Relevant bibliographies by topics / An animated film in Russia

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'An animated film in Russia'

Author: Grafiati
Published: 24 April 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'An animated film in Russia.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "An animated film in Russia"

1

Bockareva, Ol'ga. "The interpretation of classical music in Polish and Russian animation as a basis for creative dialogue." Muzikologija, no. 21 (2016): 175–84. http://dx.doi.org/10.2298/muz1621175b.

Full text
Abstract:
Animated musical film, lying at the intersection of the two creative worlds and representing a dialogue between the musician and painter, is a living process of the visual interpretation of the artistic image of a musical work. A dialogue between the director of an animated film and the composer of a musical masterpiece can take place only if there is intonational (term used according to B. Asaf?ev?s writing) ?equalization? of the artistic and validation determinants of merger-related, personal, emotional states. The author emphasizes that within the artistic image of an animated film, the inner essence of the ?I? is made on the basis of the artist?s expression, the unity and consistency of color, sound, plastic solutions, coupled with deep philosophical generalizations, cultural, and value-semantic in their nature. The article provides examples of interpretations of classical music masterpieces in animated films by Russian and Polish filmmakers.
APA, Harvard, Vancouver, ISO, and other styles
2

Satkauskaitė, Danguolė, and Alina Kuzmickienė. "Conveying Frenchness in the Dubbing of Animated Film Ratatouille." Sustainable Multilingualism 16, no. 1 (2020): 205–26. http://dx.doi.org/10.2478/sm-2020-0010.

Full text
Abstract:
SummaryDue to globalization, migration, tourism and other reasons multiculturalism and multilingualism have become the rule rather than the exception. In this context films, on the one hand, serve as a reflection of multilingual and multicultural reality, on the other hand, multilingualism inevitably occurs by translating films for different audiences since (interlingual) translation involves at least two languages. Films, in which characters belong to different cultures and languages, pose a considerable challenge to translators. Such a case is the American animated film “Ratatouille” (2007), which action takes place in France and most of its characters are French. However, by adapting the film for the main target audience – the children – the character identity is revealed not using complete foreign language dialogues but creatively combining various modes: verbal acoustic (dialogues and lyrics), verbal visual (written texts), nonverbal visual (images) and nonverbal acoustic (nondiegetic music). The same modes are applied to render culture-specific items, especially food and drink names. Since verbal mode varies depending on the target audience, American English source language as well as Lithuanian, Russian and French dubbed versions of the film “Ratatouille” will be compared in order to determine semiotic modes, which convey Frenchness. Additionally, by comparing selected dubbed versions of the film, amusing translations, resulting exactly from the encounter of cultures and languages, will be presented as well. For the research methodological approaches of audiovisual translation, multimodality and comparative method will be applied.
APA, Harvard, Vancouver, ISO, and other styles
3

Krivulya, Natalia G. "Development of the Animated Poster in the First Half of the XX century." Journal of Flm Arts and Film Studies 8, no. 3 (2016): 19–33. http://dx.doi.org/10.17816/vgik8319-33.

Full text
Abstract:
The genre of animated posters emerged at the dawn of animation. In 1899, A. Cooper an English director created one of the first movie-posters in the history of world animation. The need for movie-posters with propaganda characteristics arose during the period of the WW1. During that time, the genre of the animated poster had been developed and had even become a stimulus to the development of the animation and film industry. It had achieved its greatest success in the UK due to the advanced level of printed graphics, as well as the fact that the British pioneered the development of systematic promotion approaches. German animators also worked in the genre of animated posters, but they filmed mostly instructional movies which presented technical or military information in a clear and simple form. By the end of the WW1 the structure of movie posters had evolved from transparent to narrative. During the war the genre of the animated poster was not developed in Russia. After the war, propaganda film-posters disappeared from the screens. Their place was taken by mostly political, educational and promotional posters. The time of experimentation with figurative language, technology, and structure of the animated poster was in 1920-1930s. Themes, targets and the form of presentation had changed, but the function remained the same - informational and visual propaganda. As the commercial poster had developed predominantly in European and American animation, the release of political posters initiated the development of Soviet animation. Sentiment changes in global politics and the situation in Europe during the late 1930s which evolved into the WW2, once again stimulated the entertainers interest for the genres of political-propaganda, patriotic, and instructive posters. During the war the production of animated posters formed a considerable portion of all the animation filmed in Soviet as well as American studios. With the cessation of hostilities films in the poster animation genre almost disappeared from the screens.
APA, Harvard, Vancouver, ISO, and other styles
4

Krivulya, Natalia G. "Animated Poster: Its Origins, Specificity and Peculiarity." Journal of Flm Arts and Film Studies 8, no. 2 (2016): 7–22. http://dx.doi.org/10.17816/vgik827-22.

