1 10 24 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/2eb693240be6a29393beb1b9a1fcf325.jpg 49d1f502dbc770c979e4a94950ae0b08 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/be8e23eefea46f062f44ce5b4a04fb8a.jpg 120569246323f652ccd83c834f7ea7c6 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/9a34f9c5c548f8d8c3a2ca2fd88050a1.jpg 8f4d6d4bf45d2008033a31fd6397be5c https://humanities-research.exeter.ac.uk/archivalencounters/files/original/d80ac79cd6240e3ef483dc1e5f29470e.jpg 93d6c8a0d8d5ed5b40924d75fd861506 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film and TV Merchandise: Toys Description An account of the resource A collection of toys and games produced to tie-in with film and television productions and stars Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dracula – A Toy Theatre Subject The topic of the resource Theatre Description An account of the resource “Dracula – A Toy Theatre” (BDCM, 32507) is a large paper book designed with the intention that the illustrated elements would be cut out and assembled into a paper facsimile of a Dracula stage adaptation. The first few pages include some background on the illustrator, Edward Gorey, and his work on the 1977 Dracula play, which the toy theatre is based on, as well as instructions on how to assemble the toy and a simplified version of the play’s plot which can be acted out on the three sets the toy forms. The book also includes props and character pictures that can be made into puppets rather than just the sets. As clarified in a description on the title page of the book, the toy theatre is based on the 1977 run of the Dracula stage play, which was held at the Martin Beck Theatre in New York from October 1977 to January 1980. Edward Gorey, the designer and illustrator of the book, was the costume and set designer for the play and won a Tony Award for his costumes. This particular iteration of the play was based on the script by Hamilton Dean and later edited by John L. Balderston in 1927, whose Broadway run starred Bela Lugosi, the archetypal Dracula. Charles Selber, who is also the publisher, suggested the idea of turning Gorey’s designs into the toy theatre. Iterations of this book are still in production today and are one of over a hundred of Gorey’s own published works. This item's presence in the archive raises an interesting question about the influence of film. On its home page, the Bill Douglas Cinema Museum describes itself as “home to one of the largest collections of material relating to the moving image in Britain” (Bill Douglas Cinema Museum, 2017) and yet the Dracula Toy Theatre is based on a stage play whose script was written before any Dracula film. The 1927 Broadway run starring Lugosi eventually inspired Tod Browning’s 1931 film, but despite both being loosely adapted from the same script, the 1931 film and the toy theatre have minimal relation. The main identifier of the toy theatre as an item “relating to the moving image” is its connection to the filmic persona of Dracula as a whole. The figure of Dracula that is stereotypically thought of is primarily based on the imagery and syntax developed in Bela Lugosi’s version of the character. As Tim Kane puts it, “all subsequent movies would, to one degree or another, look back upon this film for inspiration” (Kane, 22). The dramatic use of Dracula’s cape to drape over victims, his look as “deathly pale with full dark lips” (Kane, 24) and even the accident that would become synonymous with the character all originated with Lugosi; the accident being due to the fact that Lugosi had to learn his lines phonetically as he was a non-native English speaker. In terms of how Dracula is thought of, he is undoubtedly film’s creation, so despite no direct relation between the toy theatre and any film, it can still be considered an item relating to the moving image since it employs that same imagery in its sets and puppet designs. One could argue for a more direct connection due to both products, the 1931 film and the toy theatre, being based on plays which use Hamilton Dean’s script, but since they have different casts, directors, and designers and were held fifty years apart, the connection still does not seem very strong. The decision to create a toy theatre of the 1977 Dracula stage play is rooted in the play's historical setting. The play is set during the Victorian era (sometime between 1837 and 1901) when toy theatres were popular souvenirs. In her review of George Speaight’s The History of the English Toy Theatre, Suzanne Rahn describes how this “nineteenth-century pastime” consisted of “printed sheets of characters, props, and scenery for each production; [that were] available in both ‘penny plain’ and ‘twopence coloured’ versions, along with specially adapted scripts” (Rahn, 113) much like our contemporary Dracula Toy Theatre. These toys were mostly based on real productions and often in collaboration with the theatre companies themselves as a type of memorabilia. Evolving from several similar kinds of items, such as full-length actor portraits and cut-out character storybooks, which resulted in the creation of the toy theatre around 1835, though they were initially “intended for adult fans” (Rahn, 114). The choice to recreate this particular style of toy seems to act as a further step toward immersion in the world of the play, as I could not find evidence that this style of toy came back into fashion in the 1970’s or since. This recreation of an example of pre-cinema visual culture relates it to other items in the Bill Douglas Museum and Archive. The museum contains many examples of similar items, such as the ‘Toy Shadow Theatre: Theatre d’Ombres’, a type of theatre toy model made of paper and cardboard. However, the aspects of the toy which are meant to be enjoyable differ between toy theatres and shadow theatres. While both are recreations of a theatre meant to help recreate plays with sets and characters, a part of the toy theatre’s appeal comes from its creative aspect, the ability to assemble it. In contrast, the shadow theatre is created by an artist, and the stage would be almost fully assembled when purchased. Rahn analyses this by saying, “The ‘sport’ of the toy theatre combined occupation for the hands as the child coloured, cut out, and mounted the paper figures and scenery, with an invitation to the imagination to invent stories around them or to visualize an ideal performance play” (Rahn, 123) suggesting appeal of the toy theatre was two-fold as both its construction and its use in play acted as a creative stimulus in different fashions. The emphasis on construction also suggests that this style of toy is intended for an older child as it requires a certain level of coordination and dexterity to cut out and assemble the items from the book, not to mention the need for possibly dangerous tools like scissors. The Dracula Toy Theatre itself is copyrighted under the Berne Convention, which “stipulates that member countries must provide certain minimum protections for authors and recognize the rights of foreign creators, thus facilitating the international exchange of creative works.” (Generis Global, 2024) This is particularly important regarding this item since it exists as a result of an adapted play. Hamilton Dean, who wrote the script for the play, and Bram Stoker, who wrote the original novel, were both Irish, and neither’s work was out of copyright when this book was first published in 1978. Edward Gorey was American, and the production of the play he worked on was also American, making the creation of this version of the play, and therefore, the book based on it, an international collaboration. Bibliography: “Dracula (Broadway, al Hirschfeld Theatre, 1977).” Playbill, 2024, playbill.com/production/dracula-martin-beck-theatre-vault-0000008232./ Accessed 12 Dec. 2024. “Dracula: A Toy Theatre. The Sets and Costumes of the Broadway Production of the Play Designed by Edward Gorey - the Bill Douglas Cinema Museum.” Bdcmuseum.org.uk, 2024, www.bdcmuseum.org.uk/explore/item/32507/. Accessed 11 Dec. 2024. “Edward Gorey Biography.” The Edward Gorey House, www.edwardgoreyhouse.org/pages/edward-gorey-biography./ Accessed 12 Dec. 2024. Generis Legal Intelligence. “Understanding Copyright Protection Laws in France.” Generis Global Legal Services, 15 Nov. 2024, generisonline.com/understanding-copyright-protection-laws-in-france/. Accessed 12 Dec. 2024. “Home - the Bill Douglas Cinema Museum.” Bdcmuseum.org.uk, 2017, www.bdcmuseum.org.uk./ Accessed 12 Dec. 2024. Kane, Tim. The Changing Vampire of Film and Television : A Critical Study of the Growth of a Genre. Jefferson, N.C., Mcfarland & Co, 2006. Rahn, Suzanne. “Rediscovering the Toy Theatre—with a Review of George Speaight’s the History of the English Toy Theatre.” The Lion and the Unicorn, vol. 11, no. 2, 1987, pp. 111–127, https://doi.org/10.1353/uni.0.0255. / Accessed 12 Dec. 2024. “Visit the Museum / about the Bill Douglas Cinema Museum - the Bill Douglas Cinema Museum.” Bdcmuseum.org.uk, 2020, www.bdcmuseum.org.uk/visit/about-the-bill-douglas-cinema-museum/. Accessed 12 Dec. 2024. Creator An entity primarily responsible for making the resource Edward Corey Source A related resource from which the described resource is derived Dracula by Bram Stoker, The adapted stage play by 1978 Publisher An entity responsible for making the resource available Charles Scribner’s Sons – New York Date A point or period of time associated with an event in the lifecycle of the resource 1979 Contributor An entity responsible for making contributions to the resource Charles Selber Rights Information about rights held in and over the resource Copyright under the Berne Convention Format The file format, physical medium, or dimensions of the resource Book with images designed to be cut out and assembled Language A language of the resource English Type The nature or genre of the resource Book Identifier An unambiguous reference to the resource within a given context BDCM32507 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Stage plays, Gothic stories Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film and TV Merchandise: Toys Description An account of the resource A collection of toys and games produced to tie-in with film and television productions and stars Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Percy Reeve’s Movy-Dols Subject The topic of the resource Mary Pickford, Elsie Ferguson, Norma Talmadge, Charlie Chaplin Description An account of the resource Percy Reeve’s Movy-Dols depict four different film stars of the silver-screens: Mary Pickford, Elsie Ferguson, Norma Talmadge and Charlie Chaplin. These ‘Dols’ consist of one complete body, with the description of the actor's name, then three different costumes from a variety of different films, an extra head with three out of four of the dolls having a pet alongside them. The ‘Movy-Dols’, show little change from what Field sees to be the inception of Paper Dolls in ‘1809’ (36), describing these initial paper dolls as ‘more aptly referred to dresses that are headed and beheaded, since the clothes wear the heads, rather than the other way around.’ (Field 36). Although, Reeve’s dolls have one complete body, each of the other detached outfits, is an entire body simply missing a head, suggesting that the production of Paper Dolls has progressed little in nearly hundred years since their initial inception. Field describes that ‘[t]he status of the fashion doll, of which the paper doll is one type, as a trend-carrier.’ (40), suggesting that these dolls are utilised to depict current trends, especially in these instances, such as the clothing of the famous that the owner cannot access themselves. Marcus, while discussing both dolls and fashion plates, suggests that they ‘[link] visual pleasure to tactile enjoyment, making the desire to become fashionable as inseparable from an erotics of looking and touching as the plates make looking and touching inseparable from each other.’ (127), yet, these fashion dolls push this tactile desire even further, as it allows the readers themselves to touch and handle them. Marcus also argues that ‘[f]ashion as a sensual pleasure independent of procreation and reproduction, but nevertheless “essentially the same” as erotic pleasure.’ (115), the erotic desire for these dolls, in the fact that they can be dressed and undressed, gives into this erotic desire. However, these doll is never really in any state of undress, where Marcus states that ‘feminists argue that all three [dolls, pornography and magazines] turn women into narcissistic, passive objects to be looked at by men.’ (112), these fashion dolls do not provide a masculine level of desire, but are instead intended for women's desire, as it is not the women's bodies that are being objectified but instead their clothes. As three out of four of these dolls are women, it expresses this desire for women to gaze at others like them. Similarly, the male doll within this set is Charlie Chaplin, as a comedian, whose character does not feed into the idea of the masculine hero. It, therefore, falls upon the women who are being gazed upon. This can also be seen through the fact that the women’s dress options contain only one clear ‘costume’ outfit, while Chaplin’s consists of three costumes and only one as the ‘actor’ Chaplin. This suggests that the actresses represent a desiring object, either through a desire to be like them or an erotic desire, while Chaplin reflects more of a plaything. Similarly, the original Paper Dolls were often made as promotional material to accompany the sale of storybooks with their initial company ‘packaging the paper doll and storybook together and hence the doll’s status as an illustration to the narrative.’ (Field 39), However, these Movy-Dols were used as promotional material not for a storybook, but instead for the Photoplay Magazine. Although the role of the Paper Doll here has not largely changed, it portrays a change in the importance of story narratives, with actors and actresses replacing the fairytale character in their position of a desire to act out the stories of fairy tales initially, and the stories of their favourite movie stars later. Reeve’s ‘Movy-Dols’ came as an insert in Photoplay Magazine which appeared in the editions between June and September 1919. However, the Movy-Dols archived here do not appear to be from these magazines. This is because three of the dolls (Ferguson, Talmadge and Chaplin), all exist on a single folded piece of paper, something that would not be possible as they were published in separate magazines. Nevertheless, this could still mean that Pickford's paper could have come from the magazine, as it is separated from the other three. However, these papers bear the publishing detail of “Published by Percy Reeves” while those that can be found within Photoplay Magazine have “Published by Photoplay” instead. This, therefore, suggests that these dolls were published separately by the artist Percy Reeves. Similarly, there also exists a Movy-Dols Painting Book which contains an extra four celebrities but replicates the cut-out dolls. This suggests that Reeve’s ‘Movy-dols’ were popular enough to warrant two different kinds of republication. The Photoplay Magazine was ‘[o]ne of the first two periodicals devoted to followers of American cinema, the monthly Photoplay Magazine was launched in 1911.’ (Podnieks 579), suggesting that these dolls are a part of the early creation of the star system. Although, Shail implies that the star system began with the attachment to serial character actors, such as the likes of Chaplin, the other three dolls are based on actresses rather than a character that repeatedly appears in a film series. The presence of actresses rather than character implies this is part of the transition from enjoyment of fictional characters to attachments to the stars themselves, epitomised by the creation of the “IT Girl’ with Clara Bow just a few years later. Shail sees this to be an attraction to the fact that ‘performers use their real-world bodies and faces to constitute their characters’ (341), suggesting an interest in the fact that the actors can embody both the character and be an entirely different person off-screen. The focus on actors and their personal lives is exemplified by the inclusion of the pets of both Pickford and Talmadge, which are referred to as ‘her favourite’ for Talmadge’s dog. This suggests not only a desire for the readers of Photoplay Magazine to know about the personal lives of the actors but also a prior awareness of details of the actors personal lives. By not naming the dog but instead positioning it as ‘her favourite’ suggests that the audience already has an knowledge of Talmadge’s pet. This distinction between persona and personal life is seen through the inclusion of Charlie Chaplin. Shail suggests that ‘[r]eflecting this partial naming of Chaplin’s series character ‘Charlie’, in many commentaries the name ‘Charlie’ or ‘Charlie Chaplin’ popularity denotes both a fictional series character and a performer.’ (339), suggesting that the two are similar. However, through Chaplin’s doll, there appears to be a separation between Chaplin’s character and Chaplin as a person. This is due to the difference between the headless characters from Chaplin's films are dressed in dirty and oversized clothes befitting of his films. However, the full figure is labelled, ‘Charlie Chaplin, himself’, where he is dressed in a smart, fashionable suit and is notably, without a moustache. Instead, the paper presents a moustache that the reader can cut and insert. This suggests that there is a separation between the celebrity figure of Chaplin and that of his characters. Chaplin’s moustache is reflected in the difference between Chaplin the character, and Chaplin the actor. In the Photoplay Article “How the Pictures Found Charlie Chaplin.”, the article displays two different photos on either side of the double-page spread, one shows Chaplin in ‘the latest portrait.’ (Biby 70), where Chaplin similarly to that of the clean-shaven doll, while the other page shows the moustached, tousled hair of Chaplin the character. The interest in Chaplin compared to the interest in the three female actors suggests a changing time between the interest in the serial characters being portrayed, Shail suggests with Chaplin, to the actors and actresses behind them. This fascination is exemplified by this combination of dolls on display for Chaplin, of his actor and persona. Where the women mark an erotic fantasy, to possess the women, clothes or fame, Chaplin marks a familiarity with the character he plays, but also an interest in the difference between that character and the actor behind it. However, little is known about the illustrator Percy Reeves. Although his name is prominent in these papers, suggesting that he was a popular illustrator at the time, little is known about him besides these dolls, suggesting that these are his most famous creations. Due to the delicacy and age of these objects, the pages were unable to be photographed and therefore can be seen on request from the Bill Douglas Cinema Museum. Works Cited Biby, Edward Allen. “How Pictures Found Charlie Chaplin.” Photoplay Magazine, edited by Julian Johnson, Vol. 15, No. 4, 1919, pp. 70-71. Field, Hannah. “‘A Story, Exemplified in a Series of Figured’: Paper Dolls versus Moral Tale in the Nineteenth Century.” Deconstructing Dolls: Girlhoods and the Meanings of Play, edited by Miriam Forman-Brunell, Berghahn Books, 2021, pp.35-54. Marcus, Sharon. Between Women: Friendship, Desire, and Marriage in the Victorian Era. Princeton University Press, 2009. Podnieks, Elizabeth. “Maternal Stars of the Silent Screen: Gender, Genre and Photoplay Magazine.” a/b: Auto/Biography Studies, Vol. 33, No.3, 2018, pp. 578-587. Reeves, Percy. Reeves, Percy. “Movy-Dols: Mary Pickford.” Photoplay Magazine, Vol 15, No. 6, 1919, pp. 91. —. “Movy-Dols: Elsie Ferguson.” Photoplay Magazine, Vol 16, No. 1, 1919, pp. 125. —. “Movy-Dols: Norma Talmadge.” Photoplay Magazine, Vol 16, No. 3, 1919, pp. 123. —. “Movy-Dols: Charlie Chaplin.” Photoplay Magazine, Vol 16, No. 4, 1919, pp. 123. —. Movy-Dols Painting Book 1. Stanton and Van Vliet Co, 1919. Shail, Andrew. The Origins of the Film Star System: Persona, Publicity and Economics in Early Cinema, Bloomsbury Academic, 2019. Creator An entity primarily responsible for making the resource Percy Reeve Source A related resource from which the described resource is derived Photoplay Magazine Publisher An entity responsible for making the resource available Percy Reeve Date A point or period of time associated with an event in the lifecycle of the resource 1919 Contributor An entity responsible for making contributions to the resource Mary Pickford, Elsie Ferguson, Norma Talmadge, Charlie Chaplin Rights Information about rights held in and over the resource Percy Reeve Format The file format, physical medium, or dimensions of the resource 5 paper pages, 285mmx230mm Language A language of the resource English Type The nature or genre of the resource Toy Identifier An unambiguous reference to the resource within a given context BDCM 68396 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Film stars, Charlie Chaplin, Mary Pickford, Elsie Ferguson, Norma Talmadge, Film Magazine Charlie Chaplin Elsie Ferguson Mary Pickford Norma Talmadge Photoplay Magazine Toy https://humanities-research.exeter.ac.uk/archivalencounters/files/original/64c523599b25171b2458bd6d3c32d87b.jpg ba7c368847ce4931d4cbe7014645904f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film and TV Merchandise: Toys Description An account of the resource A collection of toys and games produced to tie-in with film and television productions and stars Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource ABC Savoy Cinema Model Front Subject The topic of the resource ABC Savoy Cinema Description An account of the resource The ABC Savoy Model front depicts an art-deco style theatre. It is created by Superquick Model Kits. However, this model was initially intended to be accompanied by two other buildings, a post office and a chemist. This item was also created by Superquick Model Kits to be used as part of the backdrop for a miniature railway set. The Superquick Model Kits suggest that this selection is intended to be ‘[t]ypical of an urban environment; this kit is of a low relief profile to create a detailed backdrop to the edge of an urban layout.’ (“Cinema, Post Office & Shop”), suggesting that this is meant to evoke a sense of realism to the creators miniature railway set. Although, Carter states that 1899 marks the beginning of the creation of toy trains, they suggest ‘1918 would be a better start date’ (214) as it is here with the consequences of the First World War and the fact that ‘new houses tended to be much smaller that their Victorian and Edwardian counterparts.’ (Carter 215), had affected the production of toy trains. With shrinking house sizes and lack of materials, toy trains resembled what we expect from them today, smaller in size than the originals. Yet despite this, this is not where railway modelling began. Instead ‘railway modelling emerged from the toy train industry’s belly, opportunities beckoned for men commanding engineering skill and commercial nous.’ (Carter 226), suggesting that although models are a part of the toy train industry, they not only emerged later, they did so with an older age demographic with the ability and knowledge to be able to make them from kits. Similarly, Carter notes how this hobby, and therefore the item on display, are intended for a male audience, where ‘[m]any men end stereotyped accounts of prized layouts by thanking long-suffering wives for putting up with modelling’s dirt and disorder; but wives are conjured as domestic tyrants no less often.’ (Carter 204). Similarly, Twitchell suggests that ‘clearly men in their midlife [...] found in these trains the out-of-reach magic of their own childhood.’ (73), suggesting that these model trains are intended to provide the joy for men in their evoke the imagery of the creator's childhood. The development of the modelmaking area of the toy train industry’s ‘[p]opularity exploded in the seventies.’ (Carter 228), with '[m]any cottage industrialists start as enthusiasts making highly specialised things for their own uses, but then realise that enough other people want those things to warrant shifting into small-scale manufacturing.’ (Carter 228), this seemingly is where Superquick Model Kits emerged from. They state on their website that they have been “[m]anufacturing products for the railway modelling industry for over 60 years.’ (“About Us”), which would date their origins just before this boom, suggests that Superquick Model Kits were part of the precursor to them. However, although ‘the best kits are so elaborate that - if built skilfully - they produce something that graced any museum’s glass case one generation ago.’ (Carter 228), this model is sold as a part of the ‘Low Relief Series’ suggesting that there is instead a desire to participate in the crafting side of modelling, without the high stress and necessity of perfection. This is seen through the fact that the building is made of card and glue rather than metal and needing to complete soldering, suggesting that these are intended for either beginners who do not have the know-how to complete more complex projects, or for experienced modellers who want to complete a cheaper and less strenuous project. The Superquick Models follow the idea that model trains, ‘combine the nostalgia of yesterday with the high technology of today.’ (Eichenberg 45). This can be seen through the use of Victorian and Edwardian buildings, along with vintage style shops, evokes this sense of nostalgia. However, the ABC Savoy instead is modelled in an art deco style, making it look incredibly modern against the rest of the buildings. This aligns with Gardiner’s report that one of ABC Cinema’s ‘the 1931 Liverpool Forum, with its interior modelled on the Chrysler Building in New York, itself only completed in May 1930.’ (663), portrays the ABC cinema chain bringing in the idea of modernity and style into the idea of the glamour of the cinema-going. This style acts in opposition to that of the Victorian and Edwardian buildings that Superquick Models usually produces, the creation reflects the importance that the cinema serves within the society which the sets are attempting to evoke. The cinema was considered to be a ‘new luxe chain [cinema]’ (Gardiner 665), suggesting that these cinemas, are intended to not only evoke luxury, but by being given the modern, and futuristic style that comes with art deco architecture, suggests the view of the cinema as a part of the future of entertainment. The cinema model evokes the imagery of the ABC Savoy cinemas created by the ABC Cinema. The ABC cinema company was founded initially in 1928. Gardiner suggests that ‘‘[t]he third mighty cinema chain, Associated British Cinema (ABC), was built up by a Scottish solicitor, John Maxwell, who by 1937 owned 431 cinema.’ (663), suggesting that these cinemas are now a major part of the identity of British Cinemas. The boom of cinemas in this just over ten year period, shows the popularity of these cinemas. The name ‘Savoy’ appears to be a common name for cinemas in the chain, with both the Exeter and Brighton branch being named so. The website Exeter Memories also notes that ‘the company also ran cinemas under the Regal and Ritz names.’ (Cornforth), which is uncited, however, Cinema Treasures, does log other cinemas sharing these names. However, the name Savoy seems to be the main name that is associated with the ABC Cinema, meaning that it is the title that the buyers would associate with the chain. The time period that the figure is presenting can be suggested to be 1962, as the figure displays a poster for The Music Man, a film that came out that year. This suggests that this miniature is intended to be used within a model set that is evoking this time period. Hillier suggests that ‘[t]he long-lasting popularity of The Music Man and the affection it inspires have made it a popular reference point’ (150), suggesting this film has such popularity that it has been evoked in this model, specifically evoking this time. Similarly, this film is set in ‘early twentieth-century small-town America.’ (Hillier 148), suggesting the film itself evokes a sense of the nostalgia that the model is also intended to evoke. As the ABC cinemas are now defunct the figure of ABC is now a figure of nostalgia. Despite the large number of ABC Cinemas, it does not appear that this model was intending to depict a specific cinema and is instead just used to evoke the aesthetics of the ABC cinema. This suggests that ABC cinemas are such a part of the nostalgic British psyche, that there is instead a need to create an evocation of one in order to appeal to a wide range of buyer’s nostalgia. Although we are aware of the company that created the model. There is no evidence who the initial designer/s were nor do we know who the initial builder of the model is. This model does not have photos as it is on display at Exeter’s The Bill Douglas Cinema Museum. Works Cited “About Us.” Superquick Model Kits, Accessed 14 Dec. 2024, <a href="https://www.superquick.co.uk/">https://www.superquick.co.uk/</a>. Carter, Ian. British Railway Enthusiasm, Manchester University Press, 2014. “Cinema, Post Office & Shop.” Superquick Model Kits, Accessed 14 Dec. 2024, <a href="https://www.superquick.co.uk/newpage6682a43e">https://www.superquick.co.uk/newpage6682a43e</a>. Cornforth, David. “Savoy, ABC Cinema, London Inn Square.” Exeter Memories, Updated 12 Mar 2014, <a href="https://www.exetermemories.co.uk/em/abc.php">https://www.exetermemories.co.uk/em/abc.php</a>, Accessed 16 Dec 2024. Eichenberg, Dennis. “TOY TRAINS.” Popular Electronics, Vol. 13, No. 9, Accessed 16. Dec 2024, pp.45, <a href="https://web-p-ebscohost-com.uoelibrary.idm.oclc.org/ehost/detail/detail?vid=0&sid=f07db28f-384f-45f3-b81d-29b775f44bfa%40redis&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3D%3D#AN=9607262146&db=bth">https://web-p-ebscohost-com.uoelibrary.idm.oclc.org/ehost/detail/detail?vid=0&sid=f07db28f-384f-45f3-b81d-29b775f44bfa%40redis&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#AN=9607262146&db=bth</a>. Gardiner, Juliet. The Thirties: An Intimate History. Harper Press, 2010. Hillier, Jim. “The Music Man.” 100 Film Musicals, BFI Publishing, 2017, pp. 148-150. Twitchell, James B. Where Men Hide. Columbia University Press, 2006. Creator An entity primarily responsible for making the resource Superquick Model Kits Source A related resource from which the described resource is derived ABC Cinemas Publisher An entity responsible for making the resource available Superquick Model Kits Date A point or period of time associated with an event in the lifecycle of the resource 1960-2024 Rights Information about rights held in and over the resource © 2024 All Rights Reserved | Superquick Models Relation A related resource Superquick Model Kits Cinema, Post Office & Shop Format The file format, physical medium, or dimensions of the resource Card 43mmx145mmx175mm Language A language of the resource English Type The nature or genre of the resource Toy Identifier An unambiguous reference to the resource within a given context BDCM 68185 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ABC Cinema, Model Train Backdrops Contributor An entity responsible for making contributions to the resource ABC Cinemas Cinema Paraphernalia Model Train Backdrop Toy https://humanities-research.exeter.ac.uk/archivalencounters/files/original/d1b084192561739e71c26f9ba23601d0.jpeg a4c6446d0df5535169eef3200ee5fb72 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/9369ab5fea93ef46750e59285be60f08.jpeg a2629485952d55d21561ac5fb3d41a6c https://humanities-research.exeter.ac.uk/archivalencounters/files/original/689f43ff468d8f7f466fe0e0e976097c.jpeg 382e0d7b86d1915e8a129a0dae5ae622 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film and TV Merchandise: Toys Description An account of the resource A collection of toys and games produced to tie-in with film and television productions and stars Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harry Potter model Subject The topic of the resource Harry Potter Description An account of the resource Harry Potter model Is a model of Harry Potter, the main character of the Harry Potter series, a model of the image of Harry Potter dressed in a Quidditch costume in the third season of the Harry Potter series,《the Prisoner of Azkaban》. In a plastic model, Harry wore a uniform representing the Grifindor Quidditch team, a happy smile, and goggles from a clip of a Quidditch game in the rain.(Keating P,2022) The model shoulder, arm joints and leg joints are movable, being visited in the display window into the sitting position. The model looks relatively new, well preserved, with toys produced in the last 20 years. The Harry Potter series was a great success, with strong "Harry fans" supporters around the world, which led to a boom in its derivatives, driving the popularity of Harry Potter themed toys, crafts and accessories. At present, there are owl pendants, Hogwarts School of Magic Arts and Wizardry badges, Harry Potter sleeping pillows, water cups and so on. These products have achieved extremely high market returns. The handicrafts and ornaments of the Harry Potter series not only reproduce the classic things in the original work, but also have exquisite design, which not only meets the requirements of the majority of "ha fans", but also leads the fashion. Accordingly, these handicrafts, ornaments once appear on the market, be snapped up immediately. Harry Potter now has thousands of publications, movies, DVD, videos, drinks, toys, toys, stationery, games, clothing, as well as theme parks and tourism, and has long become a huge industrial chain across many fields. It can be said that "Harry Potter" has created a unique commercial miracle in the history of children's literature and even fiction. "Harry Potter" is also one of the most successful commercial brands in the history of literature and film, and it is a model of commercial operation based on the mature market mechanism."Harry Potter" brings audiences not only a magical story, but also a nearly perfect marketing case, a unique business miracle. The marketing method of "Harry Potter" can explain the importance of a complete promotion mode to an excellent work, and the operation of a "perfect industrial chain" is the only way for a cultural brand to become stronger.(Gunelius S,2008) Since 1997, British woman writer Rowling launched the first Harry Potter novel series —— 《Harry Potter and The Sorcerer's Stone》, the novel immediately swept the world and became the focus of global attention. Over the next decade, Ms.Rowling wrote seven of the Harry Potter novels and conquered countless readers of all ages around the world. The series of novels have been translated into more than 60 languages and have sold more than 200 million copies, creating a myth in the history of publishing. The novel shows the reader a strange, magical and magical world. Take Harry Potter's annual learning activities at the wizardry school as a time clue. It tells the story of the hero's fantasy adventure journey and rich social life. As a successful fairy tale, Harry Potter is a novel showing readers a colorful fairy tale world. Such a fantasy world makes all the dreams that are hard to achieve in the real world come true. The unique fairy tale of the novel has become an important factor in attracting young readers. The interesting fairy tale nature of the story is first reflected in Ms.Rowling's weaving of fairy tale scenes and the shaping of fairy tales. In the author's pen, the first is a mysterious magical world. There are witches and women who can ride across the sky on various magic. It has a fantastic magic school and magical magic lessons. There are old magical legends. There are also magical creatures in the real world that people only know, such as the beautiful white unicorn. The aggressive dragon, the three-headed dog guarding the trapdoor, the mermaid and so on. Ms.Rowling's construction of the whole fairy tale, from the macro magical world and even the micro fantasy things. It is completely in line with the children's romantic fantasy of the great dry world. They are also eager to put on