Tournament: ho yip | Round: Triples | Opponent: mr moat | Judge: society
Heinz had done it. He had created the Genderswap-inator. It took quite a while to make without having any disruptions by Perry And now he would finally blast it... He aimed it towards his chosen target; he didn't realize Roger was standing in front of a wall of mirrors. He fired the laser...and missed. It hit the mirror. Heinz stepped back, tripped, and fell down a flight of stairs, slowly becoming more and more unconscious with each step he descended. Phineas, Ferb and Isabella were planning the day's activity, when the laser from the inator hit Phineas and Isabella. "What was that?" Phineas asked, noticing a sudden change in his voice. His assumptions were correct. "Phineas, why do you have my voice?" Isabella asked, in Phineas' voice. They looked at each other in fear, and screamed. They screamed in horror; maybe because there was a possibility that they could never change because of the results; but most importantly, maybe some secrets would be revealed. Phineas looked over at Ferb, who was covering his mouth in shock. "Oh, my, lord..." he managed to get out. "Don't worry! We'll get through this!" 'Phineas' exclaimed. "Right, Isabella?" "Uhh...sure...right?" 'Isabella' faked a smile. "Let's get to work on the Gender Switcheroo 9001!" he exclaimed. Isabella knew this would bring them closer together, them being Phineas and her. Maybe a like-like relationship could start Heinz got up, and looked at his surroundings. Amidst his cackling, he had fallen down the stairs. Quickly, he ran back up. To his surprise, the Genderswap-inator was still standing, and fully functional; so he decided to use it again. He wondered who he would hit. He hoped it would be a happy couple. He closed his eyes, pointed the inator in a random direction, and fired. "AHHHH!" came two screams, one feminine and the other masculine. "Perfect." he thought, as he embraced the evil within. Those two screams had come from none other than Candace and Jeremy, now dubbed Danville's happiest and longest-lasting couple. "What the heck!" they both thought, dazed and angry. "PHINEAS!" Candace screamed. "PHINEAS!" The boy in question heard the scream and whipped around. Candace rushed through the gate, Jeremy running to catch up with her. "Yes, Canda-" he stopped, "Candace?" "That's my name, twerp!" she replied, not looking at him. "What happened?" he asked, a worried expression visible on his face. She cast a glance at him, "Oh, you know full well what happe-What happened?" "Isabella and I were genderswapped as well..." he trailed off. "You got hit with your own invention; ha!" "It wasn't us!" Isabella defended. Ferb nodded, confirming, 'Wasn't us.' "Well then, who was it?" Perry entered the backyard, his head down. "Oh, there you are, Perry!" Ferb mumbled. Perry looked up. Suddenly, his eyes widened; he scurried away as quickly as possible. "Hey, Ferb, Perry showed emotion!" Phineas exclaimed. "I know." he replied. "And second line of the day, bro! Congrats!" Ferb gave thumbs up. "I have a feeling Perry's involved in this..." Candace mused. "Don't be silly, Candace! He's just a platypus; they don't do much." Phineas pointed out. "But you just saw him surprised and worried!" "Your point?" Phineas raised his eyebrow. "He's up to something!" "Phineas," Jeremy interrupted, "I hate to rain on your parade, Phineas, but I think Candace is right. Perry was acting a little suspicious." Phineas perked up a little, "All right, then! Let's go check it out!" Phineas and Isabella spotted teal hairs Perry had shed. They ran out the gate, leaving Ferb, Jeremy, and, obviously, Candace, by themselves. "Why does no one listen to me?" she demanded, expecting an answer. "Because you're crazy?" Ferb responded. "Oh, shut up!" She smacked him upside the head. "I'll give a proper answer, here." Jeremy obliged, "It's what makes you you, Candace!" "Aww...thanks, Jeremy!" The two walked off, leaving Ferb standing by the tree. "Well, I was right; that's for sure!" He ran off to catch up with the others.
This story is a metaphor for adapting literary works in which characteristics of the original characters are switched.
CP- Actors should not align with gender because genderswapping is empowering.
Mapplethorpe:
At heart, genderswap fan fiction stories explore the cultural constructedness of gender, and interrogate what theorist Judith Butler describes as gender performativity and the role that physical embodiment plays in gender identity (note 7). Individuals perform gender identity through various behaviors ranging from clothing choices (women's skirts, high heels, and tight-fitting clothing; men's loose clothing, low-heeled shoes, and hats), to how they move their bodies, use their voices, and the activities they participate in. Culturally, we expect male-bodied persons to behave (i.e., perform) in masculine-gendered ways (ambitious, protective, aggressive, assertive), and we expect female-bodied individuals to behave in feminine-gendered ways (nurturing, weak, passive, submissive). Such alignment is often referred to as cisgender—literally, gendered behavior that is on the side of its assigned biological sex (note 8). Gender theorists emphasize that such behaviors are learned at an early age by watching and mirroring people we admire, and while it may be easy to criticize such descriptions as stereotypes, they describe how most people define and police gender in their everyday lives. Children, parents, teachers, and friends all conspire to correct any behaviors that do not seem to match a person's perceived sex.