Full text
Abstract:
The present article opens the series of articles Animated poster: Periodization and Modification of the Genre devoted to the animated poster which has not been investigated by Russian film scholars until recently. The author gives the definition of the animated poster, reveals its main types, offers the principles of its classification, determines its origins and specific features.
APA, Harvard, Vancouver, ISO, and other styles
5

Pikkov, Ülo. "On the Topics and Style of Soviet Animated Films." Baltic Screen Media Review 4, no. 1 (2016): 16–37. http://dx.doi.org/10.1515/bsmr-2017-0002.

Full text
Abstract:
Abstract This article provides a survey of Soviet animation and analyses the thematic and stylistic course of its development. Soviet animated film emerged and materialised in synch with the fluctuations of the region’s political climate and was directly shaped by it. A number of trends and currents of Soviet animation also pertain to other Eastern European countries. After all, Eastern Europe constituted an integrated cultural space that functioned as a single market for the films produced across it by filmmakers who interacted in a professional regional network of film education, events, festivals, publications etc. Initially experimental, post-revolutionary Russian animation soon fell under the sway of the Socialist Realist discourse, along with the rest of Soviet art, and quickly crystallised as a didactic genre for children. Disney’s paradigm became its major source of inspiration both in terms of visual style and thematic scope, despite the fact that Soviet Union was regarded as the ideological opposite of the Western way of life and mindset. The Soviet animation industry was spread across different studios and republics that adopted slightly varied production practices and tolerated different degrees of artistic freedom. Studios in the smaller republics, such as Estonia, Latvia and Lithuania in particular, stood out for making films that were more ideologically complicated than those produced in Moscow.
APA, Harvard, Vancouver, ISO, and other styles
6

Budylin, Sergey. "The Battle for Cheburashka: Films by Jove, Inc. v. Berov and Copyright in Soviet Animated Films." Review of Central and East European Law 39, no. 3-4 (2014): 343–67. http://dx.doi.org/10.1163/15730352-00000023.

Full text
Abstract:
In this essay, I discuss in some detail an extraordinarily instructive US case from the early 2000s: the Soiuzmul’tfil’m controversy, formally known as Films by Jove, Inc. v. Berov. More precisely, this essay is about a series of related cases in the United States and Russia concerning the rights to Soviet animated films. In their decisions, the courts discuss—and, to some extent, resolve—a number of complex legal issues of Soviet, post-Soviet, and current Russian law, including those related to intellectual property, corporate law, and private international law.
APA, Harvard, Vancouver, ISO, and other styles
7

Didenko, Natalya. "Некоторые особенности перевода мультипликационного фильма Маша и медведь на польский язык". Slavica Wratislaviensia 171 (14 січня 2020): 57–66. http://dx.doi.org/10.19195/0137-1150.171.5.