the invisibility cloak to explore the unknown world. Also eager to ride an eagle head horse body winged beast to soar in the sky, more eager to receive a letter from the owl. Start an adventure and fantasy journey. Although the magical world is a magical dream for children, but. In such a world, the shadow of reality can also be found at any time, and the novel itself also has a profound reality. The concrete embodiment of the realism in the novel is the realism of the scene. Harry, as the protagonist of the novel, is a symbol of a hero, but Ms.Rowling does not portray Harry as an omnipotent, god-like hero. Through the different scenarios. Ms.Rolling shows some of Harry's weaknesses in his own tone and ideas, such as: Harry doesn't like to study and sometimes gets lazy, since Harry has problems as a growing child. Entering adolescence, Harry has a good impression for Qiu Zhang, and Hermione's love for Ron, which is also the process that children will go through in adolescence. Harry's commonality in the novel is consistent with children in the real world, which is an important factor in the Harry Potter series attracting tens of thousands of readers around the world. Through the shaping of the scenes, the novel embodies the human type, namely the common human nature. In this magical world, there are not just witches, magical creatures and magic. The design of the whole world. It also makes people feel as if they're in the real world again. It is through the aspect of family affection, friendship and love that the novel makes the magical world more human, and makes readers resonate with it. Such a sense of reality shows its educational significance. The realism of the novel is also reflected through the ideas conveyed in the Harry Potter series. It reflects Ms.Rowling's thinking about the real society. The novel divides the magicians represented by the Malfo family into pure-breed sorcerers, who have a high sense of superiority. So he looked down on witches like Hermione who are not from a magical family. And mocked him as a "mud blood".(Dahlen et al,2022) Even in the wizarding world, they will be treated unfairly because of their inferiority, and no matter how hard and how good Hermione is, they will still be scorned by purebred witches. The purpose of the dark magic world built by Voldemort is mainly to keep the pure witches and brutally kill those non-pure witches. On the contrary, the magical world represented by Principal Dumbledore and Harry, who believe that birth is not important, the most important is personal effort. These are two ideological opposition to the question of origin. In the final battle, Harry's side won a complete victory, and Voldemort's power collapsed, which also indicates the novel's view that the unequal treatment still exists in the real society. This is undoubtedly a progressive idea. In today's society, the problem of racial discrimination has eased somewhat. In the 1990s, Rowling experienced the death of her mother's illness, a broken marriage, poverty, and overnight fame. I have an unforgettable understanding of the real society and a series of social problems. It makes her have some rebellious psychology to modern civilization, so the novel Harry Potter is filled with the mysterious atmosphere of returning to the true nature and returning to the primitive doctrine. The Harry Potter series of novels absorb the essence of western classic literary works, and create a beautiful and dreamy fairy tale world for readers in the perfect integration of fairy tales and reality. It also shows the profound reality that the novel wants to reflect and the educational significance of the story theme. Works cited Gunelius, S. (2008). Harry Potter : the story of a global business phenomenon (1st ed. 2008.). Palgrave Macmillan. https://doi.org/10.1057/9780230594104 Keating, P. (2022). Harry Potter and the Prisoner of Azkaban. University of Texas Press,. https://doi.org/10.7560/323120 Dahlen, S. P., & Thomas, E. E. (Eds.). (2022). Harry Potter and the Other : Race, Justice, and Difference in the Wizarding World (First edition.). University Press of Mississippi. Contributor An entity responsible for making contributions to the resource Harry Potter Relation A related resource The prisoner of Azkaban Format The file format, physical medium, or dimensions of the resource Model Language A language of the resource English Type The nature or genre of the resource Star Portrait Identifier An unambiguous reference to the resource within a given context BDCM40777 Creator An entity primarily responsible for making the resource Toy factory https://humanities-research.exeter.ac.uk/archivalencounters/files/original/1a4e514ba45bf4911444694a1987f225.jpeg f5224a8ad728de8065035cbd9eea0975 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/548bcb4d56c3e0b5df19465895addcf9.jpeg 604ba52569c858f10451d33dc498f0d2 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/74daf5cdb93d30955a34e856b01b26a5.jpeg 61a2f20ab52cc4298e1b12b3c016af00 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film and TV Merchandise: Toys Description An account of the resource A collection of toys and games produced to tie-in with film and television productions and stars Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Charlie Chaplin bendy toy Subject The topic of the resource Charlie Chaplin Description An account of the resource Charlie Chaplin bendy toy Is a rubber toy made by a company called Bandy Toys, which is a model of Charlie Chaplin in《Modern Times》.This is a rubber toy made around the 1940s. The paint on the rubber surface has appeared cracks due to weathering, the right hand of the toy model is also broken due to collision, and the whole model can only be installed in the outer packaging box to be supported.The inside of the cardboard box is painted with patterns, which are other cartoon characters from the 20th century , such as Mickey Mouse and Donald Duck. At the bottom of the carton, the toy's producer, Ashford, England, the production area, and the patent number. He also wrote a usage note: 'I am soft and safe but could be damaged by a teething child'. Charles Spencer Chaplin's film career lasted more than 50 years from 1914 to the end of 1967, with two changes from silent to sound, from black and white to color. His life was also intertwined and integrated with the history of British. Looking back on Chaplin's life and film career is of great significance to understanding and studying the development of British cinema. His films went from comic farce to satire comedy, making him stand out from a crowd of comedians and become a world-renowned film artist(Judah T,2022).Chaplin's childhood and early acting background had a deep influence on his future film career. His films were more vivid and detailed when sharply satirical and criticizing the despicable and noble figures and caring about social class issues.(Lindvall T,2015) At the same time, his humor was often mixed with sadness. In addition to his personal experience, Chaplin's characters changed with the expansion and deepening of the art world in which he was involved in, reflecting the variation of his ideas and the specific historical characteristics of the different stages of his film career.In Chaplin's film career, he followed the east period of farce and developed into the form of ironic comedy, tragic elements into pure comedy, even try to comedy elements in tragedy, gradually formed his unique tragicomedy characteristics, his background makes him to the bottom of the people with genius insight, his concern for the bottom people, the concern about the social status quo, the desire for world peace, make his film in the sharp irony at the same time, full of warmth. 《Modern Times》is set during the Great Depression of the 1930s. Although the film initially uses rich content to show the breathless, repetitive assembly line work in the factory, in fact, no matter how hard to work or happy, because a large number of workers unemployed at that time, facing huge pressure to survive. Chaplin is very keen to see the bourgeois machine the contradiction between the rapid development of industrial and personal happiness, created such a "modern times", there are many of his personal performance of the classic paragraph from the Chaplin is for social life observation and promotion, such as: Chaplin twisted parts to crazy, all the hexagon in life he want to twist, and he wanted to hide in the toilet smoking rest was immediately found by the manager, these details are very daily, and make people want to laugh.(Hanks R,2015) No matter in what era, the little people will always exist, they are oppressed identity and its helpless social situation, create a black humor type of confrontation. The tramp image created by Chaplin is a typical little man. In his films, he uses a funny comedy way as the carrier to express the serious tragic theme, and then praises the sincerity and kindness of the little man. At the same time, he used all kinds of ironic artistic techniques in the film to satirical the social reality and the "madman" who is not confined to the status quo, and revealed all kinds of injustice and ugliness in the society through the perspective of the little people. Compared with the machine and the factory owner, the hero is always in a weak position. And after a sorts of accident, caught by the police, accidentally become a hero in prison, experience as a little Charlie is unable to control his fate, it also shows a worker workers in the bottom, not with will, can only survive, gradually lost their own create value. But the little people are not blindly endure, although life is hard, but they have a small strong spirit. In this film, Charlie is not blindly endure, although at the end and the heroine two people once again face the dilemma of nowhere to live, but Charlie encouraged the heroine not to give up, looking for hope from despair, the two smile to summon up the courage to go on the road again. This Chaplin doll, represented by the little tramp image of 《Modern Times》, also brought a lot of influence on the society at that time. First of all, from the perspective of moviegoers and consumers, Chaplin touched the hearts of global audiences with his humor and profound social satire. His dolls became a kind of spiritual comfort for the public in the turbulent times (such as the Great Depression and war), symbolizing optimism and tenacity in suffering. The Chaplin doll became an entertainment shared by children and adults in the family, continuing the joy he brought in the film. Chaplin's image of a little tramp represents the wit and courage of the people at the bottom, and the doll extends this image into daily life, further strengthening the recognition of equality, sympathy with the weak and the spirit of resistance. This is not only a toy, but also a symbolic dissemination of the social values in his films, making his spirit of the little people deeply rooted in people's hearts. From the perspective of the development of the film itself and Chaplin himself, Charlie Chaplin bendy toy, as a peripheral product, extends Chaplin from the screen image to real life, consolidates his position as a global idol, and makes more people pay attention to the value of film as art and entertainment. The early Chaplin dolls made a difference for the film peripheral industry, making the studios realize the potential of the fan market and peripheral products, paving the way for the future development of film peripheral products.Moreover, the production and sale of Chaplin dolls promoted the development of related industries, and the toys themselves involved manufacturing, sales, retail and other links, which led to the revenue growth of related industries at that time. Especially in Europe and the United States, such star dolls have become a consumer product. With the development of star doll enterprises, some toys represented by Chaplin dolls have also become the collections of some early movie fans or art lovers, opening the trend of film surrounding as a cultural collection and promoting the development of the collection market. Through the Chaplin doll, more people pay attention to the artistic charm of movies and how they can reflect social reality. It is not only an entertainment commodity, but also a cultural symbol and a social phenomenon. It brings Chaplin's humor and social care into people's daily life and makes important contributions to the dissemination of economic, cultural and social values. Even today, such dolls are still a part of the classical culture, with historical value and symbolic significance. Works cited Lindvall, T. (2015). Chaplin, Charlie. A comedian sees the world.