory-produced screen paint, minimalists’ serial works. One of Halley’s artworks depicting futuristic movement is Red Cells with a Conduit Of 1962. The painting portrays the geometrical formation through symmetrical aspects by use of colored lines intersecting at a right angle.

The artist uses innovative avant-garde in the manner of social-artistic as it had materialized as a motivation to involve the artist in the promotion and development of graphic designs. Alexander Rodchenko, El Lissitzky and Moholy-Nagy and Victor Margolin had examined the engagement and changing the relationship between the social ideal along with political realities they confront. This is seen in Halley’s painting of Red Cells with a Conduit. Additionally, Halley’s painting could be explained through the concepts of David Harvey on the heterotopia in which the art can be described in terms of spaces and places. In this perspective, Halley represented his work in terms of spaces and places to define his mean theme in the red cell painting. For example, he created spaces (topia) that were used in the development of interior cell and the conduit section. The spaces could be classified based on the uniformity of the cells such as isotopia or heterotopia for the conduit section because of uniformity (Harvey no pages).  Hence, it becomes easy to understand the paintings and why it has varying subsections.

Finally, Halley employs the same tactic as Moholy-Nagy where this picture displays asymmetrical formed by the two vertical black lines (Moholy-Nagy. The typography of the painting is red in the background and a horizontal line near the bottom that contains the two symmetrical short black borders that reaches the middle of the painting (Art Work Story np.). according to  typography in a picture creates a new design and look that audience can interpret in a new tempo as is created through paint, brush rather than use of technology (Moholy-Nagy 34; Rodchenko 23). However, this art is not per Barthes indication that required iconic message and linguistic signs. Yet, the picture takes underground mainstream as it evolved that helps the views have a sense of sight and touch (Heller 101). Also, in the movement of Neo-Geo, Halley referred to Jean Baudrillard in the aspiration of hyper realization as it was a realm of progressivism to assign the value of reality to the society.




Work cited

Art Work Story. “Artworks and Artists Of Neo-Geo.” N.d. Web

ART. “Neo-Geo – History and Concepts.” ArtWorkStory. Nd. Web

Barthes, Roland. Rhetoric of the Image. na, 1993.

Borevitz, Brad. “Super-Abstract: Software Art and a Redefinition of Abstraction.” read_me: Software Art & Cultures. Arhus, Denmark, University of Aarhus (2004): 298-312.

Halley, Peter, et al. Peter Halley: maintain speed. Distributed Art Pub Inc, 2000.

Halley, Peter. Peter Halley – Paintings from the 1980s. Conference Publication. 2017. Print.

Harriet K. Stratis, Salvesen Britt. The broad spectrum: Studies in the materials, techniques and conservation of color on paper. Archetype Publications, London, UK (2002).

Harvey, David. Spaces of hope. Vol. 7. Univ of California Press, 2000.

Heller, Stephen. “The Underground Mainstream Steven Heller “ Interview: Steven Heller” 2007”

Kemp, Virginia Millner. “Theoretical Concerns In the Geometric Abstractions of Peter Halley.” (2009).

Lee, Patricia. Sturtevant: Warhol Marilyn. MIT Press, 2016.

Lissitzky, El. “Our Book.”.” Sophie Lissitzky-Küppers. El Lissitzky: Life Letters Texts. London: Thames and Hudson (1967).

Moholy-Nagy, László. “Typofoto.” Malerei, fotografie, film 8 (1925).

Prince, Mark. “Adventures of the Black Square.” Art Monthly 384 (2015): 22.

Rodchenko, Aleksandr, Varvara Stepanova, and Aleksei Gan. “Who We Are: Manifesto of the Constructivist Group.” Aleksandr Rodchenko: Experiments for the Future. Edited by Alexander N. Lavrentiev. New York: Museum of Modern Art (2005): 143-145.

Şener, Fatma, and Meltem Erdoğan. “Global Journal on Humanities & Social Sciences.” (2016).

Wallis, Brian, et al. Art after modernism: Rethinking representation. The New Museum of Contemporary Art, 1984.