Full text
Abstract:
Some properties of the Polish translation of the animated film Masha and the BearThe paper touches upon the issue of the translation into Polish of the animated film Masha and the Bear. As an audiovisual entity, the animations are characterised by polysemiotics. Therefore, four channels of information transfer were analysed: the verbal-acoustic channel, the verbal-visual channel, the acoustic-non-verbal channel and the visual-non-verbal channel. As a result of the study, it was shown that the animated film Masha and the Bear — as regards the visual-non-verbal and acoustic-non-verbal channels, can be characterised as highly reflecting the Russian culture. What was also observed was the transformation of the verbal-visual channel which — in translation — changes into the verbal-acoustic channel. This transformation resulted in the information excess noticed in translation. The verbal-acoustic channel is characterised, on the one hand, by the neutralisation of intertextual and Soviet elements and, on the other hand, by a low level of the naturalisation of the Polish translation. Niektóre cechy przekładu filmu animowanego Masza i Niedźwiedź na język polskiArtykuł poświęcony jest tłumaczeniu filmu animowanego Masza i Niedźwiedź na język polski. Animacja, jako twór audiowizualny, charakteryzuje się polisemiotycznością. W związku z tym zostały zbadane cztery kanały przekazu informacji: werbalno-akustyczny, werbalno-wizualny, akustyczno-niewerbalny i wizualno-niewerbalny. Przeprowadzone badanie wykazało, że animacja Masza i Niedźwiedź na płaszczyźnie wizulano-niewerbalnej oraz akustyczno-niewerbalnej w wysokim stopniu cechuje się przynależnością do rosyjskiej kultury. Zaobserwowano transformację kanału werbalno-wizualnego, który w przekładzie zmienia się w kanał werbalno-akustyczny. To przekształcenie skutkowało nadmiarem informacji w tłumaczeniu. Kanał werbalno-akustyczny charakteryzuje się, z jednej strony, neutralizacją elementów intertekstualnych i radzieckich, z drugiej — małym stopniem naturalizacji przekładu, czyli spolszczenia.
APA, Harvard, Vancouver, ISO, and other styles
8

Mesropova, Olga M., and David MacFadyen. "Yellow Crocodiles and Blue Oranges: Russian Animated Film since World War Two." Slavic and East European Journal 50, no. 4 (2006): 725. http://dx.doi.org/10.2307/20459392.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Blackledge, Olga. "Lev Kuleshov on Animation: Montaging the Image." Animation 12, no. 2 (2017): 110–22. http://dx.doi.org/10.1177/1746847717708971.

Full text
Abstract:
The Soviet film director Lev Kuleshov has not been historically associated with animation, and yet his legacy includes: an article on animation published in the Soviet central specialized newspaper Kino Gazeta; a film, a substantial part of which is animated; as well as a text of four lectures preserved in the Russian State Archive of Literature and Art (RGALI). In the lectures that he delivered to animators at the Soviet central animation studio Soiuzmul’tfil’m, he repurposes his theories of montage and acting for the needs of the medium of animation. Analyzing these materials, with the primary focus on the lectures, this article introduces Kuleshov’s contribution to animation theory and production, and suggests that Kuleshov’s legacy not only sheds light on the historically specific situation in animation production characteristic for the Soviet Union in the 1930s, but also facilitates a deeper understanding of the animated image as a phenomenon.
APA, Harvard, Vancouver, ISO, and other styles
10

VIREN, DENIS G. "DOCUMENTARY ANIMATION OR ANIMATED DOCUMENTARY? Reflections on the history and the current situation on the example of Poland and other countries." ART AND SCIENCE OF TELEVISION 17, no. 1 (2021): 101–35. http://dx.doi.org/10.30628/1994-9529-2021-17.1-101-135.

Full text
Abstract:
Documentary animation is a hybrid cinematic form, the history of which goes back over 100 years. Earlier such films were rather a rarity, while lately they appear on screens more and more often. Using numerous examples, the article discusses the goals of artists turning to this unusual and controversial practice. The main thematic blocks are highlighted, the boundaries between the fictional artistic world and the real basis of a film are determined. The author also attempts to distinguish between animated documentary and “full-fledged” documentary animation. After reviewing the genesis (films by W. McCay, J. and F. Hubley) and films that have become modern classics of the direction (Waltz with Bashir, Crulic: The Path to Beyond etc.), the most notable modern samples—primarily those filmed in Poland and in Russia, where animadoc is rapidly gaining momentum—were analyzed in detail. Directors use this form when talking about historical events (reconstruction), ambiguous personalities and unusual places, as well as about their own or others’ internal problems and experiences. Documentary animation is becoming a common means of (auto)psychotherapy and fits into the current trend of pronouncing taboo topics and working out hidden traumas. Animation allows to penetrate deeply into the world of characters without violating their personal boundaries. An important place is held by metafilms, reflecting on the language of the animadoc and cinema in general. Today, documentary with the use of animation is more common than “real” animadoc, although the line between the fictional artistic world and the actual basis of films is rather fluid. The phenomenon is still in the making. Nevertheless, such films must have a real component: interviews (usually off-screen), newsreels, photographs, genuine objects, etc. The factual basis is not a sufficient argument to classify the work as a documentary animation—the decisive factor here is the hybridization of the form.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "An animated film in Russia"

1

Lobodenko, Kateryna. "Images fixes – Images animées ˸ les expériences communicables de l’exil russe en France (1920 – 1939)." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030053.

