But branded entertainment is more than product placement. Its entertainment that inserts the product into the plot.

And as media and audiences fragment, branded entertainment is evolving. Recognizing that entertainment pulls in online users, Axe, a men's cologne and body wash company, created Midnight Rida. Midnight Rida spoofs the 80s hit Knight Rider. The entire show was designed to promote Axe, and it heavily weaves products into storylines. The series will launch on Axe's Web site soon.

Another example of this innovative ad phenomenon is Mo Pros (short for mobile professional) MoPros is three short comedy skits with plots that revolve around Samsung's new phone, the Q-Ultra.

Samsung snagged comedic genius Bob Odenkirk to participate. Each episode is about a bizarre person with a weird job that can only be performed with the Q-Ultra.


One episode is about a private fireman who lives in his car and only puts out fires within a 12 block radius.

The guy gets paid by the fire: "I feel like that sounds like the fire pays me. I mean that for every fire I put out I get paid by you," he says in a satirical rant about his job. In the video, the fireman even responds to a request to put out a fire with a text message on his Q-Ultra, complete with a winky emoticon.

Another guy uses his phone to book carousel horses for children before they go to the park.

Probably the most absurd video is of two brothers, Bob Odenkirk and Michael Naughton, who sell their "brother" status to other people. The two brothers get calls from costumers via their Samsungs. And while the brothers can operate the phones, they can do little else right.

As more and more companies dabble into advertainment, the lines of distinction between ads and art becomes less and less defined. I'm not sure if advertisements can spoil art, but it seems art can certainly improve advertisements.

É só imprimir e se divertir!!!

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Pinte mais:

Minnie Mouse

Conheça:

http://www.amoremminuscula.com.br/

A) Will wear white sheet to reassure voters.
B) Will announce endorsement of John McCain to reassure voters.
C) Will call for foot-powered cars.

Contributing: Tim Willette

Check out the Flintstones selling Winston. And smoking them! It's weird since we're not used to seeing ads like this, but it's kind of funny too!

Posted by Lottie -- Copyright © 2008 Rambling On

"The Flintstones" ist eine us-amerikanische Zeichentrickserie aus den 60er Jahren, die im deutschen Sprachraum als "Familie Feuerstein" eigentlich jedem geläufig sein sollte. Ziel war es also auf Uschi Island eine Theme-Party zu veranstalten, die sich an die Charaktere der Serie anlehnte.

Um die Party zu bewerben baute ich unmittelbar am zentralen Uschi Island Starting Point ein kleines Tor aus den typischen Feuerstein Autos. Ein Stück weiter dahinter hatte Uschi-Mitglied Leoni Ballinger einen riesigen Dinosaurier aufgestellt, der Fred Feuerstein in der Serie als "Arbeitsgerät" dient und auf dessen Rücken er bei Dienstende immer herunter rutscht. Uschi Island Owner Tabea Siegel stellte zudem Plakate auf, die die Party ankündigten.

Kurzum die ganze Sim wurde in eine "Familie-Feuerstein-Atmosphäre" versetzt. Doch damit nicht genug, Uschianer und SL-Modedesignerin Tatjana Sautereau stellte für die Party kostenlos passende Kleidung zur Verfügung. Die Partygäste konnten sich so wahlweise als Fred Feuerstein, Wilma Feuerstein, Barney Geröllheimer oder Betty Geröllheimer verkleiden. Wer nicht ganz soweit gehen wollte, für den gab es alternativ auch noch Flintstones T-Shirts.

Als kleines Gimmick lag jeder Kleidungs-Box ein "Bam" bei, eine Steinzeit-Keule die es dem jeweiligen Träger erlaubte durch die Chat-Eingabe des Kommandos "bam" einer Person die gerade vor ihm stand eins überzuziehen *lol*. Zur Verköstigung der Gäste waren am Rande der Tanzfläche "Bronto Ribs" aufgebaut, also jene "Rippchen" die im Vorspann (oder Abspann) der Zeichentrickserie immer dazu führen, dass das Auto der Flintstones umkippt.

Für die Musik war an diesem Abend Uschirist Vidar Larg zuständig. Um die Party auch musikalisch möglichst stilecht zu gestalten, wünschte ich mir Stücke von Stoner Rock Bands wie den "Queens of the Stone Age" oder "Wolfmother", da mir "Stoner Rock" schon allein vom Namen her zu passen schien. Auch die "Rolling Stones" zu spielen, lag irgendwie auf der Hand.

Leider blieben meine Wünsche mit ihrer Stilrichtung die Ausnahme, ich konnte mich mit meiner Vision von flintstones-passender Musik nicht so ganz durchsetzen. Wie so oft in letzter Zeit dominierte auch auf dieser Uschi Party wieder recht stark 80er Jahre Synthie Pop, Dark Wave und New Wave Pop. Aber was will man machen, viele der Partygäste mögen diese Stilrichtungen offenbar ^^.

