Academic literature on the topic 'Adult animation'
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Journal articles on the topic "Adult animation"
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Rafzanjani Bintang, Muhammad Arizafa. "Penciptaan Karya Film Animasi “Sky Land” Dengan Teknik Dua Dimensi." Journal of Animation & Games Studies 3, no. 2 (February 14, 2018): 151. http://dx.doi.org/10.24821/jags.v3i2.1857.
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Animasi bertemakan fantasi tidak hanya dalam bentuk cerita, namun dari segi karakter visual dan environment. Dari segi karakter ada yang berupa sesosok anak kecil hingga dewasa sampai dengan berbagai jenis monster, serta tak jarang terdapat karakter dan environment yang tidak dijumpai dimuka bumi.Animasi pendek “Sky Land” menceritakan Sena seorang gadis kecil pengumpul kayu yang menemukan sebuah kayu ajaib di sebuah hutan yang mampu mengeluarkan benda-benda ajaib, hingga membawanya ke negeri fantasi di atas awan dan membawanya berpetualang.Animasi pendek “Sky Land” ingin lebih memperlihatkan sense of art didalamnya, maka animasi ini diproduksi menggunakan teknik animasi dua dimensi (2D) digital hand drawing, yaitu menggambar frame by frame secara langsung dengan komputer baik karakter maupun background. Kata kunci: Fantasi, Animasi 2D, Sky Land Abstract Fantasy-themed animations are not only in story form, but in terms of visual and environmental characters. In terms of character there is a form of a small child to adult up to various types of monsters, and not infrequently there are characters and environments that are not encountered in the earth.The short animation of "Sky Land" tells Sena a small girl who collects a magical wood in a forest capable of removing magical objects, bringing her to a fantasy land on a cloud and taking her on an adventure.Short animation "Sky Land" wants to show more sense of art in it, then this animation is produced using two dimensional animation technique (2D) digital hand drawing, that is drawing frame by frame directly with computer both character and background. Keywords: Fantasy, 2D Animation, Sky Land
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Shchehelska, Yu. "ПРОБЛЕМАТИКА ЗАСТОСУВАННЯ ТРИВИМІРНОЇ АНІМАЦІЇ ТА СПЕЦИФІКА ЇЇ СПРИЙНЯТТЯ В ДОДАНІЙ РЕАЛЬНОСТІ: КОМУНІКАЦІЙНИЙ АСПЕКТ." State and Regions. Series: Social Communications, no. 2(42) (March 18, 2020): 132. http://dx.doi.org/10.32840/cpu2219-8741/2020.2(42).20.
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<p><em>This study elucidates the main communication issues that arise from audiences’ interaction with three-dimensional animation of different types in augmented reality, as well as identifies the major 3D animations’ varieties used by brands to create AR and MR promotional campaigns. </em></p><p><em>The results of the study are based, in particular, on the analysis of AR cases of 27 commercial and social brands that used 3D animation for promotional purposes in 2010–2019.</em></p><p><em>It is ascertained that in the promotional practice there is used 3D predefined animation of a cartoon type, as well as 3D predefined and procedural non-homomorphic photorealistic animation. At the same time, three-dimensional procedural animation of cartoon type, as well as photorealistic animation of people (either predefined or procedural), was not used by any of the studied brands for the purpose of promotion.</em></p><p><em>The research revealed that in the field of promotion three-dimensional photorealistic animation of people, primarily of procedural type, is not used because it creates the majority of communication problems in the interaction of the audience with it. Real people’s displeasure with the animated ones arises, first of all, because of the “uncanny valley effect”, which is caused, in particular, by the technical difficulties with 3D rendering of human emotions and body language in real-time (including proxemics in a virtual environment); visual tracking of human movements by animated character; the naturalness and synchronicity of the language (above all, the content of the cues) and the sound of the voice of three-dimensional persons (its timbre, rhythmics, emotionality).</em></p><p><em>In general, today from a technical point of view photorealistic non-homomorphic animation is the most advanced 3D animation type, which explains the popularity of its use in the practice of promotional communications. Its predefined variety is most commonly used by automotive brands to create AR-campaigns, whereas procedural one is used in creating MR-campaigns, mainly for cosmetic and interior brands.</em></p><p><em>The predefined 3D animation of cartoon type was used to promote those commercial brands, which final consumers were, above all, children. However, some companies have used this kind of animation to create AR-based adult promotional events held in conjunction with the holiday and symbolic dates. The popularity of the use of 3D animation of cartoon type in the field of promotion is explained, first of all, by the fact that people at a subconscious level have a positive attitude towards cartoon characters as such.</em></p><strong><em>Key words:</em></strong><em> augmented reality (AR), mixed reality (MR), 3D animation, promotional communications.</em>
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Mozgovyi, Viktor. "Pedagogical Animation: Educational Practices of Ukraine and Poland." Comparative Professional Pedagogy 9, no. 2 (June 1, 2019): 1–6. http://dx.doi.org/10.2478/rpp-2019-0012.