Full text
Abstract:
Cette thèse se propose d’explorer, à travers la figure de l’émigré russe dans le cinéma et la caricature de presse parus en France dans l’entre-deux-guerres, les différentes représentations de la Russie. Il s’agit, tout d’abord, de la Russie en exil, une Russie mosaïque regroupant de nombreuses ethnicités venues de différents endroits de l’ancien Empire russe, comprenant, en elles-mêmes, une large palette sociale (des aristocrates et notables aux personnes sans rang, ni profession), professionnelle (artistes, hommes politiques, militaires, ouvriers), politiques (monarchistes, libéraux, révolutionnaires socialistes, anarchistes), religieuse, éducative et culturelle. Nous nous intéressons alors aux façons dont cette Russie en exil est perçue et représentée par les artistes nostalgiques de leur passé, caricaturistes et cinéastes émigrés, mais aussi par les réalisateurs français passionnés de l’orientalisme et de la « mode russe » qui en découle. En deuxième lieu, nous appréhendons les manières dont les artistes émigrés traitent de la Russie soviétique, à savoir : des dirigeants bolcheviques, des Soviétiques ordinaires et de leur quotidien. Nous nous penchons, également, sur la notion d’expérience communicable, employée par Walter Benjamin, et sur les différentes façons dont l’expérience de la vie en exil pourrait être transmise au public émigré et français<br>This thesis proposes to explore different representations of Russia through the figure of the Russian emigrant in the film and press cartoons published in France in the inter-war period. First of all, it discusses Russia in exile, a mosaic Russia which contains numerous ethnicities hailing from various locations of the former Russian Empire. These ethnicities thus comprise a large palette of social features (from aristocrats and notable people to those without any titles or professions), professional ones (artists, politicians, military men, workers), political ones (monarchists, liberals, socialist revolutionaries, anarchists), religious, educational and cultural ones. We are therefore interested in the ways that this Russia in exile is perceived and represented by the artists who are nostalgic of their past, emigrant caricaturists and film-makers, as well as French film directors who were passionate about Orientalism and the subsequent “Russian fashion”. Secondly, we capture the ways in which the emigrant artists deal with Soviet Russia, namely the Bolshevik leaders, ordinary Soviet people and their everyday lives. We also look at the notion of communicable experience, which is employed by Walter Benjamin, and different ways in which the life in exile could be communicated both to the emigrant public and to the French one
APA, Harvard, Vancouver, ISO, and other styles
2

Thornton, Andrew. "Ces't la vie : an animated film /." Online version of thesis, 1993. http://hdl.handle.net/1850/11773.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Kochan, Elizaveta. "Creating a Short Animated Film with Cloth Characters." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/526.

Full text
Abstract:
This creative thesis involved making an animated short film from scratch, dubbed “Laundry Day” for the time being. The film follows two sentient clothing characters, a hoodie and a pair of pants, who need to get out of their owner’s room to get to the laundry room after accidentally being left behind. Please watch the short here and use the password “goodiehoodie”: https://vimeo.com/415387205 This was a time consuming, challenging, and multifaceted project, but provided an accurate glimpse into how feature animation is made. The process of making any project like this is commonly called a pipeline, and can be simplified to seven categories: Story, Character, Environment, Animation, Effects, and Rendering. This paper will go into each of these and explain the technical and creative challenges I had to overcome to reach the final product.
APA, Harvard, Vancouver, ISO, and other styles
4

Edgren, Justin. "ANIMATING DYSTOPIA: AN ANALYSIS OF MY ANIMATED FILM, P19." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/theses/1099.

Full text
Abstract:
In this paper, I discuss the modern socio-technological state of global social control and its representation in my stop motion animated film P19. I will compare the ways in which social control has changed and remained the same from September 11, 2001 to the present. I will discuss the surveillance and control grids permeating all communication networks and how humans are interacting with them. I will conclude with an analysis of some of my techniques and processes in stop motion animation.
APA, Harvard, Vancouver, ISO, and other styles
5

Lemon, Nicole E. "Previsualization in Computer Animated Filmmaking." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345569188.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Tronerud, Nathanael D. ""Maly Trebacz"| An original score for a short animated film." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1524171.