Wirklich passend waren aber immerhin einige Stücke der B52's, die wie keine andere Band mit den Flintstones in Verbindung gebracht wird. Für den Flintstone-Film (1994) brachten sie als BC-52's "(Meet) The Flintstones" heraus und coverten auch den berühmten "Bedrock Twitch" aus der Serie.

Insgesamt war das eine gelunge Theme-Party, auch weil die meisten Gäste den Spaß mitmachten und sich mit den bereit gestellten Flintstones-Utensilien eindeckten oder gleich selber welche mitbrachten.

• Como se escreve zero em algarismos romanos?
• Por que os flintstones comemoravam o natal se eles viviam numa época antes de Cristo?
• Por que os filmes de batalhas espaciais têm explosôes tão barulhentas, se o som não se propaga no vácuo?
• Se depois do banho estamos limpos porque lavamos a toalha?
• Como é que agente sabe que a carne de chester é de chester se nunca ninguém viu um chester?
• Por que quando aparece no computador a frase "Teclado não Instalado", o fabricante pede para apertar qualquer tecla?
• Por que os aviões não são feitos com o mesmo material da caixa preta?
• Se os homens são todos iguais, por que as mulheres escolhem tanto?
• Por que a palavra "Grande" é menor que a palavra "Pequeno?
• Por que "Separado" se escreve tudo junto e "Tudo junto" se escreve separado?
• Se o vinho é líquido, como pode existir vilho seco?
• Por que as luas dos outros planetas têm nome, mas a nossa é chamada só de lua?
• Por que quando agente liga para um número errado nunca da ocupado?
• Por que as pessoas apertam o controle remoto com mais força, quando a pilha está fraca?
• O instituto que emite os certificados de qualidade ISO 9002, tem qualidade certificada por quem?
• Se no nariz nunca tem ruga, por que a pele do rosto não é feita com a mesma pele do nariz?
• Se a ciência consegue desvendar até os mistérios do DNA, por que ninguém descobriu ainda a fórmula da Coca-Cola?
• Como foi que a placa "É proibido pisar na grama" foi colocada lá?
• Por que quando alguém nos pede que ajudemos a procurar um objeto perdido, temos a mania de perguntar: "Onde foi que você perdeu?"
• Por que tem gente que acorda os outros para perguntar se estavam dormindo?
• Se o Pato Donald não usa calças, por que ele amarra uma toalha na cintura quando sai do banho?

Sabe alguma pergunta sem resposta? Mande para nós.

Por: Luxo

yabba-dabba-doo!

   Otherwise a soft spoken, petite woman and mother of two at an age I shouldn’t mention for fear of retribution, Amy is not your stereotypical biker chick.

   Then there’s our friend Larry – a worthless creature six days out of seven who tells us he is gainfully employed, although we’ve never seen any real proof.  So when he roars into our driveway on his Harley wearing leather chaps and a do-rag, all possibility of virtue goes out the door.

   Maybe I got all of that stuff out of my system as a teenager, roaring around the back roads of southern Illinois on a Kawaski 175 in an attempt to appear as cool as the Easy Rider.  Of course, a six-inch gash on my right knee that still oozes gravel chips 30 years later, obtained from losing control of said Kawaski, certainly contributed to getting the motorcycle bug out of my system.

   But Larry and Amy are not alone in their adult obsession with big toys that make a lot of noise.  If they didn’t have responsibilities that require them to behave like adults this week, they would be on the road to Sturgis South Dakota...

…and oh, Bob McClintick, we know you would be leading the pack on your new toy, leaving Lisa and those three kids behind like dust in the wind.

   A tiny little town in the Black Hills with just about 5,000 residents, Sturgis is making a lot of noise this week.  It’s the annual Sturgis Motorcycle Rally and Black Hills Motor Classic, and with 600,000 bikers, yes, it’s a noisy place.

   But when Bruce and I visited in May, it was so quiet you could hear the birds chirp and the flags snap in the breeze.  That’s one of the many things we love about the Black Hills, and it’s my lead in a brief story that appears today in the Dallas Morning News. 