(Book review). In CHOICE: Current Reviews for Academic Libraries (Vol. 52, Number 8, pp. 1319-). American Library Association CHOICE. Judah, T. (2022). THE REAL CHARLIE CHAPLIN. In Sight and sound (London) (Vol. 32, Number 2, pp. 76–76). British Film Institute. Hanks, R. (2015). CHARLIE CHAPLIN: THE MUTUAL COMEDIES. In Sight and sound (London) (Vol. 25, Number 7, pp. 95–96). British Film Institute. Contributor An entity responsible for making contributions to the resource Charlie Chaplin Rights Information about rights held in and over the resource Patent Nos.796097-631305-637427 Relation A related resource Modern Times Format The file format, physical medium, or dimensions of the resource Toy Language A language of the resource English Type The nature or genre of the resource Star Portrait Identifier An unambiguous reference to the resource within a given context BDCM68329 Creator An entity primarily responsible for making the resource Bendy Toys https://humanities-research.exeter.ac.uk/archivalencounters/files/original/47950c1089864b55f950947022dec643.jpg ae29811ae5b325af275680f85047b0c5 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/89531ef8a442f59d1a7104139236e5b8.jpg 728bbf05f3d2f8c5fff452324ca411f2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film and TV Merchandise: Toys Description An account of the resource A collection of toys and games produced to tie-in with film and television productions and stars Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Woody Soft Toy Subject The topic of the resource A soft toy of Disney's film 'Toy Story' (1995) Description An account of the resource Woody, is a soft toy based on the image of Woody, the main character in the Disney-Pixar animated movie Toy Story(1995).Faithful to the character from the movie, this soft toy is 18" tall cuddly doll of the character Woody, from Disney's Toy Story (1995). The doll has blue trousers, a red and yellow checked shirt, and soft brown hat. Label on the back states 'Gift Prize. Not for Re-Sale.' The soft toy Woody's facial expression is vivid and lovely, with brown eyes, brown eyebrows and smiling mouth, making it look friendly and kind. It is worth mentioning that in order to restore the image of the character in the movie, this soft toy is very attentive to details, Woody's belt, medallion and other elements are all using printing process, and the sole of Woody's foot is also iconic printed with the owner's name Andy. This kind of workmanship and details make the overall shape more realistic and restored.In terms of material, Woody's stuffed animal is made of soft plush material, and the inner stuffing is made of cotton, which is cozy and comfortable to touch, which reflects the environment of the characters in the show, i.e. children's toys, and this material is more suitable for children to play with. On the other hand, this material has a certain degree of wear resistance and tensile strength, which makes it more suitable for long-term storage and viewing as a museum exhibit. Woody the soft toy takes on special significance as part of the Bill Douglas Cinema Museum's collection.First of all, for fans of the Toy Story series, the Woody soft toy is more than just a toy; it represents a reminder of the love of the movie series and the emotions of the characters. It can evoke fond memories of the movie's plot and characters. Because the movie products often have unique artistic designs, the design and production of Woody's soft toys reflect the artistic reproduction of the movie characters' images.The Toy Story series is not only a classic in the history of animated films, but also represents a part of pop culture. As the main character in the movie, Woody's derivative product image has also become a concrete expression of this cultural symbol. Moreover, for many people, Woody is actually more than just a toy in the movie, it represents the values of friendship, courage and loyalty. Woody's character inspires the movie fans and brings more positive emotional impact to the audience. The soft toy Woody is a derivative product of the movie, which serves as an emotional support, allowing the audience to feel an emotional connection with the movie characters and demonstrating respect for the movie's culture. The character of Woody is established as a cowboy figure in Toy Story, thereby reflecting the spirit of the American West. In American culture, cowboys are associated with notions of justice, courage, and the spirit of adventure（Gay, A. et al. 2017). The setting of Woody serves not only as a tribute to the history of the American West but also as a reflection of the cowboy image in American culture. By positioning Woody as a cowboy, the film successfully establishes an emotional connection between this cultural symbol and the audience. In the narrative, Woody encounters competition from a new toy, Buzz Lightyear, which gives rise to internal conflict and personal growth. Initially, Woody experiences feelings of jealousy and marginalization in relation to Buzz Lightyear. However, as the narrative progresses, Woody learns to embrace acceptance and collaboration, reflecting a transformation in character. This character development not only enhances the narrative but also prompts the audience to reflect on themes of friendship, competition, and personal growth. The character of Woody and his storyline have clear educational value. Primarily, the narrative illustrates how children can learn to confront changes and challenges, and to mature in the context of competition and conflict（‘Toys’ 2014). For instance, Woody, Andy's erstwhile favorite toy, is supplanted by Buzz Lightyear. Initially, Woody experiences feelings of envy and intimidation, and attempts to force Buzz into the lower shelf. However, Buzz falls from the window, resulting in his demise. Woody is erroneously perceived as intending to harm Buzz. Rather than allowing the misunderstanding to endanger Buzz, Woody and Buzz eventually discover a method for collaborating to return home. Secondly, the character of Woody and his narrative convey significant values pertaining to courage, responsibility, and teamwork. For example, Woody is persuaded by a toy collector, Stinky Pete, and Jessie that Andy will discard him, leading him to consider remaining with the collector. Upon learning that Buzz and the other toys are searching for him, Woody decides to return to Andy. Consequently, Woody and Buzz collaborate once more, guiding the remaining toys to evade the Toy Collector's establishment and return to Andy's residence. These elements elevate Woody from a mere plaything to an instructive figure. As the focal character in Toy Story, Woody's design and narrative not only mirror American culture but also encompass profound educational implications, a significant factor in the character's widespread appeal. Toys as a derivative product of the movie, the market value of it will grow with the expansion of the influence of the movie（Fletcher, D. 2007). Toy Story is a very popular animated movie, and its movie derivatives rely on the fan economy, where fans' love and loyalty to the movie characters translates into purchasing power. The popularity and adorable appearance of Woody, the main character in the movie, attracts fans to buy and watch the movie.To further clarify, the Toy Story franchise is designed with an all-ages appeal, though it is particularly well-received by children and families. Disney and Pixar have ensured that the film appeals to fans of all ages through the creation of well-crafted narratives and characters. Furthermore, the release of movie spin-off soft toys, such as Woody, subsequent to the film's initial release has resulted in the character of Woody becoming an iconic Disney and Pixar brand. The enduring popularity of these characters has contributed to the sustained value of the Toy Story brand. As a result, the significant influence of the fan economy has made movie peripherals an integral aspect of the movie industry. This not only provides an additional source of revenue for movie producers but also facilitates the promotion and branding of the movie. References: Fletcher, D. (2007) ‘“Toy Story”: The narrative world of entrepreneurship and the creation of interpretive communities’, Journal of business venturing, 22(5), pp. 649–672. Available at: https://doi.org/10.1016/j.jbusvent.2006.10.001. Gay, A. et al. (2017) ‘The Cowboy, the Spaceman and the Guru: Character and Convention in the Screenwriting of Toy Story’, in Toy Story. 1st edn. London: Bloomsbury Publishing Plc, pp. 39–58. Available at: https://doi.org/10.5040/9781501324949.ch-003. ‘Toys’ (2014) Childhood Studies. Oxford University Press. Available at: https://doi.org/10.1093/obo/9780199791231-0133. Creator An entity primarily responsible for making the resource Toy Factory Publisher An entity responsible for making the resource available Pixar Animation Studios Date A point or period of time associated with an event in the lifecycle of the resource 1995 Rights Information about rights held in and over the resource © 1995 Disney/Pixar. All Rights Reserved.“Toy Story” is a trademark of Disney/Pixar. Format The file format, physical medium, or dimensions of the resource Soft Toy ,18''tall Language A language of the resource English Type The nature or genre of the resource Soft Toy Identifier An unambiguous reference to the resource within a given context BD67253 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/b3b28a3c7b1bd7f89578e5f1c6bf4768.JPG 33150f9724a00e9976970ee4657db074 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/30355a5fa335266c4fdb1e731469d1da.JPG 17298f345e82c13b0b2afd4da57bb075 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/c4f547ced24dc048a205a0b8bcef9ddb.JPG aee37aa38ea898bc8a750115e2eea515 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/13d34aef9f2f951083b7a831e52fd593.JPG e3cf02604150bcbca1ea5a3973c11c39 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film and TV Merchandise: Toys Description An account of the resource A collection of toys and games produced to tie-in with film and television productions and stars Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buzz Lightyear Subject The topic of the resource A toy of Disney's film 'Toy Story' Description An account of the resource Buzz Lightyear is a toy based on the character of the same name from the Disney-Pixar animated movie Toy Story (1995). Buzz Lightyea's toy design is highly consistent with the character's portrayal in the movie, he wears a tight-fitting green and white space suit with a red helmet and clear visor that allows his face to be clearly seen. He has the iconic Space Commander insignia on his chest. The Buzz Lightyear toy's body is made of solid plastic with movable arms, legs and head and features multiple points of articulation including neck, shoulders, wrists, waist, hips, knees and ankles, allowing the toy to be posed in a variety of poses.The details on the toy are meticulous, including the textures, buttons, insignia and belt on the spacesuit, all of which strive to recreate the look of the movie. The details on his gloves, boots and helmet have also been delicately replicated. Buzz Lightyear Toys as Movie Collectibles For fans of Toy Story, the Buzz Lightyear toy is a memento of this classic film series. It represents the film's themes of courage, adventure and friendship, and is a symbol of the fans' emotional investment.To further clarify, designed and manufactured with a superior standard of artistry and craftsmanship, the Buzz Lightyear toy is an artistic recreation of the film's characters in appearance, detail and