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Abstract The article analyzes the essential characteristics of the concept of pedagogical animation in the context of Ukrainian and Polish educational practices, specifies the peculiarities of pedagogical animation, studies the vectors of developing the phenomenon under study and compares relevant approaches to its implementation in the systems of the Ukrainian and Polish teacher education. The conducted analysis on the interpretation of the concept of pedagogical animation concludes that the Ukrainian education system unilaterally uses the functionality of this phenomenon. Pedagogical animation is mainly a part of the problems of socio-pedagogical, socio-cultural, cultural and leisure nature and issues of physical education organization. The underestimated importance of the phenomenon under study in the context of the educational process can significantly affect the implementation of the analyzed programme for updating the system of general secondary education. The use of pedagogical animation as a method of interaction between teachers and students based on child-centeredness and partner pedagogy contribute to implementing the main components of the Concept of the New Ukrainian School. The range of using pedagogical animation in educational practices of Polish teachers is more expanded. Along with the traditional socio-cultural and activity-based one, pedagogical animation is an integral part of the educational process. High social standards in the country urge pedagogical science and practice to implement a variety of training programmes, which incorporate animation skills as components of professional competencies. The variability of special pedagogies in Polish educational practices highlights the issue of pedagogical animation development both at theoretical and methodological levels. The results of the comparative analysis show that the use of pedagogical animation in Ukrainian and Polish educational practices contributes to developing pedagogical interaction at various stages of education, namely from preschool education to adult education. The development of pedagogical animation and its justification as a didactic structure will help to bring this phenomenon to a new level of educational significance and promote it as advanced pedagogical experience.
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Waszkiel, Halina. "The Puppet Theatre in Poland." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 164–79. http://dx.doi.org/10.34064/khnum1-51.09.
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Background, problems and innovations of the study. The modern Puppet Theater in Poland is a phenomenon that is very difficult for definition and it opposes its own identification itself. Problems here start at the stage of fundamental definitions already. In English, the case is simpler: “doll” means a doll, a toy, and “puppet” is a theatrical puppet, as well as in French functions “poupée” and “marionette” respectively. In Polish, one word serves both semantic concepts, and it is the reason that most identify the theater of puppets with theater for children, that is a big mistake. Wanting to get out of this hassle, some theaters have thrown out their puppet signage by skipping their own names. Changes in names were intended only to convey information to viewers that in these theaters do not always operate with puppets and not always for the children’s audience. In view of the use of the word “animation” in Polish, that is, “vitalization”, and also the “animator”, that is, “actor who is animating the puppet”, the term “animant” is suggested, which logically, in our opinion, is used unlike from the word “puppet”. Every subject that is animated by animator can be called an animant, starting with classical puppets (glove puppets, cane puppets, excretory puppets, silhouette puppets, tantamarees, etc.) to various plastic shapes (animals, images of fantastic creatures or unrelated to any known), any finished products (such as chairs, umbrellas, cups), as well as immaterial, which are animated in the course of action directed by the actor, either visible to viewers or hidden. In short, the animator animates the animant. If the phenomenon of vitalization does not come, that is, the act of giving “the animant” the illusion of life does not occur, then objects on the stage remain only the requisite or elements of scenography. Synopsis of the main material of the study. In the past, puppet performances, whether fair or vernacular, were seen by everyone who wanted, regardless of age. At the turn of the XIX–XX centuries, the puppet theater got divided into two separate areas – theater for adults and the one for children. After the war, the professional puppet theater for adults became a branch of the puppet theater for children. In general, little has changed so far. The only puppet theater that plays exclusively for adults is “Theater – the Impossible Union”, under the direction of Mark Khodachinsky. In the Polish puppet theater the literary model still dominates, that is, the principle of starting to work on the performance from the choice of drama. There is no such literary work, old or modern, which could not be adapted for the puppet theater. The only important thing is how and why to do it, what significance carries the use of animants, and also, whether the applying of animation does the audience mislead, as it happens when under the name of the puppet theater at the festival shows performances that have nothing in common with puppets / animations. What special the puppet theater has to offer the adult audience? The possibilities are enormous, and in the historical perspective may be many significant achievements, but this does not mean that the masterpieces are born on the stones. The daily offer of theaters varies, and in reality the puppet theaters repertoire for adults is quite modest. The metaphorical potential of puppets equally well justifies themselves, both in the classics and in modern drama. The animants perfectly show themselves in a poetry theater, fairy-tale, conventional and surrealistic. The puppet theater has an exceptional