• Astrônomos descobrem radical que ajuda a eliminar poluentes no planeta
• Símbolo da biopirataria, cupuaçu ganha status de fruta nacional do Brasil
• Lei antifumo prevê multa de R$ 872 em São Paulo
• Supremo libera pesquisas com células-tronco embrionárias
• Greenpeace ateia fogo a tronco amazônico para protestar contra desmatamento
• Ministério do Meio Ambiente libera R$ 6 milhões para Instituto Chico Mendes
• Pequim recomenda que pessoas evitem sair às ruas por conta da poluição
• ‘Flintstones’ protestam contra emissão de carbono na Europa
• Cidade faz gincana antidengue e oferece prêmios no Paraná
• Missão da África busca aprendizado sobre agroenergia

1. Link to the person who tagged you.
2. Post the rules on your blog.
3. Write 6 random things about yourself.
4. Tag 6 people at the end of your post and link to them.
5. Let each person know they have been tagged and leave a comment on their blog.
6. Let the tagger know when your entry is up.

"Bananas, bananas, and more bananas!"

When a band goes on tour, they have what is called a rider backstage.  On this rider are items that they have requested.  It can be anything from beer, cigarettes, candy, beer, napalm, beer, cigarette flavored beer, beer soaked cigarettes, or kittens. Some examples of items include:

*Clarence Clemmons, of E Street Band fame, requests a whole roasted chicken be delivered to his dressing room mid-concert

*Christina Aguilera wants soy cheese, oreos, dried cranberries, and Flintsones chewable vitamins (doesn't she know that they taste better when you sneak them from the medicine cabinet, when your parents are in the other room?)

*Limp Bizkit's backstage lights must be dimmable. or else. 

*Jennifer Lopez wants a white room, white towels, white couch, white tables, white tablecloths, white drapes, white candies, whitelion

(for even more examples of rider insanity, click here)

So all of this begs the question: what would we, the staff of Random Ramblings, demand to be in our backstage rider? While the possibilities are endless, we have narrowed it down to the following:

*one 8 foot tall die cast metal statue of Optimus Prime in robot form-no plastic!

*a Jenga game with pieces made out of steak (cause Jenga makes us hungry)

*2 small chimpanzees

*1 miniature wrestling ring, complete with turnbuckles/ropes, for aforementioned chimpanzees to wrestle in (minature steel cage is acceptable too)

*access to a chocolate river, like the one featured in the Dairy Queen commercials of old.  Ice cream mountaintops are optional. (apparently there is some realistic consideration going into this idea. Glad to see others are thinking of it too). 

*one stegasaurus

*60 inch TV showing a continuous slideshow of monkeys dressed up in human clothes 

*1 pair of parachute pants

*3 leaf blowers

*1 clown (please do a background check)

*The racing guys from Better Off Dead as MC's for the backstage party

We trust these demands will be met when we make it big.  Feel free to leave us comments on what you would have on your rider.

Nothing better than a good smoke!  Check out this great old commercial.

To catch up on yesterday's comments, pannonica wins the award for best guess: today's cool job interview features Randy Santa Ana, a professional animator who specializes in Flash Animation for television broadcast. (I should add that all of the other guesses have given me a few ideas for new jobs to pursue -- thanks, everyone!) Now on to the interview!

There are about a million interesting things one can do with a computer, but in my opinion bringing drawings to life is one of the coolest, and among the most challenging. My own personal artistic and computer skills run along the lines of stick figures and playing Minesweeper, so naturally I'm in awe of Randy's animations, samples of which you can view here and here. If you are interested in the subject of Flash, I can also recommend Randy's blog, which is a great read.

So are you ready to find out what it's like to work at home, make animations seen on TV by hordes of people, and play with all that nifty computer equipment? Me, too!

When people ask you "what do you do?" how do you describe your job?

It is not everyday that somebody asks me about what I do for a living
so it is always a treat to tell them about it.

I am an Animator and I do animation for television broadcast. I
describe animation as the process of creating or drawing a series of
images that when viewed in sequence creates the illusion of movement.
Traditionally, it is all done by pencil and paper, meticulously hand-
drawn and painted and then each image is shot by a camera in sequence
to put it into film. You get to see the product of this process by
watching the popular animated classics such as the Flintstones, Scooby-
Doo and Walt Disney's Mickey Mouse and Snow White And The Seven
Dwarves, among other.

What's cool about the field of animation that I specialize in is that
all the animation is done using a computer. No, it is not 3D
animation, which I think is the more popular kind of computer
animation and the one that readily comes to mind anytime computer
animation is mentioned. The genre that I specializes in is called
Flash Animation and it uses this computer software called Adobe Flash.

Flash was originally made for web designers to allow them to add
animations to a web site. You may have seen these animation anytime
you visit a particular web page that has it. Since it deals with
animation, somebody must have figured out that it could also be used
to create rich animation suitable for television broadcast. And thus
Flash Animation for TV was born.

Since Flash Animation is all done using a computer, it has become a
popular and preferred method for creating a series for television
broadcast. It does away with pencil and paper, thus reducing cost.
The process is much faster compared to a traditionally made production
because everything is done digitally.

