At the very least, the following should be nominated or shortlisted this year:
Last year, in addition to Wendell & Wild (the winning entry), the following should have been nominated:
Saw a few posts marking the one-year anniversary of the kiss between Luz Noceda and Amity Blight (aka “Lumity”) in The Owl House season 2 episode “Clouds on the Horizon”. Quite a cultural moment for animation and LGBT representation in mass media, particularly for the Disney behemoth. They fed the fandom with this one.
This moment, among others, netted The Owl House a 2023 nomination for a GLAAD Media Award for Outstanding Kids and Family Programming (Animated), even though it went to Netflix’s Dead End: Paranormal Park. I honestly wish that GLAAD Media Awards would allow for a first, second and third place winner for each category, now that they’ve expanded the nominee list for many categories to ten entries.
But still, Dana Terrace can say that she expanded Disney’s boundaries.
This is a list of past accolades and nominations for animated works at the NAACP Image Awards. The Image Awards have nominated animated works and/or voice-over actors as far back as 1996, when Denzel Washington won an Image Award for Outstanding Performance in a Youth/Children’s Series or Special in the animated anthology series Happily Ever After: Fairy Tales for Every Child. Dora the Explorer was the first animated to receive an award in its own right.
The first animated film to receive a nomination for an Image Award was The Princess and the Frog, with Anika Noni Rose being the first voice-over actor to receive a nomination for work in a film.
Dora the Explorer received the most nominations for Outstanding Children’s Program, while Doc McStuffins received the most wins in this category. Notably, Disney’s The Proud Family franchise received nominations for in five consecutive years and never won.
Starting in 2015, a category was created for outstanding voice-over performances, with Idris Elba becoming the first to win in this category (and the first to win an award for an animated film). Starting in 2021, however, a larger number of categories were created for animation, with Disney’s Soul becoming the first animated film to win an Image Award (namely the inaugural award for Outstanding Animated Motion Picture), and Disney’s Doc McStuffins winning the inaugural Outstanding Animated Series award.
To note, this does not mean that all of the works being nominated have any African-American characters. Some may have Black voice-overs, or even production crew members.
No animated work nominated.
No animated work nominated.
Prior to 2021, a slew of animated works could have been nominated for an Outstanding Animated Motion Picture or Outstanding Animated Series Image Award if either existed. My picks:
With the EGOT status (those who have won an Emmy, Grammy, Oscar and Tony award each) now in the news, it is now time to consider the overlap of EGOT winners and nominees with another distinctive award: the Annie Awards, which are perhaps the most public-facing award ceremony for the field of animation. I’m basing this “EGOAT” list off of someone’s edits on the EGOT status article on the English Wikipedia.
The EGOT winners who have also won or been nominated for an Annie are:
EGOT candidates who have received an Annie but have been nominated for one other award are:
Other candidates who have won at least 4/5 awards at least once but have not received a nomination for one other:
The media franchises which have received EGOAT status:
Franchises which have been nominated for all five awards:
Other franchises which have been nominated for 4/5 awards:
I think #ShuuichiNatori’s under-skin lizard should be an augmented reality tattoo. ‘Cuz I’d use it. #NatsumeYuujinchou #anime
Watching “A Chinese Ghost Story: The Tsui Hark Animation”. If anything, it shows that Chinese animation can be as excessive and CGI-abusive as Bollywood. #anime
I just watched Episode 9 (“Name”) of Noragami. I am in tears. “I gave you a person’s name. So live as a person! Live, Yukine!”
I mean, I bawled while watching it with subtitles. The seiyu (voice actor) for Yukine is terrifically contrite. Listening to him confess, words came to mind: “forgiveness”, “reconciliation”, “sincerity”, “repentance”, “wholeness”, “heaving”. I was really feeling that scene.
The original comic took place in Tokyo, but to make it their own, Hall and Williams decided to set the story in a brand new yet familiar city, melding the original locale with a near-future San Francisco. “It’s a very high-tech city that blends Eastern and Western culture, so we wanted it to be a mashup, just like the movie is a mashup between Disney and Marvel,” says Hall.
The resulting animated metropolis—which truly is its own character in the film, although people say that a lot—is a celebration of futuristic urban life and the high-tech culture that drives its residents. And it’s brought to life thanks to several new animation technologies developed in-house by Disney itself.
via A Tour of ‘San Fransokyo,’ the Hybrid City Disney Built for Big Hero 6.
I’m rather enamored of the trailers, and the city looks freaking amazing so far. I want to see it.
To date, I have not heard of anyn African-American-oriented television network (BET, Bounce, Aspire, TV One, or Song of the South) having a children’s television block.
I find it rather sad that there is a dearth of African-American lead characters in children’s, teen’s or YA television, or at lest not enough to fill a morning or afternoon block on these television channels, particularly because of a lack of presence for characters to which young African-Americans can relate, or be inspired, or find character narratives which they can follow with avid interest.
But really, if television channels which talk of catering to an African-American audience are not building a gallery of titles aimed toward children within this mandate, then what room does any person have to bemoan the state of self-esteem among African-American youth, or of education, or of culture?
So I’m posting this list to raise awareness of television series which should be considered for inclusion in any of these channels’ hypothetical, nonexistent children’s/teen’s blocks:
And heck, I’ll even throw in an import from South Africa: URBO: The Adventures of Pax Afrika, as well as an obscure, realistic-without-being-offensive web series titled Blokhedz.
I purposefully exclude the following:
After those are excluded, one has too look through much of the post-1970 history of animated and live-action children’s television just to find such shows as listed above. Maybe those who take the depiction of African-American lead characters seriously might use the above viewing list as a starting point.
This, and the reactions. (NSFW)
I hypothesize that the kerfuffle over humbuged’s eliciting of payment for an SWF file arises out of a combination of the following factors (and the unacknowledgement of such factors):
Thus, humbuged may be going against the grain or trend of such archives by advertising previews of his already-created for-pay works through his FA account, but it doesn’t necessarily mean that his still-art works or still flash previews can’t stand alone as being "good enough for freeview". As noted in the comments, animation requires a bit more – or a bit different – expertise compared to the creation of still art, and thus entitles the creators of these works to the levying of additional financial barriers to access until easier, less personally-intensive means of animation can be delivered to the public.
I wonder, however, if FA has a policy regarding pay-based archive sites and the proper means of promotion through user accounts? It may clarify what would be in good taste of financial gain through such a business model, especially for something like user-created animation.