ability to embody inhuman creatures. These can be figures of deities, angels, devils, spirits, envy, death. At the puppet scenes, also animals act; come alive ordinary household items – chairs, umbrellas, fruits and vegetables, whose animation gives not only an interesting comic effect or grotesque, but also demonstrates another, more empathic view of the whole world around us. In the theater of dolls there is no limit to the imagination of creators, because literally everything can became an animant. You need only puppeteers. The puppet theater in Poland, for both children and adults, has strong organizational foundations. There are about 30 institutional theaters (city or voivodship), as well as an increasing number of “independent theaters”. The POLUNIMA, that is, the Polish branch of the UNIMA International Union of Puppets, operates. The valuable, bilingual (Polish–English) quarterly magazine “Puppet Theater” is being issued. The number of puppet festivals is increasing rapidly, and three of them are devoted to the adult puppet theater: “Puppet is also a human” in Warsaw, “Materia Prima” in Krakow, “Metamorphoses of Puppets” in Bialystok. There is no shortage of good dramas for both adults and children (thanks to the periodical “New Art for Children and Youth” published by the Center for Children’s Arts in Poznan). Conclusions. One of the main problems is the lack of vocational education in the field of the scenography of the puppet theater. The next aspect – creative and now else financial – the puppet show is more difficult, in general more expensive and more time-consuming in preparation than the performance in the drama theater. Actor-puppeteer also gets a task those three times heavier: to play live (as an actor in a drama theater), while playing a puppet and with a puppet. Consequently, the narrative of dramatic story on the stage is triple: the actor in relation to the viewer, the puppet in relation to the viewer, the actor in relation to the puppet. The director also works double – both the actor and the puppet should be led. It is necessary to observe the effect that arises from the actions of both stage partners. So the second threat seems to be absurd, but, alas, it is very real – the escape of puppeteers from puppets. The art of the puppet theater requires hard work, and by its nature, it is more chamber. This art is important for gourmets, poets, admirers of animation skills, as well as the searchers for new artistic ways in the theater, in wide understanding. Fortunately, there are some real fans of the puppet theater, and their admiration for the miracle of animation is contagious.
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Houston, John M., Cynthia L. Joiner, Francis Uddo, Christina Harper, and Alison Stroll. "Computer Animation in Mock Juries' Decision Making." Psychological Reports 76, no. 3 (June 1995): 987–93. http://dx.doi.org/10.2466/pr0.1995.76.3.987.
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This experiment examined the effect of different presentation modes of demonstrative evidence on mock jurors' perceptions of defendants' responsibility for a fatal accident. The experiment involved opening arguments of a mock civil lawsuit based on facts derived from an actual commercial jet crash. 72 adult students formed mock juries and were presented demonstrative evidence in one of three modes: (1) a computer simulation of the accident, (2) an audiotape and written transcript of the cockpit voice recorder, or (3) an individual reading the transcript of the cockpit voice recorder. The juries' ratings of the responsibility of the airline flight crew were significantly lower in the computer-simulation condition. Surprisingly, no differences in recognition of accident information were found across the three conditions. The findings are discussed in terms of potential attribution bias and empathy caused by the pilot's-eye perspective used in the computer animation.
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McGillion, Chris. "Animation as a Science Communication Tool in Timor-Leste." Science Communication 39, no. 2 (March 25, 2017): 278–85. http://dx.doi.org/10.1177/1075547017696164.
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This article examines the trial of animated video to disseminate new agricultural knowledge among subsistence farmers in Timor-Leste, a small underdeveloped country in Southeast Asia. The aim of the trial was to test the potential for this approach to supply clear, accurate, and engaging information to rural communities where rates of adult illiteracy are high and mass media consumption is low. The findings point to the potential for animation to be used to communicate scientific knowledge in situations where approaches regularly employed in developing countries are unavailable or would be limited in their reach.
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Fubara-Manuel, Irene. "Revolting Animation: The Hierarchy of Masculinities in the Representation of Race and Male Same-Sex Desire in Adult Cartoons." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 3 (October 17, 2017): 71–82. http://dx.doi.org/10.31165/nk.2017.103.517.
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This article examines the representations of race and male same-sex desire portrayed by black gay male characters on the adult animated television show, The Boondocks (2005). Centralizing its analysis of The Boondocks as a canonical text of black gay representation within animation, this paper highlights the signs of the male matriarch, booty warrior, and homothug and their iterations in three other animated TV shows—The Cleveland Show (2009), American Dad! (2005), and Chozen (2014). This article posits that these signs connote the ideology of hegemonic masculinity and its racial ordering. Drawing on Halberstam’s (2011) ‘revolting animation’, Ngai’s (2005) ‘animatedness’, and Wells’ (1998) ‘hierarchies of masculinities’, this article addresses these contradicting signs of black gay masculinities within the aforementioned animated television shows, situating them within respective sexual and racial politics in the United States.
