https://ogma.newcastle.edu.au/vital/access/ /manager/Index ${session.getAttribute("locale")} 5 https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:41062 The Lion King was one of the most popular films, derived from Shakespeare’s Hamlet and made readily available for eager eyes transfixed by an age of moving drawings. The film made it to my small families living room on cassette rented from VIDEO EZY. On Friday nights, we had Movie Night, and each of us enjoyed a small bowl of lollies mix. There wasn’t yet a special features section to select, like on the DVD’s shortly adopted as the burgeoning new technology in the 2000s. I had to hold the button down on the VCR to fast-forward through credits, the Elton John songwriting segment, where I finally found it. There was the nine-minute special features of Artists and Animators drawing a full-grown Lion in the studio. Not just drawing, but also articulating the character features they were constructing based on observation. David Attenborough was a weekly influence on the family, talking about nature and lionesses hunting, and my name translates as Lion in Hebrew. I loved Lions. I couldn’t get over two things: 1. People were paid to draw — because I liked doing that at school. 2. They sounded smart like I felt, talking about drawings as if they meant something, capturing intuitive complex social and cultural information about the world. Since then I’ve attempted to investigate, research, and teach that visualising one’s experience that communicates your life-world is a The Elephant’s Leg profound intellectual pursuit. Something deeply connected to storytelling and cultural production.]]> Wed 24 Aug 2022 15:06:59 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:18456 Wed 11 Apr 2018 12:25:39 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:16455 Sat 24 Mar 2018 08:02:16 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:4095 Sat 24 Mar 2018 07:21:05 AEDT ]]>