Full text
Abstract:
<p> This project report will provide a description and analysis of the original musical score, as composed and arranged by the author, for the short animated film <i>Ma&lstrok;y Tre&cedil;bacz,</i> which was produced in collaboration with the film's director, Monica Kozlowski. It will detail the process of the music's composition, including those decisions which were made whilst scoring the picture, the reasons and justifications for so doing, a scene-by-scene analysis of the film and accompanying music, background information concerning the film's origins and influences (including the historical origins of the narrative), the role of the film's score in communicating the story of the film to the audience, how certain choices in scoring impacted the direction of the film's narrative, and a short discussion of the major themes and musical motifs heard within the score (including its incorporation of the <i>Hejnal mariacki</i>).</p>
APA, Harvard, Vancouver, ISO, and other styles
7

Reichl, Veronika Anna. "Meaning matches meaning : animated film as metaphor for philosophical texts." Thesis, University of Portsmouth, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.478932.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Mee, Laura. "Re-animated : the contemporary American horror film remake, 2003-2013." Thesis, De Montfort University, 2014. http://hdl.handle.net/2086/10596.

Full text
Abstract:
This doctoral thesis is a study of American horror remakes produced in the years 2003-2013, and it represents a significant academic intervention into an understanding of the horror remaking trend. It addresses the remaking process as one of adaptation, examines the remakes as texts in their own right, and situates them within key cultural, industry and reception contexts. It also shows how remakes have contributed to the horror genre’s evolution over the last decade, despite their frequent denigration by critics and scholars. Chapter One introduces the topic, and sets out the context, scope and approach of the work. Chapter Two reviews the key literature which informs this study, considering studies in adaptation, remaking, horror remakes specifically, and the genre more broadly. Chapter Three explores broad theoretical questions surrounding the remake’s position in a wider culture of cinematic recycling and repetition, and issues of fidelity and taxonomy. Chapter Four examines the ‘reboots’ of one key production company, exploring how changes are made across versions even as promotion relies on nostalgic connections with the originals. Chapter Five discusses a diverse range of slasher film remakes to show how they represent variety and contribute to genre development. Chapter Six considers socio-political themes in 1970s horror films and their contemporary post-9/11 remakes, and Chapter Seven focuses on gender representation and recent genre trends in the rape-revenge remake. This thesis concludes with a discussion of the most recent horror remakes, and reiterates the findings from the preceding chapters. Ultimately, genre remakes remain prevalent because they are often profitable and cater for a guaranteed audience. They are commercial products, but also represent some of the more creative entries in horror cinema over the last decade, and their success enables further productions. Rather than being understood as simplistic derivative copies, horror remakes should be considered as intertextual adaptations which both draw from and help to shape the genre.
APA, Harvard, Vancouver, ISO, and other styles
9

Galpin, Kennedy L. "DuIK Bassel in Usage in After Effects and an Animated Short Film." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/480.

Full text
Abstract:
This thesis was made with the goal of creating a 2D short film in the end, with mainly using a program that is not normally used for character animation: Adobe After Effects. With the usage of an originally French plugin called DuIK Bassel (v16.0.9), I was able to create a model in Adobe Photoshop and then put it into After Effects. When the files were imported, the plugin would then assist in the rigging process, wherein I would be able to create the character’s rig and make the 2D model within the program. This document discusses the entire creation of the short film that I progressed through, from the storyboarding, character creation, rigging process, and putting the elements together.
APA, Harvard, Vancouver, ISO, and other styles
10

Todd, Laura J. "Youth film in Russia and Serbia since the 1990s." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/33632/.

