Answer: Political parties have proven to be more successful than any other group in terms of nomination
Explanation: Although other social groups participated in the nomination and appointment of candidates for office, they were not as successful as the political parties that have literally evolved in the business over time. With the expansion of the electorate and political parties were increasingly engaged in mobilising as large an army of voters as possible. In this way political parties have institutionalised themselves in order to carry out this very important, if not crucial and essential task, on which the influence and survival of the party depends at the end of the day.
I think in this quote, Zeus is referring to the fire as the "evil thing in which they may take pleasure to their gut," because he refers to it right before he uses the word evil to describe it.
<span>George Caleb Bingham's Raftsmen Playing Cards is an example of A. atmospheric perspective.
Atmospheric perspective has to do with creating the illusion of depth in a painting, which is visible here. Foreshortening means that something seems closer than it truly is. One-point perspective means that something gets smaller as you approach it. Linear perspective is the creation of depth, but on a flat surface. </span>
Answer:Japan began producing animation in 1917—still the age of silent films—through trial-and-error drawing and cutout animation techniques, based on animated shorts from France and the United States. People started talking about the high quality of Japanese “manga films.” But Japanese anime were costlier to produce than Western animations and were overshadowed by the popularity of Disney cartoons. They faced an uphill battle from the start.
One of the things that helped them find their niche was anime production for public relations and publicity campaigns by public institutions. Domestic anime production was beginning to develop a small but solid foundation when Tokyo and the surrounding area suffered catastrophic damage in the Great Kantō Earthquake in 1923. The anime industry was forced to start over from scratch.
The industry continued to struggle, unable to respond adequately to successive innovations, including the appearance of the first talkies in 1929 and color film in 1932. During this period, Ōfuji Noburō won international acclaim for Bagudajō no tōzoku (The Thief of Baguda Castle), which he made by cutting and pasting chiyogami (Japanese colored paper). His film is remembered as the first to make its presence felt outside Japan.
Many other promising anime artists appeared one after another, but with war approaching, goods were in extremely short supply as the national mood turned militaristic. Even film was not easy to get hold of. It was in this context that the first full-length theatrical film in the history of Japanese anime was released. Momotarō: Umi no shinpei (Momotarō’s Divine Sea Warriors, B&W, 74 minutes), produced by the navy, came out just before the end of the war. This was a propagandistic film designed to lift morale and commitment to the war effort.
Soon after the war ended, the General Headquarters of the Allied occupation (GHQ) brought together 100 anime artists in the bombed-out ruins of Tokyo to form the Shin Nihon Dōgasha, or New Japan Animation Company. The aim was to make it easier to spread occupation policies by having the artists produce anime in praise of democracy. However, many of the artists were fiercely independent and territorial, and the company was riven by disagreements from the outset. The project strayed off course, and eventually disbanded. Even GHQ threw in the towel. It seemed the switch from militarism to democracy was not going to be so easy.
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