Whenever I tell people that I am an animator and that I did some work
on a particular television series, they usually ask me if I did
everything on that show. Actually, I am just one of the many artists
involved in the production. There is a department that do the voices
for the characters. There is a department that handles the layout of
each scene and another department that creates the backgrounds for
these scenes. And then there is my department, which is tasked with
making the characters move and give the illusion that they are alive.

Oh, and I should mention an even cooler thing about my job: I get to
do it at home. Since everything is done digitally, I can work at my
home office based here in Calgary. I download my work load from the
intranet of my client's website, work on it at my computer here at the
basement of my home, and send the completed scenes back the same way,
via the internet. How sweet is that!

What are the things about your job that you love?

Here is my Top 5 List of Why I Love My Job:

1. I get to do my work at home. I don't have to worry about getting
up in the morning to take a shower and commute to work. All I have to
do is walk down to my office in the basement and viola! I am at the
office!

2. I get to work with cutting-edge technology such as computers and
the internet. I am geeky, so this is a plus!

3. The pay is good!

4. Working on an animation series intended for kids makes me feel
young.

5. Working from home, I am my own boss!

What are the things about your job that you hate?

I don't have much to hate about my job. It is so fun and feels like
play most of the time! But there are some minor gripes, to which I
intend to present as my Top 5 List of Gripes About My Job:

1. Working from home blurs the line between work and personal time.
Since I have full control of the time I spend at work, and this can
become engrossing at times, this sometimes eats up time from my
personal life.

2. Since I have to work with my own equipment, I had to raise a
reasonable amount of capital to be able to purchase them and that sure
gave my finances a significant hit. These equipment can also be
unpredictable at times and can break down with no slight hint
whatsoever, so I have to become my own tech support team and do the
fixing myself.

3. The pay may be good, but I get my paycheck from the mail so I have
to wait. While my other co-workers in the studio where I get my work
from have received their paychecks, I would have to wait a number of
days for it to arrive in the mail. And when the weather becomes
rough, the wait might take even longer!

4. I miss the camaraderie and interaction you get from fellow artists
when working in a studio environment. Nothing helps one further his
art even more than to get some healthy criticism from another artist
sitting next to you and that is something I will not be able to enjoy.

5. I am my own boss, but I also have to be my own employee, director,
critic, production assistant, accountant, purchasing officer, driver,
cook, tech support, maintenance crew, etc.!

What education, training, vocation or just plain luck would
someone have to have in order to get a job like yours?

I started out as an Architect and have worked as one for a number of
years before deciding to shift careers and pursue my love for
animation. At that time of my career change, there were no schools in
my home country, the Philippines, that offer a full animation degree
course. I was fortunate that one of the major animation studio in my
home country were looking for a number of applicants to train as
artists through their in-house training program.

As a trainee, I had to undergo a rigorous 6 months training on how to
draw as well as the basic principles of animation. When I was
accepted as an in-house artist, I had to work for another number of
months as an assistant animator before I had the chance to apply for
and train as an animator.

It was fortunate that Flash came along at that time when I was working
as an animator already and was looking for a paper-less medium to do
animation. I am proud to say that I was one of the pioneer in the use
of Flash for animation in my home country and it has been my area of
expertise ever since.

A degree in Fine Arts can surely benefit somebody who wants to pursue
animation as a career. Taking a dedicated animation degree course is
not a must but would be very, very useful. It takes a certain degree
of persistence and dedication and a love for hard labor as well as a
sprinkle of talent to be able to work as an animator. It is a long
and hard journey to learn how to do it; I have been at the industry
for more than nine years now, 4 years as a full time animator, and I
am still a student of the craft.

With regards to being able to do your work at home, there was a bit of
luck there as well as my own reputation as a professional that landed
me that arrangement. You have to have a certain knack for multi-
tasking as well as a good reputable work history and experience as a
professional. I was lucky because the studio that I previously worked
for gave me a good recommendation letter and the rest I had to rely on
my own persistence and dedication.

What is the funniest story you can think that involves your
professional training or your job.

Whenever an animator works on a scene, he or she would try to "act
out" that scene to be able to get an idea on how one can give life to
that character. I do that a lot and sometimes in front of a mirror so
I can see how the action is done and then apply to what I am working
on. But sometimes, this can get out of hand. For instance, I had
people looking at me wondering when, say at a middle of a casual
dinner with family and friends at a fancy restaurant, my mind would
suddenly drift back to what I was working on back at the office and I
would unmindfully and unconsciously "act out" a scene right then and
there.

