![]() Caldwell (2008) and of David Rosen (1990). In order to address how and by what means the production of BG designs and paintings represent and convey a transcultural identity, I have adopted a mixed method heavily indebted to the production studies of John T. Through their creative decisions, crew members mediated the tendencies toward mimesis and fantasy, affecting how their adaptations of real-world referents functioned as fantastical cultural signifiers. ![]() These BG paintings are the most static design elements of the shows, lacking the plasmaticity of character or prop designs. While a non-specific Asian identity was ascribed to this fantasy world at every stage of production, this article will focus on the creation of backgrounds, (henceforth abbreviated as BG). Although these nations are visually and culturally distinct, the visual and aural components of the two series nevertheless mark them as Asian. The television series Avatar: The Last Airbender (2005-08) and its sequel The Legend of Korra (2012-14) are set in a high fantasy world divided into four nations – the Water Tribe, the Earth Kingdom, the Fire Nation, and the Air Nomads – with subsets being introduced over time. This phenomenon can be observed in the background designs of Nickelodeon’s Avatar franchise. ![]() An examination of the processes of making contemporary US television animation reveals the transcultural nature of both the production and the final product.
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