Full text
Abstract:
This thesis explores the youth film genre in Russia and Serbia since the 1990s. Youth film is not only an essential means of tracing changes in cultural perceptions about young people and their lives in the post-communist period, but I argue that the genre serves as a means of representing society as a whole. The youth film genre, as an overarching framework dictated by the age of a film’s protagonists, encompasses and adopts a wide variety of sub-genres. This flexibility in youth film allows for an innovative study of the position of one genre as part of a wider sphere of genre film-making in the post-communist period. In particular, I demonstrate that global genre theory can be used as a means to examine the different genre types that have appeared in the cinema of Russia and Serbia in the post-communist period. The film industries of both nations were required to undergo vast changes in the transition from communism to capitalism, making film genres and audience preferences more significant than before. The films I analyse in this thesis borrow extensively from Hollywood genre types, using deviations and national-cultural references to appeal to their domestic audiences. However, I also contend that genres were an important part of the film industries of the Soviet Union and the Socialist Federal Republic of Yugoslavia, and that these genre histories must be considered. My close analyses of six youth films provide the communist and post-communist context for their genre usages, placing them within a wider canon of films from particular genres. This thesis contributes not only to the understanding of the youth film genre and the different ways in which these films are made, but also to knowledge of the use of genres in recent Russian and Serbian cinema as a whole. The chapters of this thesis examine how youth films and youth audiences have become increasingly important to post-communist film industries. I demonstrate that youth film allows directors not only to depict the trials and tribulations of growing up during the transition from communism, but how these youth films often reference the suffering of adults in this period. Young people are situated in a historical limbo, between the communist past and the capitalist future, and as such become a poignant metaphor for the wider experience of transition in these two nations.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "An animated film in Russia"

1

Český animovaný film: Czech animated film. Národní Filmový Archiv, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

1951-, Giżycki Marcin, and Zmudziński Bogusław, eds. Polski film animowany. Polskie Wydawn. Audiowizualne, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Giulietta, Fara, and Cosulich Oscar, eds. Future Film Festival, 2005. Pendragon, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Animasophy: Theoretical writings on the animated film. Estonian Academy of Arts, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Before Mickey: The animated film, 1898-1928. University of Chicago Press, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Noake, Roger. Animation: A guide to animated film techniques. Macdonald Orbis, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Future, Film Festival (9th 2007 Bologna Italy). Future Film Festival, 2007: Www.futurefilmfestival.org. Pendragon, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Giulietta, Fara, and Cosulich Oscar, eds. Future Film Festival, 2006: Www.futurefilmfestival.org. Pendragon, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Giovanni, Ricci, and Vanelli Marco, eds. Animazione in cento film. Le mani, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Disney's Aladdin: The making of the animated film. Hyperion, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "An animated film in Russia"

1

Boukary, Sawadogo. "The African animated film." In African Film Studies. Routledge, 2018. http://dx.doi.org/10.4324/9780429508066-6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Plympton, Bill. "Making an Animated Film." In Make Toons That Sell Without Selling Out, 10th ed. CRC Press, 2021. http://dx.doi.org/10.1201/9781003205098-3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Lee, Newton, and Krystina Madej. "Capturing Life in Animated Film." In Disney Stories. Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-2101-6_7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Madej, Krystina, and Newton Lee. "Capturing Life in Animated Film." In Disney Stories. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42738-2_6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Glynne, Andy. "Drawn From Life: The Animated Documentary." In The Documentary Film Book. British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Tang, Rui, and David Whitley. "From Dogpower to Ratropolis: London in Animated Film." In London on Film. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64979-5_12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Bendazzi, Giannalberto. "The First Feature Length Animated Film in History." In Twice the First. CRC Press, 2017. http://dx.doi.org/10.1201/9781315149004-6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Conde Aldana, Juan Alberto. "Little Voices and Big Spaces: Animated Documentary and Conceptual Blending Theory." In Cognitive Theory and Documentary Film. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90332-3_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Troutman, Megan. "It’s Alive … AGAIN: Redefining Children’s Film Through Animated Horror." In The Palgrave Handbook of Children's Film and Television. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17620-4_8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Bendazzi, Giannalberto. "Peludópolis: The First Animated Feature Length Film with Sound." In Twice the First. CRC Press, 2017. http://dx.doi.org/10.1201/9781315149004-14.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "An animated film in Russia"

1

Kusumawardhani, Mega Iranti, and Muhammad Cahy Daulay. "Indonesian Traditional Story Content in Animated Short Film: Case Study Students’ Animated Short Film Final Project." In International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imov-18.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