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Lee, Claire Shinhea, and Jihee Choi. "Early Childhood and Media Representation: How does South Korean Animation Pororo the Little Penguin Reproduce Patriarchal Family Ideology?" Animation 13, no. 2 (July 2018): 116–30. http://dx.doi.org/10.1177/1746847718783643.
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This study examines the deeper cultural and social meaning of a South Korean popular edutainment animation Pororo the Little Penguin by analyzing 50 of its episodes. The article expands upon earlier studies of Pororo by not only analyzing gender stereotypes in Pororo’s narratives and aesthetics but also investigating these features within the larger frame of social discourse. The authors found that, despite the fact that Pororo seems to display friendship formation among children without adults’ intervention, it really reflects family relationships in South Korea and functions to reveal adults’ perspectives on them. Through positioning adult and children characters within the typical patriarchal Korean family, they argue that Pororo reproduces the patriarchal family ideology of today’s South Korea. This study therefore contributes to the field of children’s media and gender representation and the sociology of childhood.
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Andriyanto, Sidhiq, M. Suyanto, and Sukoco Sukoco. "Implementasi Metode Reynolds menggunakan Simulasi Kerumunan Bebek." INTENSIF 1, no. 2 (August 21, 2017): 75. http://dx.doi.org/10.29407/intensif.v1i2.788.
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"Simulation of Duck Crows Using Reynolds Method" is a study with the aim to find out the behavior of duck breeding crowd. The next goal is to make a crowd simulation using the Reynolds method. Limitations of this research variable is the object of research on adult duck Turi, the method used is Reynolds method. The simulations are made using Unity3D software in the form of 3D and the animation provided is just a running gesture. The method of analysis of this research is using research and development method. The result of the research is the data of duck walking in the crowd to be applied in 3D animation. The end result of the study is a simulation of duck crowds that run on flat fields. Destination directions are affected by mouse input and can avoid obstacles when walking. This simulation uses Reynolds basic rules of cohesion, alignment and separation.The conclusion of the research is that there is a similarity between the simulation of the crowd with the movement of the original duck crowd and the Reynolds method can be applied in the simulation of the duck crowd in 3D. Research produces 3D animation of duck crowds that are given the ability to avoid obstacles and target goals determined by mouse input.
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Reznik, Gabriela, and Luisa Massarani. "Gender and science in animation: analysis of the Anima Mundi Festival films." Journal of Science Communication 18, no. 02 (May 20, 2019): A08. http://dx.doi.org/10.22323/2.18020208.
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We used content analysis to analyse the representation of female scientists in animated short films on gender and science, selected from the Anima Mundi Festival, over 21 annual editions. In these films, female scientists are featured as ‘intelligent’, ‘dominant’ and ‘well respected’, adult, white, wearing a lab coat or uniform and working in laboratories and fieldwork. We identified a reconfiguration of the gender stereotype in films in which the female character is about to gain space and visibility. We also analysed films whose sexist foundations in the relationship between scientists and their interlocutors reinforce the reproduction of sexist and heteronormative stereotypes.
Dissertations / Theses on the topic "Adult animation"
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Lee, Hye Jin. "All kids out of the pool!: brand identity, television animations, and adult audience of Cartoon Network's Adult Swim." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2565.
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This dissertation examines Adult Swim, Cartoon Network's late-night programming block, which has developed into one of the most popular entertainment brands for adults. Expressing and shaping adult sensibilities of the time Adult Swim has been able to become the most popular cable network for (male) adults 18 to 34 years old. Launched in 2001, Adult Swim emerged at a moment in the U.S. when technological developments were changing the television landscape and the meaning of adulthood was fervently being discussed in the media as assumptions and realities of adult life continued to be in conflict. The goal of this dissertation is to understand the contemporary society and media culture as well as the defining characteristics and tensions of contemporary adulthood, adult taste, and adult culture by investigating Adult Swim's rise to a popular entertainment brand among young adults. Through a contextualized critical analysis of selected Adult Swim television texts, representation of Adult Swim in the mainstream press, and Adult Swim fans' online discussions in Adult Swim's official message boards this dissertation interrogates what branding/programming strategies it uses to appeal to its "adult" viewers, how it constructs and understands its "adult" viewers, and how it establishes its brand identity.