There you go! I am based in Calgary. People can find me all over the
place in a blog that I keep at http://randymstaana.wordpress.com/

For samples of animation done in Flash here are some links to some
that I had the privilege to be a part of:

http://beingian.ytv.com/
http://www.adrenalini.com/

I haven't been a great fan of Tom and Jerry, the early ones of Joseph Hanna & William Barbera for MGM, partly due to the lack of dialogue and the constant theme of cat chasing the mouse and mouse getting away, which can get slightly boring. Then there were Flintstones and Jetsons, both of them, the real world interpolated to the stone and the space ages and perfectly timed for fun during lunch during summer holidays. And Scooby Doo, which bored me with the recurring "Oh! Those Pesky Kids!!" (Agatha Christie and Sherlock Holmes provided better detective stories :P). And Yogi Bear, Huckle Berry Hound (Oh my Darlin'! Oh my Darlin'! Oh my darlin'! Clementine!) and Smurfs (Ooooohhh I Lurve those blue people). How can I forget Dexter with his ever curious sis DeeDee and the occasional appearance of Mandark, Dexter's Arch Rival who had a thing for DeeDee). Then my favorite , Bugs Bunny with its carrot munching, extremely kühlheaded, "Gee, Whats up doc?" . Johnny Bravo (Heyyy Pretty mama!!!), Pinky and the Brain, Sylvester and Tweety Mysteries, Top Cat(Hes the most tip top, tadadada, Top Cat!), Dial M for Monkey, The road Runner show (Which I thought was a poor cousin of Tom and Jerry) and a gadzillion others.

Does anyone remember Crocadoo which came in '96? The show was pathetic but the title song was quite catchy. There was also this "Today's Cartoon Network Thing to Do" coming up with really bizzaire things. Laf-la-lympics, where Scooby's Team always came first closely followed by The Yogi Yaahooees and The Really Rottens always at the bottom, hosted by Pink Panther and another cat I don't remember. DonWanObeKanobe and Sheep in the big city (There were only two or three episodes of this I think), Another time they came up with a bird playing songs by Josie and the Pussycats.

The real low for Cartoon Network came when it started playing (No not Pokemon/CardCaptors/Jackie Chan Adventures) Flintstones kids and Scooby Doo Kids, where the focus became CateringNewCartoonsForACartoonHungryAudience rather than creativity and exploring the realms of the human psyche. They came up with all sort of things like Courage the Cowardly Dog, and OH! I dont remember because I switched over to Nickelodeon :P . All those Nickelodeon fans might remember Rugrats, The wild Thornberrys, and Hey! Arnold. They started another channel PoGo, or was it already there? with Enid Blyton's Noddy, and Bob the builder and some hotdog like daschund...

After going to NITK i just lost touch with Cartoons and the telivisions. Now I dont know what is going on there...

Cartoons/animation are really wunnerfulthings. I really hope they make better ones, for this generation kids will really miss some thing.

Well, Thats all Folks!!

I sent it to a speculative fiction magazine where it was rejected. The comment was that the protagnonist didn't do enough and, what about the other 15 Oz books and what they covered that people knew so well. I can live with criticism and comments on what doesn't work but I didn't find the comment about the Oz books helpful nor true to the whole genre of speculative writing.

Worlds of what-if includes looking at something and saying, what if it did this instead of this? What if Snow White had actually enslaved the dwarfs to work for her and they were brainwashed? What if the Germans had won WWII? What if magic did exist and it caused a worldwide class system? There are a thousand examples of where someone takes a pre-existing concept or event and changes it.

Fairy tales have long been in the realm of public domain and many have been rewritten and retold in varying ways. The most popular example would be anything that Disney has touched, to the extent that some people think that the Disney version is the one and only. But fairy tales have a long tradition of orginally being oral tales that were eventually written down by the Grimm brothers and others. Once they hit print, they didn't change and adapt with the times as much, but they did still change. Writers still took those ideas and played with them.

L. Frank Baum's Wizard of Oz was written in 1900 and published in 1901. It's been around long enough that it is now in our memories. When I decided to write the story I actually had to go read the book, because like many people, I was more familiar with the movie. I didn't read the other 13 books (not 15). Though they were popular it was that original adventure that caught so many people's imaginations.

Asking, what if this happened to Dorothy is a valid question. But perhaps I'm just an angry rejected author. Well, I have given examples of other what-ifs, but let's look at two that I just found this week. Yesterday, I was listening to CBC Radio's Wiretap http://www.cbc.ca/wiretap/index.html There were two stories: What if the Penguin and Mary Poppins met on a blind date? And what if Barney accidentally killed Dino in Bedrock? Hmm, if I was the editor that rejected my story because I didn't consider the other 13 books, then I could also say but Mary Poppins never met the Penguin. What about all those other Batman comics. Or, but Dino never died and what about all those other Flintstones cartoons?

Okay, well, those are closer to the point I'm making but not about Oz. Then I came across the following article this weekend in the Dec. 2007 issue of Wired.