function. And like Toy Story's other character, Woody, Buzz Lightyear has become an iconic figure in popular culture, not only as a playmate for children, but also as part of adults' childhood memories and cultural identity(Doucet, M.G. 2005).Plus,the Toy Story franchise has become a monument in the history of animation since its premiere in 1995, and Buzz Lightyear toys, as part of the series, have witnessed the evolution of both animation and toy collecting. As a result of the widespread influence of the Toy Story film series, Buzz Lightyear toys have enjoyed a steady demand in the marketplace, especially among collectors and fans of the films.Over the years, some well-preserved Buzz Lightyear toys in mint condition may increase in value, especially those early versions that are discontinued or no longer in production. Buzz Lightyear is a central character in the Toy Story franchise. The character of Buzz Lightyear is not merely a toy; rather, his personality and story line are presented in the movie in a way that encourages viewers to reflect deeply upon what they see（Bruce Orwall 1998). To elaborate, Buzz Lightyear was initially persuaded that he was a genuine space ranger, rather than a mere toy. This conviction imbues him with a sense of confidence and heroism. Despite the fact that he is, in fact, a toy constructed of plastic, sound chips, and glowing LEDs, he maintains the conviction that he is capable of saving the universe. This self-perception of Buzz Lightyear, while initially appearing somewhat arrogant and blind, gradually reveals a more nuanced and complex character as the narrative progresses. To illustrate, in the narrative of Toy Story, the physical appearance of Buzz Lightyear alters the social dynamics among the toys in Andy's room. Buzz Lightyear is initially unaware of his status as a toy. It is only after experiencing a series of adventures and challenges that he begins to comprehend his true identity. This process of self-discovery plays an integral role in the evolution of the character of Buzz Lightyear. Moreover, the character of Buzz Lightyear exemplifies the core themes espoused by the film's director, including self-awareness, growth, and acceptance of reality. His relationship with Woody and their interactions throughout the film illustrate the profound significance of friendship and sacrifice. Consequently, this character is not only beloved by children in the Toy Story franchise but also offers adult audiences profound insights into self-awareness and growth. The continuing success of the Toy Story franchise has made Buzz Lightyear toys an important part of the marketing of the film and commercially important in promoting the entire franchise and related merchandise. Furthermore, toys are directly related to the content of the movie, especially for movies with toys such as Toy Story, toy related products can maintain the consistency of the brand image and enhance the consumer's identification with the story of the movie (Paik, K.2007). In addition, movies are usually targeted to specific audiences, and toys as related products can appeal to children and young viewers, which is an important part of the movie market. This is an important part of the movie market. Toys have a natural appeal and can capture the interest of children. Buzz Lightyear toys can create an emotional connection with the audience, and through toys of the movie characters, they can continue the adventures and remember the good times of the movie. Toys can be utilized as a medium for cross-media promotion, such as the integration of other forms of media, including animation, comics, and video games, to create an encompassing marketing campaign. Initially, characters from Toy Story, including Woody and Buzz Lightyear, were transformed into a variety of toys and merchandise. The toys were not merely featured in the film as characters; they were also made available for purchase in stores, thereby enhancing the visibility of the characters and the film's popularity（Rosing, L.M. 2016）. Secondly, Disney formed collaborative relationships with various toy manufacturers, including Hasbro and Mattel, with the objective of producing toys for the Toy Story franchise. Such collaborations not only broadened the market penetration of the toys but also reinforced the brand image of the film. Furthermore, the release of toys frequently coincides with the debut of a film, the presentation of a special edition, or the release of a DVD or Blu-ray version, thereby establishing a marketing alliance. To illustrate, the release of a new film may be accompanied by the introduction of a new line of toys that encourages consumers to make purchases. In addition, toys permit fans to possess and interact with their preferred characters, thereby intensifying the level of immersion and emotional attachment. This phenomenon can result in a more profound level of support for the film franchise. For instance, toy collectors and enthusiasts frequently disseminate images of their collections on social media platforms, which serves as user-generated content that facilitates cross-media promotion of a film. Disney also leverages this content as a promotional tool. In conclusion, toys in the form of movie peripherals not only fulfill market and consumer demand but also generate economic benefits for film producers, while simultaneously enhancing the influence of the movie brand and fostering brand loyalty among fans. References: By Bruce Orwall (1998) ‘Interview --- What’s the Buzz? `Toy Story’ director John Lasseter talks about story and character -- two things that Movie makers often forget these days’, The Wall Street journal. Eastern edition. Eastern edition. Doucet, M.G. (2005) ‘Child’s play: The political imaginary of international relations and contemporary popular children’s films’, Global society : journal of interdisciplinary international relations, 19(3), pp. 289–306. Rosing, L.M. (2016) Pixar with Lacan: The Hysteric’s Guide to Animation. 1st edn. New York: Bloomsbury Publishing Inc. Available at: https://doi.org/10.5040/9781501304651. Paik, K. (2007). To Infinity and Beyond!: The Story of Pixar Animation Studios. Chronicle Books. Creator An entity primarily responsible for making the resource Toy Factory Publisher An entity responsible for making the resource available Pixar Animation Studio Date A point or period of time associated with an event in the lifecycle of the resource 1999 Rights Information about rights held in and over the resource © 1995 Disney/Pixar. All Rights Reserved. Format The file format, physical medium, or dimensions of the resource Toy Language A language of the resource English Type The nature or genre of the resource Toy Identifier An unambiguous reference to the resource within a given context BD13116 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/1ab24b3ab157b4ac8b08cfc74825e6bf.jpg 20f6737fc9603842f64495c1bdebd467 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/095bd40bdd90ee0dec306107783ae0db.jpg 09357ea89db916efd608f978d822c673 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/31795d4b4c608b03b065161794919506.jpg 42a988581c359ff986ca0e32bc362e31 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/a8dfbae09a676bed76e2d73f4763e867.jpg 1a25df5e5c778d31fded99496372ee5a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film and TV Merchandise: Toys Description An account of the resource A collection of toys and games produced to tie-in with film and television productions and stars Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wallace & Gromit's Shower Gel Bottle Subject The topic of the resource Wallace & Gromit Description An account of the resource The Wallace & Gromit Shower Gel Bottle is a figurine derived from the British stop-motion animated comedy series Wallace & Gromit, created by Nick Park and produced by Aardman Animations. This model was produced under licence from Aardman Animations and features the appearance of the two main animated characters, Wallace and Gromit. However, it can be rotated away from the waist of the model and the interior can be loaded with shower gel for use, thus aligning with the image and movement of the external characters. The model is constructed primarily from PVC and depicts the eponymous protagonists of the Wallace & Gromit series, Wallace and his canine companion Gromit, engaged in the act of bathing. The model's flat base renders it suitable for placement in domestic settings, such as bathrooms. Additionally, the material allows integration of vivid colors during the manufacturing process which effectively emulates the animated character's appearance and behaviors plus garb aspects better (Kamil M, 2023). The series, which revolves around Wallace, a intelligent, cheese-loving eccentric inventor, and Gromit, his devoted and intelligent anthropomorphic hound, comprises four short films and two feature films. It also spawned a number of ancillary products and television adaptations. The two legendary characters first appeared in the 1989 stop-motion animated short film entitled A Grand Day Out, which won substantial acclaim among the audience after being released and was even nominated for an Academy Award for Best Animated Short Film. In contrast to the conventional approach of creating two distinct characters, the Wallace & Gromit model is designed to integrate seamlessly into the same scenario. In comparison to the models and toys that take the original character forms in the derivatives market of the same series, this model is more intriguing and has a more highlight the whole. It is one of a series of Wallace & Gromit models designed by the game maker to complement the intimate life scenes depicted in the anime. Furthermore, the model is suited to practical use with functionality beyond the value of IP, consumers who have not seen this series of movies can still use it to load shower gel. The new transmedia value derived outside the anime series, along with the collector's value for fans of the anime series, will permit the Wallace & Gromit intellectual property to be employed in a broader range of fields. The model is constructed from rigid PVC, a material that is cost-effective, conducive to mass production, and prevalent in countries where inexpensive productivity is standard(Chen, 2016). Secondly, in Kamil M's(2023) study, it is mentioned that the material is readily painted in vibrant colours and can be preserved for an extended period of time. Ultimately, the visual characteristics of clay used in stop-motion animation can be replicated with this material, whereas the use of softer materials would be unsuitable for both storage and exhibition, given that they lack the necessary durability and fixity. Stop-motion animation is defined by its handmade and frame by frame nature(Purves, 2014), which is of particular significance in the context of archival preservation. As a transmedia, recreated product of video, this derivative work reproduces the visual and tactile sensations of the original animation through its material and shape, reflecting the material qualities of stop-motion animation. In the Wallace & Gromit stop-motion animation series, the original clay and puppets were crafted from a harder material. The texture and visual quality of this model are comparable, while effectively balancing cost efficiency with maintainability. The Wallace & Gromit Shower Gel product has a significant adult fan base, extending beyond the demographic of children. The merchandise meets the emotional and practical needs of fans of the characters. Wallace & Gromit are well known in the UK and internationally. The target audience is not limited to children, as the story contains a great deal of technology and comedy that is enjoyed by the adult audience as well. Consequently, the product is not solely intended for use by children. Its IP value and the tangible benefits of the product, such as the convenience of loading shower gel, make it a more diverse and valuable item. It offers not only visual appeal but also practical utility, particularly in areas of daily life. In comparison to other models, it is more versatile and functional. This framework