With its low-budget, Do-It-Yourself (DIY) style of cartoon and live comedy series that are full of ironic, pop culture references and absurd, surreal humor, Adult Swim has established a unique sensibility that resonates with many young adults and built itself as a "different" and "creative" network brand. However, this dissertation demonstrates that Adult Swim's "unconventional," "edgy" brand identity relies on its male-centric programming strategies that either render women invisible or make use of blatantly sexist jokes for its "adult" appeal. In addition, this dissertation explains that despite featuring many queer characters Adult Swim appropriates queer identity and politics to advance itself as a "subversive," "non-mainstream" and "different" network (a brand identity that greatly appeals to young adults) rather than to subvert heteronormativity and promote LGBT rights. Furthermore, this dissertation interrogates how Adult Swim uses interactive media to invite its viewers to participate in shaping and maintaining its brand identity as a network that "listens to" its viewers and to form sensibility and feelings of conand to construct o form an affective relationship with the Adult Swim brand and to establish itself as a brand that "listens to" and understands the sensibility, affect, and feelings of contemporary young adults who comprise the Adult Swim audience.
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De, Beer Adam. "We’ll have a gay ol’ time : transgressive sexuality and sexual taboo in adult television animation." Doctoral thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/13164.
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Includes bibliographical references.This thesis develops an understanding of animation as transgression based on the work of Christopher Jenks. The research focuses on adult animation, specifically North American primetime television series, as manifestations of a social need to violate and thereby interrogate aspects of contemporary hetero-normative conformity in terms of identity and representation. A thematic analysis of four animated television series, namely Family Guy, Queer Duck, Drawn Together, and Rick & Steve, focuses on the texts themselves and various metatexts that surround these series. The analysis focuses specifically on expressions and manifestations of gay sexuality and sexual taboos and how these are articulated within the animated diegesis. The findings reveal the mutuality between the plasticity of animation, which lends itself to shaping physical representations of reality, and the complex social processes of non-violent cathartic ideological expressions that redefine sociopolitical boundaries. The argument contextualizes the changing face of sexuality and the limits of sexual taboo in terms of current contestations and acceptability and the relationship to animation. Contemporary animation both represents this social performance of transgression and is itself a transgressive product disrupting accepted conventions.
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Akers, Chelsie Lynn. "The Rise of Humor: Hollywood Increases Adult Centered Humor in Animated Children's Films." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3724.
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Children's animated films have held a lasting influence on their audiences since the rise of their popularity in the 1980s. As adults co-view such films with their children Hollywood has had to rewrite the formula for a successful animated children's film. This thesis argues that a main factor in audience expansion is adult humor. The results show that children's animated films from 2002-2013 are riddled with many instances of adult humor while earlier films from 1982-1993 use adult humor sparingly. It is clear that over the years the number of adult humor occurrences has consistently increased. Furthermore, this research shows that adult male roles consistently deliver the adult humor.
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Olofsson, Lilly. "Stuck in a loop : A project about feeling mentally stuck." Thesis, Linnéuniversitetet, Institutionen för design (DE), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-96663.
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Combining psychology literature, social media platforms and collaboration with online communities, this visual communication project explores the experiences and struggles of people that have grown up in dysfunctional households. The intent of this project is to share stories from people who struggle with feeling mentally stuck, in order to fight the stigma surrounding mental health related issues.
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Holgado, Otilia. "Analyse didactique de l'activité en formation professionnelle : le cas de l'apprentissage des Systèmes d'Information Géographique." Phd thesis, Université de Bourgogne, 2011. http://tel.archives-ouvertes.fr/tel-00732890.
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Des travaux de recherche en ergonomie et en psychologie cognitive signalent une difficulté d'apprentissage du SIG, sans pour autant s'attarder sur le sujet (Medyckyj-Scott 1991, Nyerges 1991, Davies 1995 et, en France, Wurtz 1996). Notre recherche vient à la suite de ces travaux et tente d'apporter, par la compréhension des mécanismes de l'apprentissage du SIG dans les conditions offertes par la formation professionnelle continue, un éclairage sur les difficultés d'apprentissage du SIG et les manières possibles de les dépasser. Nous avons retenu - filmé et analysé - deux sessions de formation SIG d'une semaine (env. 30h chacune), ayant lieu à 3 années d'intervalle, dans le même centre de formation et étant co-animées par les mêmes deux formateurs. A la manière d'Aline Robert (2008), nous avons observé et enregistré l'activité en