Tin Man--SciFi Chanel's three-part reimagining of The Wizard of Oz, premiering Dec. 2, blends steampunk and Buffy. Heroine DG (Zooey Deschanel) battles the evil Sorceress (Kathleen Robertson) to free the oppressed residents of The O.Z. The Tin Man (Neal McDonough) is a more-dreamy-than-tinny ex-cop resistance fighter, and the Scarecrow (Alan Cumming) is a victim of grand theft brain. Cheesy? Absolutely. But it's also clever and wonderfully geeky.

Steampunk and Buffy? The Tin Man is an ex-cop? Oh my goodness! But...but.... I think my point is made that it's valid to take a character, a time, a place and ask what if? It's valid to not slavishly follow what has been written but to take some elements and fly off into the worlds of imagination. As to my story, well, I'll continue to send it out and see what the editors think.

Intolerância ao diferente. Em suma, essa frase traduz todas as páginas do artigo de Tânia Maria Baibich sobre o preconceito na escola. Tomando como exemplo o nefasto 11 de setembro, dia em que ocorreu uma tragédia representativa – que tinha como pano de fundo o horror ao diferente – Baibich utiliza a atitude de um personagem de desenho animado, o Fred Flintstone, que “varre a sujeira para debaixo do tapete” para fazer analogias às práticas adotadas contra o preconceito no ambiente escolar. Nesse sentido, ela aponta uma característica peculiar do nosso país que é a manutenção de práticas preconceituosas por meio do agravamento do silêncio que pesa em favor do preconceito.
Diante dessa perspectiva o presente artigo nos leva a considerar que o contexto de discriminação e preconceito no cenário nacional revela questões extremamente delicadas e de difícil solução. Se se procura determinar as causas que levam a manifestação do preconceito e as estratégias que podem ser utilizadas para sua posterior diluição no intuito de construir uma sociedade cujas relações sejam mais saudáveis, é lamentável afirmar que tais atitudes não devem ser consideradas pertinentes, quiçá eficazes quando se busca minimizar as imagens negativas vinculada aos grupos-alvo.
Essa impossibilidade se deve ao fato de que, no Brasil, intolerância ao diferente é pautada na crença de que não há intolerância e o que ocorre comumente é um aparente tratamento cordial para com os membros discriminados. Ora, como estabelecer as bases para a dissolução de comportamentos discriminatórios e crenças preconceituosas se essa postura é, invariavelmente, atribuída ao outro. Deve-se concluir então que a falsa ideologia de que vivemos num país em que as diferenças são aceitas e valorizadas só problematiza a questão, pois nenhuma regra, nenhuma lei, nenhuma intervenção fará sentido enquanto for direcionada para o inexistente.
Apesar das evidências cotidianas, das pesquisas acadêmicas e dos notórios dados estatísticos, o país considera-se livre de preconceitos e trata a situação como se ela não se constituísse um problema. Ao acreditar no mito da mestiçagem, a escola – condição privilegiada de transmissão de cultura – funciona como um laboratório para o crescimento e manutenção do processo de exclusão do diferente.
Nesse sentido, Tânia Maria esclarece que as diferenças culturais constituem a maior parte dos motivos da alteridade. A relação claramente hierarquizada entre os grupos se pauta nos pressupostos de identidade, cujo termo expressa tudo aquilo que se é, e de diferença que encerra tudo aquilo que o outro é. A disputa pela identidade reflete uma disputa por recursos simbólicos e materiais da sociedade. Deste modo, há de se constatar que identidade e diferença mantêm estreita conexão com as relações de poder, pois o grupo que detém o poder exibe marcas de sua presença, tais como, incluir/excluir, demarcar fronteiras, classificar, normalizar.
Nessa perspectiva, a busca pela aquisição dos recursos simbólicos tão fundamentais, faz com que o outro, o diferente, o anormal, aja no sentido de negar a si mesmo e governar suas vidas a partir das imposições dos grupos detentores do poder. Essa dinâmica perpetua-se a partir do momento em que o grupo dominante impõe as crenças e valores que deverão ser considerados como normais, saudáveis, aceitos, incluindo no raio do diferente todas as posturas, comportamentos e valores distintivos do seu próprio grupo.
Depois de uma breve explicação sobre as conseqüências do processo de estereotipização, que traz em seu bojo comportamentos preconceituosos e discriminatórios, o artigo expõe seu propósito prioritário: o preconceito na escola. Não sei se proposital, mas o fato é que, antes de falar do ambiente escolar Baibich traz algumas considerações psicanalíticas que atribui a origem do preconceito aos processos estritamente individuais da psique humana.
Nesses termos, a escola não seria protagonista da barbárie, na pior das hipóteses ela seria talvez responsável por manter ou até maximizar práticas preconceituosas, nunca as produzir. Visto assim pela ordem das influências, o ambiente escolar aparece como peça fundamental, pois ajudaria a minimizar ou diluir as atitudes negativas inerentes aos processos intergrupais.
O que corroborou esse meu ponto de vista de que a ordem dos argumentos tenha sido proposital foi o fato de Baibich colocar, logo após as considerações psicanalíticas, o processo educacional com um “salvador da pátria”. Em seu estudo, ela procurou investigar práticas acadêmicas que impediam a construção de uma escola ideal. As análises desse estudo enfatizam uma urgente reflexão pelo corpo docente sobre seus métodos de ensino e arcabouço teórico até então construído além de uma reavaliação sobre a interação professor-aluno, onde o aprendizado ideal se daria reciprocamente. Num tempo no qual a família já não cumpre mais papéis até então de sua responsabilidade, a escola toma para si o dever de cuidar de questões relevantes como alteridade e autonomia.
O estudo feito em uma escola publica do Paraná, reconhecida pela comunidade como claramente politizada que estimulava o pensamento crítico e a construção de uma identidade autônoma, revelou que grande parte dos membros do corpo docente da escola, apesar de detectar a existência de atitudes preconceituosas em sua comunidade, não conseguia enxergar esse comportamento no ambiente escolar em que trabalhavam, responsabilizando a existência do preconceito ao outro.
Para aqueles que acreditavam existir comportamentos preconceituosos no ambiente escolar foi pedido que eles revelassem algumas medidas que eram tomadas no intuito de diluir essas práticas. As respostas indicaram que eles preferiam agir de maneira indireta, pois ao falar diretamente “o problema aparecia”. Vê-se então que não só o preconceito é velado, mas também as formas de intervenção. Mesmo existindo uma clara noção de que a escola tem a intenção de trabalhar a questão do preconceito, há também a concepção de que o que ocorre é mais no sentido de apaziguamento do conflito do que de modificação.
Enfim, o que o artigo de Tânia Maria Baibich propõe é uma transformação a partir de outra transformação: a do ambiente escolar. Em síntese, o que ela declara em alto e bom som é que, ao contrário de manter o histórico de perversidade que reproduz práticas pedagógicas inválidas, a escola deveria subverter a ordem consolidada secularmente em prol de relações intergrupais cada vez mais saudáveis.