http://nicocarpentier.net/koccc/Publications/Paper_Sofie_Birmingham.html
Mapplethorpe2:
So far we have seen that in academic discourse gender bending is considered an act of playing with gender roles, of breaking through the gender boundaries and questioning hegemonic gender discourse. A few scholars have point out that especially transvestism reproduces the fixed masculinity and femininity. A paradigm shift has taken place. Bending gender is a subversive practice stemming from the avant-garde entering popular culture. Gender benders raise questions about the dominant gender discourse and blur the boundaries of gender. Using theories of Judith Butler, gender bending is seen as an act of resistance. Applauding the resistance of the gender benders, it seems that academics have forgotten the different meanings and polysemic readings of text. These fragmented and contradictory readings seem to disappear by the desire to break gender boundaries. Gender benders are seen as agents of resistance who producing meaning and are read as discursive practices of power. The power referred to here is that which breaks the hegemonic discourse on masculinity and femininity. At least that is what these scholars hope for. The desired result is an effect of empowering the ‘others’.
http://nicocarpentier.net/koccc/Publications/Paper_Sofie_Birmingham.html
Aprioris
filmmakers don’t have a say in the cast, a casting panel does so the action is not capable by the agent so it’s impossible to assign a moral obligation.
adaptation is defined as the changes made by living systems in response to their environment - Means auto negate if racism is real because whitewashing is a logical consequence of racism.
We don’t know the race of some characters if it is never specified in the book, means it is impossible so autonegate.
Adaptations of literary work can include things not movies for example a spin off series so film makers would have no say in it. Therefore autonegate.
Actors refers to male. This means you autonegate because to only cast actors would mean that female characters in movie must not align with their gender.
Adaptation is defined as the regulating by the pupil of the quantity of lightentering the eye. The resolution is nonsense so negate since the aff has burden to prove the resolution true.
Framing
The aff must defend all instances. Otherwise they get to pick and choose instances. If that was the case then the neg would have to defend that in all instances filmmakers should cast in ways that gender and ethnicities do not align. This would mean casting a white nelson Mandela in his movie which is an unfair neg burden. This means counterplans are legitimate.
CP – Characters should not align with gender and race because they can be replaced by CGI
Everett:
Virtual characters in films are nothing new. The first - a computer-generated knight - appeared in The Young Sherlock in 1985, and since then we've seen everything from artificial extras in Titanic to detailed motion-capture characters such as Gollum in The Lord of the Rings. And while some virtual human faces still creep us out (Polar Express, anyone?), a few have graced our screens without us even realising. Brad Pitt's reverse-ageing process in The Curious Case of Benjamin Button, for example, was created not with prosthetics but with computer-generated imagery (CGI). "Very few people watching that film even knew that CGI was going on," says Darren Hendler, digital effects supervisor at Digital Domain. "We are at the point where we can create a digital version of an actor that is indistinguishable from the real person." There are plenty of reasons to welcome the technology. Eventually, it could democratise movies, allowing anybody to make a film using a cast they have created. There are also financial advantages, says Professor Nadia Magnenat Thalmann, who has pioneered research into virtual humans for the past 30 years. "On some films it costs a fortune to hire real actors," she says. "We're able to make virtual actors look great - and as soon as we can automate the process, there will be a cost-benefit analysis. If it's cheaper, second-rank actors will be done more and more by computer." According to Hendler, some actors are already embracing the process and having themselves scanned. "If they're in a movie later on where they need to be younger, they already have that snapshot," he says. "They are starting to archive their digital selves." But they're also wary. Tom Cruise, who was scanned for his role in Oblivion, had his data hand-delivered to his house and all other copies destroyed. "The more experienced actors will start to have more control over their contracts with the studios; more say over how their final digital likeness looks and how it is used," says Hendler. But if Folman's vision becomes a reality, films might even be cast using digital versions of actors who have long since died. It is already possible to create fairly convincing virtual versions of actors who were never scanned, using old footage and performance doubles. And, a CG version of Paul Walker has been created to complete Fast and Furious 7, after the actor died part-way through filming. There are also developments that could make real actors, even in their digital forms, completely redundant. "The big trend is to make virtual humans conscious of their environment and intelligent," says Magnenat Thalmann. If successful, film-makers will one day be able to create virtual actors who respond to their direction autonomously.
1- Allows for better movies, which aligns with the goal of casting so it means there is a contractual obligation to negate
2- CGI movies are awesome. Transformers was dope.
CP- cast actors that don’t align with gender for characters that are robots, animals, or otherwise genderless
1)R2D2 was played by an actor, means in the aff world we have no star wars
2) Nobody is the same race as animals from the Ling King so in the aff world we don’t have that movie either
CP solves because we can cast people to portray those characters even though their race doesn’t align
CP- Hamilton, TJ loves this movie
Lin Manuel Miranda is Ethnicity: Puerto Rican, as well as small amounts of Mexican, African-American, and English
Compared to Alexander HamiltonEthnicity:
*Scottish (father)
*English, more distant French Huguenot