formation sans intervenir : une caméra fixe (image et son) a été placée à l'écart, de manière à couvrir le plus largement possible la partie occupée de la salle. Sur le plan théorique, la thèse centrale est celle de la possibilité et de la pertinence d'accéder aux processus et aux mécanismes d'apprentissage par les représentations que les professionnels adultes se construisent. Nous avons examiné cela avec la théorie de la représentation fonctionnelle (Leplat), également appelée image opérative (Ochanine) ou représentation pour l'action (Teiger, Weill-Fassina, Rabardel). Plusieurs autres cadres théoriques ont également été mobilisés : les théories de la formation pour adultes (Barbier, Bourgeois, Kaddouri), celles de la formation professionnelle (Mayen, Pastré, Vergnaud), la théorie des instruments et de l'action instrumentée (Rabardel), la théorie de la médiation et du guidage par autrui (Galperine, Savoyant). Nous avons rendu compte du processus d'apprentissage dans son déroulement, à travers l'évolution du système de représentation des personnes, auquel nous avons eu accès par l'analyse de l'activité verbale. En effet, dans l'interaction verbale entre les formateurs et les apprenants, ou entre des apprenants, les représentations des personnes ressortent comme des ressources (représentations construites avant la formation) ou comme des effets de la formation (représentations récentes, en cours de construction ou de transformation). L'évolution du système de représentations est systématiquement mise en relation avec les conditions qui le déterminent. Une organisation a priori structurée en séquences, mais qui autorise l'intervention de chacun, laisse place à l'expression des représentations des professionnels en formation. L'accent est cependant mis sur l'interaction verbale entre les formateurs et les apprenants et les effets produits. La fonction formative est assurée par deux formateurs, qui sont des professionnels expérimentés et qui agissent en co-animation simultanée. Cela offre un terrain intéressant d'analyse du partage de l'activité de transmission. Nous observons comment les formateurs organisent leur intervention commune : ils se complètent et se soutiennent, mais aussi se contredisent et s'empêchent...La thèse s'inscrit dans une nouvelle orientation du courant de la didactique professionnelle, orientation initiée par Mayen : il s'agit d'analyser la formation en vue du travail et non plus seulement le travail en vue de la formation. En analysant le processus d'apprentissage en formation, la thèse reste toutefois centrée sur le travail. D'abord, parce que l'objet de l'apprentissage, le SIG, est un instrument professionnel. Ensuite, parce que les sujets de la recherche sont des professionnels en activité, qui ne se détachent pas de leur travail en arrivant en formation (Pastré, Mayen et Vergnaud, 2007). Enfin, parce que les tâches et les situations de travail connues et vécues par chacun - et verbalisées devant le groupe - sont autant de ressources pour apprendre en situation de formation.
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Nomark, Sanna, and Miriam Pålsson. "Representation av äldre i animerad långfilm : En kvalitativ innehållsanalys." Thesis, Högskolan Väst, Avd för medier och design, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-12990.
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Det finns få studier om äldre karaktärer i animerade filmer. Studierna som gjorts visar att äldre karaktärer har porträtterats på ett oproportionerligt negativt sätt. Dessa studier är nu över tio år gamla och därför behövs ny forskning som undersöker hur äldre representeras. Denna studie syftar till att undersöka hur äldre karaktärer porträtteras i animerad mainstream-film från år 2017 genom en analys av de fem animerade filmerna Coco, Smurfarna - Den försvunna byn, The Lego Ninjago Movie, Monsterfamiljen och Kapten Kalsong. Med hjälp av en kvalitativ och semiotisk innehållsanalys undersöks vilka identitetspositioner, narrativa funktioner, samt stereotyper och tecken som används för att porträttera äldre. Studien visar en positiv förändring av äldres representation i form av mer nyanserade karaktärer i betydelsefulla roller. De vanligaste stereotyperna kring äldre syns inte i materialet, istället används ledarroller och arketyper så som den vise. Förekomsten av äldre och ålderstecken verkar i första hand vara ett uttryck för visdom och erfarenhet snarare än som ett tecken på deras kronologiska åldrande.There are few studies that investigate older characters in animated film. Older characters have been portrayed in a disproportionately negative manner according to previous studies. These studies were made over ten years ago, therefore new research is needed to investigate how older people are represented. The aim of this research is to examine how older characters are portrayed in mainstream animated films from 2017 by analyzing five animated films: Coco, Smurfs - The Lost Village, The Lego Ninjago Movie, Monster Family and Captain Underpants. Using a qualitative and semiotic content analysis, we investigate how identity markers, narrative functions, as well as stereotypes and signs are used to portray older people. The study shows a positive change in the representation of older people where the characters have more nuanced and important roles. The most common stereotypes around older people do not appear in these films, instead authority roles and archetypes such as the wise are used. Rather than a sign of chronological aging the appearance of elderly and signs of age primarily seems to be used to convey wisdom and experience.
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Barrett, Dean Anthony. "Television animation: an exploration of the contemporary, adult-oriented animation series with a specific study of Drawn Together." Thesis, 2012. http://hdl.handle.net/10539/11839.
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M.A. University of the Witwatersrand, Faculty of Humanities (Digital Arts), 2012This research report aims to identify and explore the various aesthetic, narrative and ideological techniques employed by a specific style of contemporary television animation series, through a close case study of the series Drawn Together. I shall define this animation as the contemporary adult-oriented style, one which has found particular favour with a young, media savvy adult audience and enjoys a mostly cult success in many parts of the world. This style is one which works just as much as a social commentary on various contemporary issues as it does a comedic animated show. The report will provide a historical exploration of this specific style of television animation series by looking at specific other examples, including The Simpsons, Beavis and Butthead and South Park,to create a basis of understanding through which to explore the formulation of Drawn Together. In discussing Drawn Together, the report will also provide a history of Drawn Together’s broadcast channel, Comedy Central, in order to understand the show’s entry into commercial markets and the mass media at large.
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Kunkel, Earl Monroe III Pettegrew John Keetley Dawn. "Why ARE people laughing at rape? American adult animation and Adult Swim: Aqua Teen Hunger Force as contemporary humor." 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1469568.
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Yang, Ming-Jih, and 楊明驥. "A Study on the Visual Design Expression of Adult Plot of "Toy Story" Animation Series." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/kw22rn.
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碩士國立臺中科技大學
商業設計系碩士班
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Movie animation has been derived from plain animation of earlier to the 3D presentation of today. From this we can see that 3D animation has become an emerging trend in movie field. However, how to produce a blockbuster film with good plot is the important issue when producing 3D animation today. This research mainly explores the performance and design thought of the adult plot animation from Pixar animations for Taiwan animation creators can refer to in the future. The study analyzed cognitive psychology and semiotics, using the adult plot and visual design from “Toy’s Story” of Pixar as the range to investigate the formation and design thought of animation production. The research generates that animation production has two forms: one is comedy. The adult plot in the animation is being decomposed for the audiences merge into the fun and delightful atmospheres. Another kind is sensibility which conveys warm and touching scenes from semiotics. In the end, aim at the result of this study to work on the reflection and improvement as a framework of reference for the following study and hope that the relevant result can provide animation creators in design scene with the reference direction.
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Garcia, Feliks José. "Constructions of masculinity in Adult Swim's The venture bros." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-08-6241.
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The increasingly popular Adult Swim series, The Venture Bros. (2003-present), created by Doc Hammer and Jackson Publick, is an animated series that interrogates established paradigms of masculinity. Combining narrative elements that are easily attributed to American action films with those of adventure cartoons, the creators of The Venture Bros. create a world where comic book and fantasy adventures coexist. The scope of this thesis narrows and focuses on the ways in which representations of masculinity are constructed and function within the series. What are the various types of masculinity represented in the series? Are the representations of masculinity reproductions of hegemonic masculinity? How is an awareness of dominant representations of masculinity and maleness expressed in The Venture Bros.? This thesis explores how previous scholarship on discourses of dominant representations of male masculinity sheds light on ways to analyze the various masculinities in The Venture Bros.text
Books on the topic "Adult animation"
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Ander-Egg, Ezequiel. La práctica de la animación sociocultural y el léxico del animador. 7th ed. Lima, Perú: Pontificia Universidad Católica del Perú, Facultad de Trabajo Social, Fondo Editorial, 2002.
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Chui, Sun Lim. The appeal of Walt Disney's feature animation towards adults. London: LCPDT, 1998.
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Clamp. Magic Knight Rayearth. [Los Angeles]: Mixx Manga Premium Edition/Mixx Entertainment, 1998.
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BARAITSER. Theatre of Animation: Contemporary Adult Puppet Plays in Context (Contemporary Theatre Review). Routledge, 1999.
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Marion, Baraitser, ed. Theatre of animation: Contemporary adult puppet plays in context. Newark, NJ: Harwood Academic Publishers, 1999.
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Marion, Baraitser, ed. Theatre of animation: Contemporary adult puppet plays in context. [Netherlands]: Harwood Academic Publishers, 1999.
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Marion, Baraitser, ed. Theatre of animation: Contemporary adult puppet plays in context. [Netherlands]: Harwood Academic Publishers, 1999.
Find full textBook chapters on the topic "Adult animation"
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Yin, Xuesong, and Youju Qi. "The Problem of Adult Animation Education in Teaching Quality and Corresponding Solutions." In Frontiers in Computer Education, 333–39. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-27552-4_48.
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Kirkland, Ewan. "Handmade Aesthetics in Animation for Adults and Children." In Palgrave Animation, 127–55. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-13943-8_6.
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"A need for adult-themed animation." In Craft Notes for Animators, 120–21. Routledge, 2016. http://dx.doi.org/10.4324/9781315721163-36.
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"The Next Iteration of Adult Animation." In TV Outside the Box, 332–48. Routledge, 2015. http://dx.doi.org/10.4324/9781315694481-14.
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Cipolla-Ficarra, Francisco V., Alejandra Quiroga, and Jim Carré. "Storyboard and Computer Animation for Children." In Advanced Research and Trends in New Technologies, Software, Human-Computer Interaction, and Communicability, 203–19. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4490-8.ch020.
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The authors present the key elements of the storyboard and computer graphics that must be contained in the computer animations that are broadcast as miniseries and are based on world-known literary works. The first analyses are established to set a differentiation between the contents aimed at the adult and the child audience. Finally, the authors make known the necessary strategies of storytelling applied to computer animation, bearing in mind the time and production cost factor.
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Cipolla-Ficarra, Francisco V., Miguel Cipolla-Ficarra, and Jacqueline Alma. "Knowledge and Background of the Multimedia Culture." In Advanced Research and Trends in New Technologies, Software, Human-Computer Interaction, and Communicability, 452–65. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4490-8.ch041.
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The chapter compares three digital and analogical animation series from the referential and contextual space-temporal point of view, which are mainly aimed at the infantile audience. The study detects the key elements that make these series acceptable by the adult audience. The results of the experiments with children, teenagers, young, and adults establish trends in the contents of interactive systems for new supports such as multimedia in mobile phones.
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Barai, Aneesh, and Nozomi Uematsu. "Envisioning Solidarity." In Intergenerational Solidarity in Children's Literature and Film, 70–84. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496831910.003.0006.
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This chapter discusses adult-child relations in two Japanese animated fantasy films that are based on English children’s literature, When Marnie Was There and Howl’s Moving Castle, both by Studio Ghibli. Both films draw strongly on the age-bending elements of their source texts, with Marnie transforming from the heroine Anna’s grandmother into her young friend and, in reverse, Sophie transforming from an 18-year-old into an older lady. Through the affordances of animation as a medium, and fantasy as a mode, the chapter argues these two films challenge the separation of adult and child into distinct realms and envision the mutual support that can come from bringing adults and children together into conversation, as equals: for Marnie, this supports both characters through childhood trauma and, for Howl, Sophie’s age-defying identity speaks to an intergenerational push for pacifism.
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Williams, Rebecca. "Of Mice and Minions : ‘Ani-embodiment’ and ‘Metonymic Celebrity’ in the Theme Park Character Encounter." In Theme Park Fandom. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462982574_ch05.
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This chapter explores the activity of meeting characters within theme parks which provides the opportunity to meet recognizable ‘stars’ from Disney (such as the Princesses and Villains) or Universal (including Shrek, SpongeBob SquarePants, The Simpsons and the Minions). It considers how meeting characters provides an avenue for adult fans to present their own preferences regarding characters, films or brands despite their awareness that these characters are not ‘real’. It argues that theme park meet-and-greets necessitate complex negotiations of immersion, participation and affective attachment. Introducing the concepts of ani-embodiment and metonymic celebrity, the chapter explores what it means to view character interactions as forms of celebrity encounter, and how this complicates established dichotomies of ordinary/celebrity, star/character, and live-action/animation.
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Simpson, J. A. "Sociocultural Animation." In Lifelong Education for Adults, 54–57. Elsevier, 1989. http://dx.doi.org/10.1016/b978-0-08-030851-7.50020-5.
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Ebling, Sarah, Necati Cihan Camgöz, and Richard Bowden. "New Technologies in Second Language Signed Assessment." In The Handbook of Language Assessment Across Modalities, 417–30. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190885052.003.0036.
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In this chapter, two signed language technologies are introduced: signed language recognition and signed language synthesis/animation. The modality-specific challenges of these technologies are discussed, originating in the multichannel nature of signs and the lack of a standardized writing system. The state of research of each technology is outlined, demonstrating that the existing body of research is considerably smaller than that of the field of automatic spoken language processing. The chapter describes the combination of the two signed language technologies in real-world applications. Most importantly, it explores the potential application of each technology to second language (L2) signed language assessment. Finally, an example of an existing use case is given: the application of signed language recognition to a vocabulary test for adult L2 learners of Swiss German Sign Language.
Conference papers on the topic "Adult animation"
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Cruz, Monica, Abilio Oliveira, and Joaquim Esmerado. "Animation and adults: Between the virtual and social reality." In 2017 12th Iberian Conference on Information Systems and Technologies (CISTI). IEEE, 2017. http://dx.doi.org/10.23919/cisti.2017.7975836.
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Wright, P., A. Soroka, S. Belt, S. Dimov, H. Petrie, and D. De Roure. "Effects of language fluency and graphic animation on modality choices by adults when following online explanatory demonstrations." In 2009 IEEE International Professional Communication Conference (IPCC 2009). IEEE, 2009. http://dx.doi.org/10.1109/ipcc.2009.5208675.
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