KUSUMAWARDHANI, MEGA IRANTI, and MUHAMMAD CAHYA DAULAY. "Indonesian Traditional Story Content in Animated Short Film: Case Study Students’ Animated Short Film Final Project." In International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imoviccon-18.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Leontyeva, T. V. "THE FORMATION OF THE IMAGE OF THE FAMILY IN MODERN RUSSIAN ANIMATED FILMS." In XIV International Social Congress. Russian State Social University, 2015. http://dx.doi.org/10.15216/rgsu-xiv-250.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Neuman, Robert. "Concurrent monoscopic and stereoscopic animated film production." In SIGGRAPH 2009: Talks. ACM Press, 2009. http://dx.doi.org/10.1145/1597990.1598028.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Sharma, Rajesh, and Brian Wherry. "Software Development for Disney Animated Feature Film Production." In 2009 Agile Conference (AGILE). IEEE, 2009. http://dx.doi.org/10.1109/agile.2009.60.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Wang, Cong, Dale Mayeda, Jacob Rice, Thom Whicks, and Benjamin Huang. "Cooking Southeast Asia-inspired Soup in Animated film." In SIGGRAPH '21: Special Interest Group on Computer Graphics and Interactive Techniques Conference. ACM, 2021. http://dx.doi.org/10.1145/3450623.3464651.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Qin, Jianbo. "The Music Aesthetic Analysis of the Animated Film “Coco”." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.76.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Ambarsih, Yully, Imam Santosa, Hafiz Azis Ahmad, and Irfansyah Irfansyah. "Identified Characters, Dialogue of Ethnicity in Indonesia Animated Film." In Proceedings of the International Conference on Business, Economic, Social Science and Humanities (ICOBEST 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icobest-18.2018.58.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Chen, Chuang. "Research on Character shaping in Animated film Monkey King." In 2016 2nd International Conference on Economics, Management Engineering and Education Technology (ICEMEET 2016). Atlantis Press, 2017. http://dx.doi.org/10.2991/icemeet-16.2017.85.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Wang, Hongwei. "Analysis of the Anti War Thought from Animated Film." In 2014 International Conference on Education, Management and Computing Technology (ICEMCT-14). Atlantis Press, 2014. http://dx.doi.org/10.2991/icemct-14.2014.90.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "An animated film in Russia"

1

Galili, Naftali, Roger P. Rohrbach, Itzhak Shmulevich, Yoram Fuchs, and Giora Zauberman. Non-Destructive Quality Sensing of High-Value Agricultural Commodities Through Response Analysis. United States Department of Agriculture, 1994. http://dx.doi.org/10.32747/1994.7570549.bard.