Referência: Baibich, T. Os Flintstones e o preconceito na escola. Educar, 19, 2, 111-129, 2002

Para aqueles que pensam que na Idade da Pedra o mundo não tinha a modernidade de hoje, estão redondamente enganados. A tecnologia existia sim, adaptada a matéria prima que os homens tinham em mãos. É nesse cenário, com casas construídas em rochas, eletrodomésticos ligados à força animal (como Mamutes aspiradores de pó, Pigasauros depósitos de lixo) e carros movidos à força humana que se encontra a desenvolvida cidade de Bedrock, onde moram duas carismáticas famílias: os Flintstones e os Rubbles.

A série Os Flintstones foi o primeiro desenho animado de William Hanna e Joseph Barbera e é também uma das mais rentáveis criações da dupla para a TV até hoje. O desenho que originalmente se chamaria "Os Gladstones", foi lançado no dia 30 de setembro de 1960 e a princípio teve 166 episódios de meia hora.

O programa mostra o cotidiano da família Flintstone, onde o patriarca Frederick Flintstone é um sujeito preguiçoso, embora trabalhe na Pedreira do rabugento Sr. Pedregulho operando um Dino-guindaste, para ganhar suas míseras "lascas" (moeda local). Fred, como é conhecido, mesmo sendo casado, tenta sempre dar uma escapadinha, com o seu vizinho Barney para o boliche ou para o Clube dos "Búfalos d’Água" do qual fazem parte só os homens de Bedrock. Machista de mão cheia, Fred jamais pensou em ajudar a esposa em casa e quer tudo prontinho pra ele, como o seu filé de Brontossauro postado ao lado da sua Cactus Cola. Fred tem a incrível capacidade de transformar as situações mais banais, numa verdadeira encrenca, perde a paciência com facilidade e explode com mais facilidade ainda, porém é extremamente amável com sua família e seus amigos, por isso não é difícil ouvi-lo bradar de alegria: “Yabba Dabba Doo”. Sua esposa Vilma, é uma excelente dona de casa, adora preparar tudo para família, mas também não dispensa uma fofoca com a vizinha Betty. Alegre e divertida, Vilma exerce influência sobre o espírito exuberante de Fred e está sempre atenta para livrá-lo das confusões em que freqüentemente se envolve.

Ao lado dos Flintstones, mora a família Rubble, os maiores amigos dos Flintstones. Barney é um sujeito de bem com a vida, baixinho (por isso chamado de Nanico por Fred, às vezes), extrovertido e excessivamente inocente, dificilmente consegue ver maldade em alguém. Não é o sujeito mais brilhante do mundo, e invariavelmente é envolvido pelas tramóias de Fred, é nesse momento que ele tenta aconselhar o amigo usando sua frase de efeito: “hei Fred!”. Sua esposa Betty Rubble, é a melhor amiga de Vilma, e assim como a colega é uma excelente dona de casa, mas também uma grande feminista.

No início, a temática do desenho era mais adulta, e as aventuras giravam em torno dos quatro amigos e os bichinhos de estimação dos Flintstones, o Dino (que jogava Fred no chão toda vez que ele chegava do trabalho) e o gato dente-de-sabre, além do canguru pré-histórico dos Rubbles. Gradativamente a família foi crescendo e em 1962 nascia a filha dos Flintstones, a doce Pedrita. Os Rubbles não ficaram pra trás e adotaram o pequeno garoto Bambam que foi deixado a sua porta. O menino é conhecido por sua super-força capaz de levantar um dinossauro. Anos depois algumas mudanças aconteceram no desenho animado, e outros personagens ingressaram nas aventuras dos Flintstones. Primeiro foi Gazoo, um marcianozinho verde (que falava como se tivesse um ovo na boca) que tentava de todas as formas usar seus poderes para ajudar Fred Flintstone, mas, mesmo sem querer ele acabava atrapalhando. Depois mudou-se para outra casa ao lado dos Flintstones os Frankenstones, uma família de pessoas estranhas e assustadoras inspiradas na Família Addams. Nessa época começou a aparecer no programa o herói pré-histórico Capitão Caverna. Participações especiais foi o que não faltou nesta fase do desenho, como o sócia de James Bond ou Samantha e Darrin da série A Feiticeira, evidentemente todos adaptados a realidade da Idade da Pedra.

O sucesso de Fred Flintstone e companhia foi tanto, que a série foi o primeiro desenho animado a entrar no ar em horário nobre. A Hanna-Barbera chegou a licenciar cerca de 3.000 produtos com a marca Flintstones, apenas nos Estados Unidos. Em 1963, uma boneca da Pedrita conseguiu um total de vendas de aproximadamente 20 milhões de dólares!

Após o cancelamento de Os Flintstones, foi produzido o primeiro especial da série, Um Homem Chamado Flintstone (A Man Called Flintstone, 1966), visando o público que assistia a série na sua última temporada. Vários outros longas foram produzidos, entre eles O Casamento de Bam-Bam e Pedrita (I Yabba Dabba-Do, 1993).

Inúmeras séries baseadas na idéia original se seguiram, inclusive Pedrita e Bam-Bam (The Peebles and Bamm-Bamm Show, 1971-1972), mostrando os filhos dos Flintstones e Rubbles já adolescentes, e Os Flintstones nos Anos Dourados (The Flintstone Kids, 1986-1988), narrando as aventuras de Fred, Wilma, Barney e Betty quando crianças.

No Brasil o personagem Fred teve a dublagem do ator Marthus Mathias na primeira versão e do ator Alceu Silveira na segunda versão. Barney recebeu a voz de Rogério Márcico, o mais conhecido a dublar o personagem, mas também recebeu a voz de Waldir Guedes e Chiquinho Ferrão. Vilma teve a dublagem da atriz Helena Samara e Betty foi dublada por Nícia Soares e Aliomar de Mattos. O personagem Dino também já falou (!), na oportunidade foi dublado por aqui por Amaury Costa. Os dubladores Cristina Camargo e Aliomar de Mattos fizeram a voz de Pedrita, enquanto Older Cazarré e Maria Inês foram responsáveis pelo Bambam. O dublador mais freqüente do personagem Sr. Pedregulho foi Waldir de Oliveira, e Wilson Ribeiro fez a voz do Grande Gazoo.

Ficha Técnica

Ano de Produção: de 1960 a 1966 (166 episódios).
Cores.
Companhias Produtoras: Hanna-Barbera Productions.

Dubladores Brasileiros

Fred: Marthus Mathias

Fred: Alceu Silveira

Barney: Rogério Márcico

Barney: Waldir Guedes

Barney: Chiquinho Ferrão

Vilma: Helena Samara

Betty: Nícia Soares

Betty: Laura Cardoso

Betty: Aliomar de Mattos

Pedrita: Cristina Camargo

Pedrita: Aliomar de Mattos

Bam-Bam: Older Cazarré

Bam-Bam: Maria Inês

Sr. Pedregulho: Waldir de Oliveira

Dino: Amaury Costa

Gazoo: Wilson Ribeiro

InfanTv