enables the spread of the epitome of British humor performed by Wallace & Gromit to transcend various cultural divides, embedding it into everyday experiences and encouraging the spread thereof. It represents both a tangible extension of the animated series and a vehicle for cultural recollection. The collection of stop-motion animation generally includes traditional media such as original handcrafted models, production scripts, and original films; however, derivatives expand the archive's scope through their physical manifestation. These materials further serve the preservation of character representations while also documenting how animated characters have been insinuated into the texture of everyday life through processes of commodification and commercialization. Unlike the traditional video repositories, artifacts like Wallace & Gromit's Shower Gel Bottle have a very different conservation challenge. Its PVC constituent is vulnerable to degradation, abrasion, and on the other hand, minute details are at risk from erosion over time. However, the model stored at The Bill Douglas Cinema Museum has been well-preserved with bright colors and little evidence of decomposition apart from a few minor scratches and abrasions on Wallace's rear. Conclusion This derivative product concerning Wallace & Gromit does not merely serve to preserve the integrity of the classic stop-motion animation intellectual property; it also carries high cultural value, which is generated through the representations of the animated characters and the economic potential of cross-media adaptations used as commodities in life. Moreover, this commodity does not only package the knowledge learned from intellectual property derivation but also exclusively carries the features of fan culture. Functioning as a memento, it reinvigorates the characterization of the characters and allows for easy storage and display. As a commodity, it carries qualities of outsourced production and distribution, not to mention the branding clout accorded to its copyright holder, Aardman Animation. This provides multiple perspectives for understanding the development of Wallace & Gromit's IP based development. Works Cited: A Grand Day Out with Wallace and Gromit (1989) Brostow, Gabriel J., and Irfan Essa. "Image-based motion blur for stop motion animation." Proceedings of the 28th annual conference on Computer graphics and interactive techniques. 2001. Chen, Dezhi, et al. "Survival strategy of OEM companies: A case study of the Chinese toy industry." international Journal of operations & Production Management 36.9 (2016): 1065-1088. Kamil M J M, Shaukat S A. The implementation of polycaprolactone (PCL) as an eco-friendly material in toy design development[J]. Journal of Graphic Engineering and Design, 2023, 14(1): 5-17. Purves, Barry JC. Stop-motion Animation: Frame by Frame Film-making with Puppets and Models. A&C Black, 2014. Roe, Annabelle Honess, ed. Aardman Animations: Beyond Stop-motion. Bloomsbury Publishing, 2020. The Bill Douglas Cinema Museum. "Wallace & Gromit model" The Bill Douglas Cinema Museum, https://www.bdcmuseum.org.uk/explore/item/91839/Date Accessed 10th December 2024. Source A related resource from which the described resource is derived Wallace & Gromit animated film franchise Publisher An entity responsible for making the resource available Wallace & Gromit Limited Contributor An entity responsible for making contributions to the resource Aardman Studios Rights Information about rights held in and over the resource Wallace & Gromit LTD 1989 Format The file format, physical medium, or dimensions of the resource Shower Gel Bottle in the form of characters,10 inches tall, 250g in weight. Language A language of the resource English Type The nature or genre of the resource Model, Toy, Star Portrait Identifier An unambiguous reference to the resource within a given context BDCM 91839 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Wallace & Gromit, British Film and Television, Stop Motion Animation Wallace & Gromit https://humanities-research.exeter.ac.uk/archivalencounters/files/original/c30856d0b5f35b19ed2b87db4ec48013.JPG 6636706774d3c66622e84fdddbdd6a13 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/0728977f6aabf6a539acecda8d8963d7.JPG fb6c8ed25608b09ca76b25e06c3182e7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film and TV Merchandise: Toys Description An account of the resource A collection of toys and games produced to tie-in with film and television productions and stars Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Batman Forever Bubble Bath Container Subject The topic of the resource Batman Forever Description An account of the resource This Batman Bubble Bath Container (BD074884) is a container based on the figure of Batman from Joel Schumacher’s Batman Forever (1995). It turned a significant shift in the Batman film franchise and introduced a more relaxed tone compared to the darker gothic style of Tim Burton’s Batman films. After the film was released in 1995, a wide range of promotional products, including toys, household products, and decorations, to meet the growing needs due to the popularity of the film. This Batman Bubble Bath Container is one of them, which became a popular item for both children and Batman item collectors. This Batman Forever Bubble Bath Container was manufactured in Thailand and produced by Prelude UK Limited in 1995. The original pack was with a card tag, which painted a Batman sign under a big Riddler questionnaire symbol. It features the portrayal of Batman by Val Kilmer, with the suit design closely resembling the Batman costume seen in the film. It is 28cm high and capable of containing 275ml bubble bath or shower gel. With a removable cape, the whole container can be separated into four parts, such as a comprises bottle (BD74884/1), a cap (BD74884/2), an upper body (BD74884/3) and a cape (BD74884/4). Wear to the surface of the cape. It is noticed that the arms of Batman are movable, which adds a certain level of interactivity. The primary function of this product was as a bubble bath dispenser, but it was also marketed as a collectable item due to its iconic shape and connection to the Batman Forever (1995) film. It was part of the extensive line of licensed Batman Forever merchandise aimed at a younger audience. Jose Fernandez designed this bat-suit under the direction of Bob Ringwood and Joel Schumacher. Schumacher wanted a strong influence of beauty for this costume, which was influenced by the statues of ancient Greece. The design of the armour marked a significant departure from Tim Burton's darker, gothic style, adopting a more streamlined, metallic aesthetic that gave Batman a more modern and advanced appearance. The armour’s design was inspired by the film's brighter, more dynamic visual style, with sharper lines and sculptural details on the chest, shoulders, and mask. This not only enhanced Batman's heroic persona but also made the armour representative of the film's colour tone and overall aesthetic. Pearson and Uricchio mentioned that at this stage, any drastic change to Batman's visual style could damage its franchise and undermine the integrity of the merchandise form and the interests of its fans, as well as the character's lived experience necessary for its continued success.’ (Pearson and Uricchio, 184). However, the change of the Batman suit works well because compared to Burton's design, this version captures the attention of younger audiences better, making it a wise choice to combine this Batman suit design with children's products. The Batman Forever Bubble Bath Container was part of a larger strategy by Warner Bros. The idea is that successful brands are built by exploiting multiple contacts between the brand and the consumer. (2006, 69). The Batman Forever Bubble Bath Container exemplified the increasing trend in the 1990s of turning movies and characters into multifaceted, lifestyle-engaged brands. To create a range of kid-friendly products that would promote the film while encouraging brand loyalty among young fans. The reason why Warner Brothers turned to licensing intellectual property to other companies to produce merchandise production is that profit margins are running thin throughout the film industry and box office. So, Warner Bros. marketed the product heavily alongside other Batman Forever film-related toys, lunchboxes, and school supplies. The bubble bath container was positioned as both a functional and collectable item that parents would purchase for their children, blending the film’s commercial appeal with practical use in children’s daily routines. The Batman Forever Bubble Bath Container is made of black plastic and can play in the water. For instance, parents may have the chance to deliver the power of fandom of the Batman franchise when they bathe their children; it is also a good chance to interact with their children. As a result, the Batman Forever Bubble Bath Container was generally well-received by consumers, especially for its novelty value and the fact that it represented a fusion of toy-like collectability with a necessary household product. It became a popular item in both children's bathrooms and as a worthy collectable in the years following the film’s release. In the 1990s, the way consumers engaged with the Batman franchise changed. It is not limited to the box office and videotape rentals. However, it built an integrated product system around the audience. This bubble bath container, along with other products like action figures and brush with Batman appearance, contributed to the film’s product marketing system, showing presence in homes. Licensing related to merchandise and franchise products is a significant revenue source, particularly for prominent publishing houses. It can also serve to finance new franchise products. (Freeman, 43) It is a virtuous cycle that benefits both the franchise and the film. The Batman franchise had already become a pop culture phenomenon by the time Batman Forever was released, and the bubble bath container fit into this brand, and products played a role in creating emotional connections with audiences, particularly children, who often saw the products as an extension of the fictional world they admired. ‘Brand extension builds on audience interest in particular content to bring them into contact again and again with an associated brand’. (Jenkins, 4) It reflected the era’s consumer culture, where licensed merchandise became the items found everywhere in daily life. This transition reflected a conscious effort to reframe the franchise, making it more accessible to a wider consumer base, as it aimed to capitalise on the expanding merchandising opportunities. Besides, the appearance of a bubble bath container reflected Warner's change in licensing and began to penetrate more deeply into people's lives. Its shape is also deeply loved by young consumers through the influence of the Batman Forever Batman franchise into the lives of teenagers. The Bill Douglas Cinema Museum holds a series collection of Batman franchises, and it makes the museum itself a fascinating place for Batman fans to visit. The museum keeps some of its Batman-related collections well preserved, making these rare objects accessible to fans like the Batman Bubble Bath Container. For instance, the 1989 Batmobile Toy car, the poster of the Lobby card for 'Batman and Robin', and the book called Batman & Robin Official Annual. Its collection of Batman is rich in content and variety and crosses different Batman films. For fans and researchers, the museum provides a source to preserve the Batman franchise’s merchandised items and give audiences a chance to reach, which is one of the most remarkable superheroes in the world. Work Cited Batman Forever (1995) https://ore.exeter.ac.uk/repository/handle/10472/5050?show=full https://www.bdcmuseum.org.uk/explore/item/68388/ Pearson, R. and Uricchio, W. (1991) The Many Lives of the Batman: Critical Approaches to a Superhero and his Media, New York: Routledge --- (2006) Convergence Culture: Where Old and New Media Collide. New York: New York University Press Freeman, M. “Transmediating Tim Burton’s Gotham City: Brand Convergence, Child Audiences, and Batman: The Animated Series”. Networking Knowledge: Journal of the MeCCSA Postgraduate Network, vol. 7, no. 1, Apr. 2014, doi:10.31165/nk.2014.71.329. Jenkins, H. (2003) ‘Transmedia Storytelling.’ Technology Review. Accessible at http://www.technologyreview.com/news/401760/transmedia-storytelling/. Accessed 4 February 2013 --- (2011) ‘Transmedia 202: Further Reflections,’ Confessions of an Aca-Fan, August 1. Available at: http://henryjenkins.org/2011/08/defining_transmedia_further_re.html. Accessed 28 August 2013 Creator An entity primarily responsible for making the resource PRELUDE UK LTD Source A related resource from which the described resource is derived Batman Forever (1995) film Publisher An entity responsible for making the resource available Warner Bros. and PRELUDE UK LTD Date A point or period of time associated with an event in the lifecycle of the resource 1996 Contributor An entity responsible for making contributions to the resource DC Comics Rights Information about rights held in and over the resource NE4 5SP © DC COMICS ALL RIGHTS RESERVERD Relation A related resource SPECTRUM Format The file format, physical medium, or dimensions of the resource Plastics Language A language of the resource English Type The nature or genre of the resource Container, star portrait, toy Identifier An unambiguous reference to the resource within a given context BD074884 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Batman Forever (1995), Batman, Star portraitToy, Warner Bros. Dc Comics Batman https://humanities-research.exeter.ac.uk/archivalencounters/files/original/f93c3cdbca06e5740e56e375efa8b595.JPG c2ce67c735b9a57f94c811e318a105e7 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/e4d95f23a18e0b6c59db2048522573f1.JPG 39110fba68e36e4743e9a4da665222f9 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/3e708698878ca50e04c7f236af08f1f6.JPG 2f39c2e6a3a72e9739703da761ab5aa9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film and TV Merchandise: Toys Description An account of the resource A collection of toys and games produced to tie-in with film and television productions and stars Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Batmobile Toy Car Subject The topic of the resource Batman Description An account of the resource The Batmobile toy car (EXEBD 68388; 1989) is based on the Batmobile from Tim Burton’s Batman (1989). It is one of the most iconic vehicles in cinematic history, and after years of development in the toy industry, it has consistently maintained its influence in the world of superhero toys. This one was manufactured in China and distributed by TM & DC COMICS after the original film Batman (1989) was released. This was the one from Toybiz company when they got the license from Warner Bro. The original toy came in a golden surface box with a striking Batman logo featuring a bold graphic of the vehicle from the film and conspicuously displaying the Batmobile. The Batmobile toy car was accessioned by the Bill Douglas Cinema Museum as part of its collection in 2009. This toy car lacks the motor and the missile launcher on the right and shows wear to all surfaces, especially the base. The entire body of the toy car is covered in black plastic, with metal bearings under the base connecting the four wheels, each decorated with silver Batman symbols. Two 1989 versions of Batman symbols are also pinned on the flanks. Inside the cab, a decal of a control panel mirrors the design from the film. The internal joystick of gears and the steering wheel can be manipulated. Unfortunately, the trunk lid is missing. This Batmobile toy car was based on Tim Burton’s Batman (1989), the design was led by Anton Furst, who played a significant role in shaping the overall aesthetics, which is a gothic-dark style of the film. This version of the Batmobile first appeared in Batman (1989) and returned in Batman Returns (1992). Furst described the Batmobile as ‘more like a knight in armour, an extension, an expression of Batman's costume - an intimidating, furious war machine’. (Lynn, 84). The Batmobile’s distinctive front turbine drew attention, and the entire design was inspired by a Chevrolet Impala with a V8 engine. Its arsenal included fuel and smoke dispensers two machine guns mounted on the front. (CE Noticias Financieras). Furst’s design combined sleek futuristic elements with gothic, almost medieval aesthetics, fitting perfectly into the dark, stylised world of Tim Burton’s Gotham City. It embodied both Burton’s concept and Batman’s characteristics, creating a unique brand identity. The combination of polished black surfaces, sharp lines, and mechanical elements conveyed Batman’s formidable persona, making the Batmobile a key character of the film. This dark-themed Batman film has achieved good results, and with it, the sales of related movie merchandise have surged. Batman in 1989 grossed $251 million at the worldwide box office, and with the launch of a variety of products such as T-shirts, toys, and cereal, the licensed merchandise would further reach $500 million in retail sales in the following years. (Elliott, 25). Among them, toy manufacturers have especially benefited, as this brand is inherently well-suited to be turned into toys, such as Hot Wheels. Once upon a time, toy manufacturers made a fortune by creating traditional toys based on movie licenses. ‘As a die-cast metal toy, the Batmobile was special compared to the de rigueur Hot Wheels and Tonka trucks.’ (David, 6) Even as part of the Hot Wheels series, the Batmobile remained popular. However, simply replicating the film's figure was no longer enough to satisfy the growing demands of the younger generation for toy cars. Unlike the previous Batmobile toy, Toybiz’s production replicated the film's design while introducing more interactive features that engaged young fans. The toy was not a simple imitation of the Batman universe but a good attempt at the growing market demand for interactive toys by offering features such as missiles, replaceable figures, and a rotating turbine engine, all drawn directly from the film's imagery. Toybiz had an interesting version in that it is shaped more like a roadster with an open top, and there is no cockpit roof. And it is possibly the only 1989 Batmobile sold in toy stores that can seat two figures like it is supposed to. Besides, both rockets can fire, and the car makes "turbine" sounds when you roll it. ‘licensing's success is the continuing failure of traditional toys to excite buyers.’ (Pereira and Bannon, 1). Simply replicating the design of toys has become a thing of the past. However, Toybiz truly combines the creativity with the value of the Batman franchise, providing an opportunity for fans to drive the Batmobile and launch the missile. The Batmobile toy car represented its quality as an attractive toy, as well as a progression of merchandising Batman film-related items. There is a strong foundation and a historical track record that could keep merchandise products and maintain the cultural influence and commercial competitiveness of Batman film-related production long after the Batman franchise existed. (Laura, 1). Batmobile set up criteria for the later toy manufacturers how to catch the curiosity of consumers, particularly among young generations and toy collectors. ‘The audience is everybody, but the engine that drives the charge are kids under 20.’ (Weinraub, 18). Toys are a medium for young people to achieve entertainment. Entertainment is the main function of toys. Toybiz, with its unique design and interactive experience, allows fans and collectors to recreate the plot in the same way as the movie, greatly enhancing its entertainment. Furthermore, DC Comics, as the copyright holder of Batman and Batmobile, has depicted the Batmobile as a high-tech vehicle with a bat-like appearance. After decades of development, the Batmobile's appearance has changed. However, its core design and philosophy have never changed. In particular, the court determined that the Batmobile as a character is protected by U.S. copyright law and that the copyright owner has exclusive rights. Copyright law in the United States considers a Batmobile a copyrighted item, and any sale of a copy of the Batmobile would be infringing. This makes the Batmobile a separate spin-off from Batman, and even comic book characters are not protected by copyright law. The court considered that copyrights should not only apply to original characters but also protect unique designs included in the whole picture, such as the Batmobile. Copyright owners like DC Comics and Warner Bros will be glad for the decision as it clarifies the criteria for assessing whether a character or a car is protected by copyright. The Bill Douglas Cinema Museum put this Batmobile toy car in its collection, physically preserved it, and gave fans a chance to connect with the artefact. Through the display that the museum offers, people can get a close feel of the characteristics of toy design in that era, as well as the great charm of the Batman franchise. Since the original 1989 toy has become very rare in the market today, Bill Douglas gave a fine place to preserve this Batmobile. Also, it is a physical carrier of the development history of Batman movies, through which people can study and analyse the aesthetic style of Tim Burton Batman and the unique charm of this franchise. Works Cited Batman (1989) https://www.bdcmuseum.org.uk/explore/item/68388/ https://ore.exeter.ac.uk/repository/handle/10472/4788?show=full Geller, Lynn, and Anton Furst. “Anton Furst.” BOMB, no. 31, 1990, pp. 80–85. JSTOR, http://www.jstor.org/stable/40424786. Accessed 15 Dec. 2024. "Full speed: Learn about the evolution of the Batmobile." CE Noticias Financieras, Sep 17, 2020. ProQuest, https://uoelibrary.idm.oclc.org/login?url=https://www.proquest.com/wire-feeds/full-speed-learn-about-evolution-batmobile/docview/2444074229/se-2. Menzies, David. "Superhero's wheels more than just a car Without the Batmobile, Batman is just a guy in Spandex: [Toronto Edition]." National Post, Mar 02, 2001, pp. E06. ProQuest, https://uoelibrary.idm.oclc.org/login?url=https://www.proquest.com/newspapers/superheros-wheels-more-than-just-car-without/docview/329769817/se-2. Joseph Pereira and Lisa Bannon. "Toy Makers' Addiction To Hollywood Figures Reshapes Kids' Play --- Licensed Characters Sell Big, And Studios Are Moving Into the Business, Too." Wall Street Journal, Jul 18, 1995, pp. 1. ProQuest, https://uoelibrary.idm.oclc.org/login?url=https://www.proquest.com/newspapers/toy-makers-addiction-hollywood-figures-reshapes/docview/308234198/se-2. Laura. L. "Can Bat-Movie Survive All the Bat-Items?" Wall Street Journal, Jun 13, 1989, pp. 1. ProQuest, https://uoelibrary.idm.oclc.org/login?url=https://www.proquest.com/newspapers/can-bat-movie-survive-all-items/docview/398136751/se-2. Weinraub, B. (1992) ‘Batman is Back, and the Money is Pouring In’, New York Times, 22 June, 13--- (1995) ‘And Now, Something for the Grown-ups’, New York Times, 14 May, 18-19 Elliott, S. (1992) ‘Batman Returns, but Brings Far Fewer T-Shirts,’ New York Times, June 9: 25-26 --- (1995) ‘Advertising,’ New York Times, September 22: 6 Creator An entity primarily responsible for making the resource TM & c DC COMICS INC Toybiz Source A related resource from which the described resource is derived Batman (1989) film Publisher An entity responsible for making the resource available Warner Bros. and Toybiz Date A point or period of time associated with an event in the lifecycle of the resource 1989 Contributor An entity responsible for making contributions to the resource DC Comics Rights Information about rights held in and over the resource TM & © DC Comics INC.1989 Relation A related resource SPECTRUM Format The file format, physical medium, or dimensions of the resource Plastics Language A language of the resource English Type The nature or genre of the resource Toy Identifier An unambiguous reference to the resource within a given context BD068388 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Batman (1989), Batmobile, Toy, Warner Bros. Dc Comics Batman