Full text
Abstract:
The objectives of this project were to develop nondestructive methods for detection of internal properties and firmness of fruits and vegetables. One method was based on a soft piezoelectric film transducer developed in the Technion, for analysis of fruit response to low-energy excitation. The second method was a dot-matrix piezoelectric transducer of North Carolina State University, developed for contact-pressure analysis of fruit during impact. Two research teams, one in Israel and the other in North Carolina, coordinated their research effort according to the specific objectives of the project, to develop and apply the two complementary methods for quality control of agricultural commodities. In Israel: An improved firmness testing system was developed and tested with tropical fruits. The new system included an instrumented fruit-bed of three flexible piezoelectric sensors and miniature electromagnetic hammers, which served as fruit support and low-energy excitation device, respectively. Resonant frequencies were detected for determination of firmness index. Two new acoustic parameters were developed for evaluation of fruit firmness and maturity: a dumping-ratio and a centeroid of the frequency response. Experiments were performed with avocado and mango fruits. The internal damping ratio, which may indicate fruit ripeness, increased monotonically with time, while resonant frequencies and firmness indices decreased with time. Fruit samples were tested daily by destructive penetration test. A fairy high correlation was found in tropical fruits between the penetration force and the new acoustic parameters; a lower correlation was found between this parameter and the conventional firmness index. Improved table-top firmness testing units, Firmalon, with data-logging system and on-line data analysis capacity have been built. The new device was used for the full-scale experiments in the next two years, ahead of the original program and BARD timetable. Close cooperation was initiated with local industry for development of both off-line and on-line sorting and quality control of more agricultural commodities. Firmalon units were produced and operated in major packaging houses in Israel, Belgium and Washington State, on mango and avocado, apples, pears, tomatoes, melons and some other fruits, to gain field experience with the new method. The accumulated experimental data from all these activities is still analyzed, to improve firmness sorting criteria and shelf-life predicting curves for the different fruits. The test program in commercial CA storage facilities in Washington State included seven apple varieties: Fuji, Braeburn, Gala, Granny Smith, Jonagold, Red Delicious, Golden Delicious, and D'Anjou pear variety. FI master-curves could be developed for the Braeburn, Gala, Granny Smith and Jonagold apples. These fruits showed a steady ripening process during the test period. Yet, more work should be conducted to reduce scattering of the data and to determine the confidence limits of the method. Nearly constant FI in Red Delicious and the fluctuations of FI in the Fuji apples should be re-examined. Three sets of experiment were performed with Flandria tomatoes. Despite the complex structure of the tomatoes, the acoustic method could be used for firmness evaluation and to follow the ripening evolution with time. Close agreement was achieved between the auction expert evaluation and that of the nondestructive acoustic test, where firmness index of 4.0 and more indicated grade-A tomatoes. More work is performed to refine the sorting algorithm and to develop a general ripening scale for automatic grading of tomatoes for the fresh fruit market. Galia melons were tested in Israel, in simulated export conditions. It was concluded that the Firmalon is capable of detecting the ripening of melons nondestructively, and sorted out the defective fruits from the export shipment. The cooperation with local industry resulted in development of automatic on-line prototype of the acoustic sensor, that may be incorporated with the export quality control system for melons. More interesting is the development of the remote firmness sensing method for sealed CA cool-rooms, where most of the full-year fruit yield in stored for off-season consumption. Hundreds of ripening monitor systems have been installed in major fruit storage facilities, and being evaluated now by the consumers. If successful, the new method may cause a major change in long-term fruit storage technology. More uses of the acoustic test method have been considered, for monitoring fruit maturity and harvest time, testing fruit samples or each individual fruit when entering the storage facilities, packaging house and auction, and in the supermarket. This approach may result in a full line of equipment for nondestructive quality control of fruits and vegetables, from the orchard or the greenhouse, through the entire sorting, grading and storage process, up to the consumer table. The developed technology offers a tool to determine the maturity of the fruits nondestructively by monitoring their acoustic response to mechanical impulse on the tree. A special device was built and preliminary tested in mango fruit. More development is needed to develop a portable, hand operated sensing method for this purpose. In North Carolina: Analysis method based on an Auto-Regressive (AR) model was developed for detecting the first resonance of fruit from their response to mechanical impulse. The algorithm included a routine that detects the first resonant frequency from as many sensors as possible. Experiments on Red Delicious apples were performed and their firmness was determined. The AR method allowed the detection of the first resonance. The method could be fast enough to be utilized in a real time sorting machine. Yet, further study is needed to look for improvement of the search algorithm of the methods. An impact contact-pressure measurement system and Neural Network (NN) identification method were developed to investigate the relationships between surface pressure distributions on selected fruits and their respective internal textural qualities. A piezoelectric dot-matrix pressure transducer was developed for the purpose of acquiring time-sampled pressure profiles during impact. The acquired data was transferred into a personal computer and accurate visualization of animated data were presented. Preliminary test with 10 apples has been performed. Measurement were made by the contact-pressure transducer in two different positions. Complementary measurements were made on the same apples by using the Firmalon and Magness Taylor (MT) testers. Three-layer neural network was designed. 2/3 of the contact-pressure data were used as training input data and corresponding MT data as training target data. The remaining data were used as NN checking data. Six samples randomly chosen from the ten measured samples and their corresponding Firmalon values were used as the NN training and target data, respectively. The remaining four samples' data were input to the NN. The NN results consistent with the Firmness Tester values. So, if more training data would be obtained, the output should be more accurate. In addition, the Firmness Tester values do not consistent with MT firmness tester values. The NN method developed in this study appears to be a useful tool to emulate the MT Firmness test results without destroying the apple samples. To get more accurate estimation of MT firmness a much larger training data set is required. When the larger sensitive area of the pressure sensor being developed in this project becomes available, the entire contact 'shape' will provide additional information and the neural network results would be more accurate. It has been shown that the impact information can be utilized in the determination of internal quality factors of fruit. Until now,
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'An animated film in Russia' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography