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Journal articles on the topic 'An animated film in Russia'
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Blackledge, Olga. "Lev Kuleshov on Animation: Montaging the Image." Animation 12, no. 2 (2017): 110–22. http://dx.doi.org/10.1177/1746847717708971.
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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.
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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.
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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.
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Perfilieva, Natalia, and Christina Zhikulina. "'Masha and the Bear' Phenomenon in the Russian and Foreign Mass Media." Theoretical and Practical Issues of Journalism 8, no. 1 (2019): 164–78. http://dx.doi.org/10.17150/2308-6203.2019.8(1).164-178.
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At present, virtual space is one of the forms of communicative interaction. The integrated Internet space, velocity of information-sharing, the circulation of films and animation films, a possibility to express opinions of them including anonymous ones, create a background to phenomena appearance. In the article the animated series Masha and the Bear are considered as a phenomenon of the mass-media space. We view the series of Masha and the Bear as a phenomenon, because it is extremely popular in the world, the Russian series are translated into 25 languages and are watched by a large audience. The quantitative factor and reaction in the media space make us talk about this animation film as a crucial event or phenomenon. The discussion in the world mass-media is focused on the phenomenon starting from the animation series release to the present day. The relevance of the research is based on the analysis of Masha and the Bear as a tool of propaganda or Russian soft power influence, first of all. The article deals with the content of discussions both in Russian and foreign mass-media. The analysis of publications, comments of uses of different sites let us make a conclusion that the audience’s reaction often depends on the manipulation with the message of the animated series. Masha and the Bear itself though devoid of any propaganda tasks, became a manipulation tool of people’s consciousness. The comparative analysis is carried out on the opinions of Russian and foreign mass-media audiences. The article briefly describes the technology of public opinion manipulation, which primarily uses such linguistic means as a wrong translation and negative stereotypes.
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Luk'yanova, Valentina Sergeevna, and Ol'ga Anatol'evna Koloskova. "SPECIFICITY OF TRANSLATION OF ENGLISH ONOMATOPOEIAS INTO THE RUSSIAN LANGUAGE IN THE CHILDREN’S ANIMATED FILM." Philological Sciences. Issues of Theory and Practice, no. 2-2 (February 2018): 334–37. http://dx.doi.org/10.30853/filnauki.2018-2-2.30.
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Krivulya, Natalia G. "DOCUMENTARY ANIMATED: GENESIS AND SPECIFICITY (PREVIEW ARTICLE)." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 43 (2021): 96–115. http://dx.doi.org/10.17223/22220836/43/7.
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Animated documentary is becoming one of the fastest growing phenomena of modern screen art in the post-truth era. The review and analysis of scientific works devoted to animated documentary is seen as relevant both for the further development of scientific thought and the search for new research strategies that expand the problem field, and for the practical sphere. The research was conducted on the basis of a review and analysis of scientific literature (monographs and articles in international journals included in electronic research system international databases Scopus, Web of Science, eLibrary.ru) in English, Spanish and Russian for the period 1997-2019. The novelty of the review article is not only an attempt to present a systematic view of animated documentary as a phenomenon of screen art, but also to identify and systematize the areas in which scientific discussions are conducted. It introduces the reader to theoretical views on the terminology, Genesis, specifics, nature, and classification systems of documentary animation. Animated documentary appeared when the cinema was just taking first steps but its development began in the 1980s. At this time, animation begins to take an interest in reality, inner peace, and socially taboo topics. Since the 1990s, the foundations of animated documentary are laid, narrative strategies are developed, and a new language are actively sought. Interest in animated documentary from the scientific community arose only in the 2000s. On the one hand, it has been manifested by the increasing role of documentation in the art, which has taken on an attraction character since the advent of digital technology; on the other hand, and as a consequence of the convergence of screen arts and the emergence of hybridization trends. The academic community has focused around developing definitions and understanding what can be attributed to the field of documentary animation. By 2010, the scientific literature focused on issues related to the specifics of animated documentary, ways of presenting reality, and indexing. By the mid-2010s, animation is becoming the subject of interdisciplinary study. At this time, there are develop tools for analyzing works of animated documentaries, and its genre system begins to build. One of the main features of animated documentaries is hybridity. Its dual nature is born of fluctuations between the certainty of facts and artistic embodiment. The problems of authenticity and representation of reality become one of the most controversial topics in an animated film. The work provides an overview of theoretical studies on the genesis, history and particularities of animadoc. The theoretical texts identify three approaches that form the main directions in the analysis of animated documentary. The first group of researchers analyzes this phenomenon and its nature based on the theories of documentaries and the transformation with the advent of digital technologies, of the concepts of reality, authenticity and fact (document). The second group of authors considers animation as a phenomenon of modern animation that arose as a result of technological renewal and changes in its role as a socio-cultural practice. A third group of scientists believes that animadoc is a post-postmodern phenomenon that arose as a means of presenting a world in which there is mobility of borders and cyberspace becomes a new reality. The review allows us to conclude that animated documentary is a manifestation of a new mode of postphotographic vision of a reflexive nature, in which the imagination that refracts images of reality becomes of primary importance. Despite the interest in it from the academic community and the emergence of theoretical works, the study of this phenomenon is only at the initial stage. Despite the interest in it from the academic community, there is a small number of deep theoretical works caused by the hybrid nature of the phenomenon itself, the imperfection of working models and methods for analyzing representational strategies, and the problems of forming a conceptual apparatus.
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Blackledge, Olga. "Animation behind the iron curtain: a guide to animated films from Russia and eastern bloc countries during the Cold War era." Studies in Russian and Soviet Cinema 15, no. 3 (2021): 250–52. http://dx.doi.org/10.1080/17503132.2021.1970384.
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Sputnitskaya, Nina Yu. "Soviet Puppet Cinema of the 1930s: from Avant-Garde to Mainstream." Journal of Flm Arts and Film Studies 8, no. 3 (2016): 8–18. http://dx.doi.org/10.17816/vgik838-18.
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Evaluation of Russian animated cartoons of the 1930s wasnt positive for a long time; historians of cinema, directors, artists marked this period as the era of hard times, as formalism and imitation Disney's esthetics. However the films considered in the article have played a significant role in development of world cinema. Particularly they have influenced upon moulding of the Czech, Polish and Ukrainian stop motion animation of the post-war years. Unfortunately, some works released in the Union of puppet animation at Mosfilm studios under the leadership of A.L. Ptushko have been lost, and nowadays it is impossible to establish precisely their actual released number. In the article the experimental animation films of the second half of the 1930s which have remained on film and also in the form of editorial scripts (RGALI, Mosfilm, Gosfilmofond) are being analyzed. It should be noted/ that five films of the group shot with P. Mershin's method are restored (method of time-lapse reconstruction) by N. Mayorov and V. Kotovsky (on the remained color negatives) in the 2010s. So it is possible now to estimate innovation and originality of these films, and to define a role of school of the Soviet animation in development of the world stop motion. Special attention is drawn to the socio-cultural context accentuating peculiarities of reading the films, which formed their imagery and on specific reflection of a defence discourse in the Soviet animation of 1935-41s.
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Belozerova, Anna, and Elena Kotova. "Cinematographic Living Room as a Means of Forming Linguocultural Consciousness in The Context of Online Learning." E3S Web of Conferences 258 (2021): 07060. http://dx.doi.org/10.1051/e3sconf/202125807060.
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The article presents the experience of working on the formation of linguistic and cultural consciousness in the lessons of Russian as a foreign language in the framework of the cinematographic living room in the context of online learning. The study uses a competence-based approach that forms the speech competencies of students, which are necessary for their active inclusion in the process of communication with native Russian language speakers. The authors describe the methodology for working with a feature / documentary / animated film. The choice of principles that forms linguocultural consciousness (the principle of anthropocentrism, the principle of communicativeness, the principle of interrelated learning, the principle of visibility, the principle of co-learning of language and culture) is substantiated. A set of exercises is presented that contribute to the effective construction of the learning process: from preview exercises in order to expand and consolidate lexical-grammatical and structural-semantic skills - through conditional speech exercises at the stage devoted to working with key episodes - to an independently issued statement after linguocultural analysis of the film text. Summarizing the experience of working in the format of a cinematographic living room, the authors come to the conclusion that the use of texts from Soviet and Russian cinema contributes to the formation of the linguocultural consciousness of foreign students, expanding their knowledge of the country of the target language, enriching vocabulary and cultural fund. The presented material will be useful for teachers of Russian as a foreign language and students of philological specialties.
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Mäeots, Olga. "“The Three Little Pigs”: Evolution of a fairy tale plot in a picture book of the twentieth century." Children's Readings: Studies in Children's Literature 19, no. 1 (2021): 215–34. http://dx.doi.org/10.31860/2304-5817-2021-1-19-215-234.
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“The Three Little Pigs” is one of the most famous folk tales and has been adapted many times. The paper is devoted to the evolution of the classical narration as it was presented in picture-books in the 20 th century. The revisions examined are: Walt Disney’s book based on the animated film (1933), Russian adaptation made by Sergey Mikhalkov (1936, 1957) as well as two picture-books which were published at the end of 20 th century in USA and Great Britain and suggest new versions of the classical story — Jon Scieszka’s and Lane Smith’s “The True Story of the 3 Little Pigs” (1989) and “The Three Little Wolves and the Big Bad Pig” by Eugene Trivizas and Helen Oxenbury (1993). All the books demonstrate different variants of interaction between the textual and visual contents. The recent versions of the tale reveal important trends: visual narrative presents a substantive semantics and plays increasingly significant role in modern picture-books. The evaluation of the genre introduces multiple perspectives and challenge reader to interact, to create ambiguous meanings rather than suggest a define statement — thus making reception more complicated and inspiring.
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J.Goulding, Daniel. "David MacFadyen. Yellow Crocodiles and Blue Oranges: Russian Animated Film since World War II. Montreal and Kingston: McGill-Queen's University Press, 2005. xx, 260 pp. $75.00." Canadian-American Slavic Studies 41, no. 4 (2007): 492–99. http://dx.doi.org/10.1163/221023907x00815.
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Linsenmaier, Timo. "Review: David MacFadyen, Yellow Crocodiles and Blue Oranges: Russian Animated Film Since World War Two. Montréal: McGill-Queen's University Press, 2005. 256 pp. ISBN: 0—7735—2871—7." Animation 2, no. 3 (2007): 301–4. http://dx.doi.org/10.1177/17468477070020030702.
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Ilyina, E. N. "ONOMASTICON OF RUSSIAN FABRIC IN “BOGATYR” ANIMATED FILMS." Onomastics of the Volga Region, no. 2 (2020): 339–42. http://dx.doi.org/10.34216/2020-2.onomast.339-342.
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The article explores the intertextual relations of Russian epics and animated films about Russian knights the art Studio «Mill»: Alyosha Popovich and Tugarin Zmey (2004), Dobrynia Nikitich and the Serpent Gorynych (2006), Ilya Muromets and Nightingale the Robber (2007), revealing the correlation of traditions and innovations in the verbal representation of the images.
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Бутенко, Елена Васильевна. "PAREMIOLOGICAL TRANSFORMATIONS IN FILM TRANSLATION (BASED ON THE RUSSIAN AND ENGLISH LANGUAGES)." Tomsk state pedagogical university bulletin, no. 3(215) (May 24, 2021): 102–9. http://dx.doi.org/10.23951/1609-624x-2021-3-102-109.
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Введение. Проведено лингвостилистическое исследование паремиологических трансформаций в кинотексте и рассмотрены возможности эквивалентной передачи трансформа в языке перевода. Актуальность исследования обусловлена широкой употребительностью пословичных единиц в художественном языке, в частности в кинодискурсе. Встраиваясь в матрицу кинодиалога, они становятся основой для последующих преобразований в высказываниях персонажей, создавая своей окказиональностью значительный экспрессивный потенциал. Цель. Поскольку свидетельством эффективной трансформации является узнаваемость исходной пословицы в трансформе, целью исследования стало выявление лингвостилистических средств, способствующих узнаванию, декодированию и адекватному зрительскому восприятию трансформа в языке принимающей культуры. Материал и методы. Материалом исследования послужили пословичные трансформы в высказываниях персонажей анимационного фильма “The Lion King. Hakuna Matata” («Король Лев. Акуна Матата»). Проводимое исследование имело теоретико-эмпирический характер, при котором анализ материала осуществлялся посредством структурного и описательного методов, позволяющих установить определенные лингвистические закономерности паремиологических трансформаций. Результаты и обсуждение. Анализируемый авторский трансформ является по сути сентенцией, афористическим, то есть лаконичным и поучительным, изречением. Сентенция воспроизводит типические черты народной пословицы: дидактичность, переосмысленность, имплицитность. Оживляя традиционную форму паремиологической единицы, она сохраняет семантико-стилистическое тождество с прецедентным текстом. Наряду со смысловой тождественностью с исходной пословицей, трансформ-сентенция демонстрирует и синтаксическую схожесть, при этом бесшовно включаясь в контекст диалога. Констатируемые проявления трансформационного процесса закономерны, так как трансформ создается по пословичным алгоритмам, что обеспечивает его соотносимость с исходной пословицей. Их имплицитная общность предопределяет и в некоторой степени ограничивает вариативность лексического содержания, а также синтаксической структуры трансформа. Это дедуктивное положение может стать небольшим научным вкладом в лингвостилистические исследования в области паремиологической трансформации. Оно эффективно работает в художественном языке, где обеспечивающая адекватное восприятие логическая структура традиционной пословицы способна производить дериваты, выделяющиеся своеобразием формы. Проводимым лингвостилистическим исследованием изучаются людические (игровые) ресурсы полисемии, применяемые в трансформе, и анализируются изыскиваемые возможности перевода каламбурных речений. Внесение модифицированной пословичной единицы – сентенции – в структуру кинодиалога рассматривается как прием стилистической цитации, функциональная ценность которой подтверждается уместностью употребления в определенной ситуации общения. Статус интертекстуального знака, приобретаемый сентенцией в высказывании персонажа, наделяет ее особой значимостью и способствует возникновению направленных ассоциаций, служит средством усиления аргументации и выражения оценки. Заключение. Трансформация паремиологических единиц – это результат художественно-обработанного прецедентного текста, где структурно-семантическая устойчивость обновляется окказиональным, но идентичным по содержанию выражением. Таким образом, модифицированные паремии не воспринимаются как безжизненные фольклорные штампы, они являются актуальными составляющими речевого узуса. Поскольку краткость входит одним из основных компонентов в понятие «пословица», ее семантико-стилистическому деривату также свойственны смысловая емкость и синтаксическая сжатость. Подобные формы способствуют созданию языковой компрессии, необходимой в субтитровании, наиболее востребованном виде киноперевода. Этот фактор подтверждает как практическую значимость исследования, так и его актуальность для киноиндустрии. Introduction. The linguistic research analyzes paremiological transformations in the film text and stud-ies the possibilities of their equivalent translation in the host culture. The relevance of the study is due to the wide use of proverbial units in the artistic language and namely in film discourse. Embedded in the matrix of the film dialogue, they become a basis for subsequent transformations in characters’ speech, creating a significant expressive potential because of their occasional character. Aim and objectives. Since the recognition of the original proverb in the modified version is the proof of an effective transformation, the aim of the study is to identify the linguistic means that contribute to recognition, decoding and adequate perception of the transform in the language of the host culture. Material and methods. The research is based on the proverbial transforms in the characters’ utterances of the animated film “The Lion King. Hakuna Matata”. Being of a theoretical-empirical nature, the lingua-stylistic study required the use of the structural and descriptive methods, which made it possible to pinpoint certain linguistic regularities of paremiological transformations. Results and discussion. The analyzed author’s transform is actually an epigram – an anaphoristic statement, concise and instructive. It reproduces the typical features of a proverb: didacticity, transfig-uration, implication. Renewing the traditional form of the paremiological unit, the epigram retains the semantic-stylistic identity with the precedent text. Alongside the semantic identity with the proverbial prototype, the transform also demonstrates the syntactic similarity, while seamlessly integrating into the context of the dialogue. The stated manifestations of the transformation process are explicable, since the transform is created according to proverbial algorithms, which ensure its correlation with the original proverb. The implicit mutuality predetermines and limits, to a certan extent, the variability of the lexical content and the syn-tactic pattern of a transform. This deductive reasoning can be a scientific contribution to the lingua-stylistic research in the sphere of paremiological transformation. It works efficiently in the artistic lan-guage, where, ensuring an adequate perception, the logical framework of a traditional proverb pro-duces derivatives, various and expressive in form. The lingua-stylistic research explores the game art resources of polysemy used in the transformation unit, and analyzes the exploited possibilities of translating a pun. The introduction of a modified proverbial unit — an epigram, for example – into the structure of a film dialogue is viewed as a stylistic citation technique, the functional value of which is confirmed by the appropriateness of its use in a certain situation of communication. The status of an intertextual unit, acquired by a transform in a character’s utterance, endows it with special significance and promotes the emergence of directed associations, serves as a means of strengthening argumentation and assess-ment. Conclusion. The transformation of paremias is the outcome of an artistically processed precedent text, where the structural and semantic fixity is revived by an expression, identical in content, but peculiar in form. Thus modified paremias are not perceived as lifeless folklore cliches, but real live compo-nents of speech use. Since brevity is one of the main components in the concept of «a proverb», its derivative is also char-acterized by semantic capacity and syntactic conciseness. Such models contribute to the creation of language compression required in subtitling, the most popular kind of film translation. This factor con-firms both the practical significance of the study and its relevance for the film industry.
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Ilyina, E. N., and V. S. Tivo. "Onomastic Space of Animated Films about Russian Heroes by the Studio of Animation Cinema “Mill”." Nauchnyi dialog 1, no. 8 (2020): 84–96. http://dx.doi.org/10.24224/2227-1295-2020-8-84-96.
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The article is devoted to the study of the system of proper names in the texts of animated films with a folklore precedent basis. The relevance of the research is due to the need to study media texts that translate folklore imagery in linguocognitive and linguostylistic aspects. The material for the research is character and voice-over texts of animated films about Russian heroes: “Alyosha Popovich i Tugarin Zmey” (2004), “Dobrynya Nikitich i The Zmey Gorynych” (2006), “Ilya Muromets I Solovey Razboynik” (2007). The complex of names of geographical objects, the naming system of anthropo- and zoomorphic characters is considered, the precedent base for the formation of the onomastic space of animated films is determined, and the ways of introducing new components to the proper names system of this content are characterized. Special attention is paid to the description of intertextual links of the polycode content under study with works of epic genres of Russian folklore and with other sources. The scientific novelty of the work is seen in the fact that the verbal component of the studied animated films is currently insufficiently studied, and their proper names system becomes the subject of linguistic analysis for the first time.
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Karen Beckman. "Film Theory's Animated Map." Framework: The Journal of Cinema and Media 56, no. 2 (2015): 472. http://dx.doi.org/10.13110/framework.56.2.0472.
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Christie, Ian. "Yellow Crocodiles and Blue Oranges: Russian Animated Film since World War Two. By David MacFadyen. Montreal: McGill-Queen's University Press, 2005. xx, 256 pp. Notes. Bibliography. Index. Filmography. Illustrations. $75.00, hard bound." Slavic Review 67, no. 1 (2008): 257–58. http://dx.doi.org/10.2307/27652831.
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Sandya, Isha, and Sri Widati. "PERBEDAAN EFEKTIFITAS FILM ANIMASI DAN FILM CERITA TERHADAP PENINGKATAN PENGETAHUAN DAN SIKAP ANAK TENTANG KESEHATAN GIGI." Indonesian Journal of Public Health 14, no. 1 (2019): 60. http://dx.doi.org/10.20473/ijph.v14i1.2019.60-68.
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According to Basic Health Research 2013 states that the age group less than 12 years ie age 5-9 years 28.9% suffered dental caries. The aim of this study is to analyze the effectiveness of animated movies and non- animated movies in improving children’s knowledge and behavior concerning dental health. This study was designed based on quasi experimental design. The samples of this study were the students of Class 3A and Class 3B SDN 03 Kepanjen consisting of 63 students. The independent variables of this study were animated movie and non-animated movie concerning dental health while the dependent variables were children’s knowledge and behavior. The collected data were analyzed using Mann Whitney test. The findings of this study show that the respondents are aged between 8 and 10 years old. There is difference in terms of knowledge before and after the students received intervention through animated movie and non-animated movie. Animated movie seems to be more effective in improving the respondents’ knowledge to maintain dental health than non-animated movie as indicated by the average score for animated movie intervention is higher than non-animated movie intervention.
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Frølunde, Lisbeth. "Animated war." Convergence: The International Journal of Research into New Media Technologies 18, no. 1 (2012): 93–103. http://dx.doi.org/10.1177/1354856511419918.
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In this feature article two DIY (do-it-yourself) film projects are examined from perspectives of resemiosis (transformations in meaning-making) and the textual production practices of contemporary multimedia authorship. These practices are considered as evolving in a complex media ecology. The two films analysed are Gzim Rewind (Sweden, 2011) by Knutte Wester, and In-World War (USA, expected 2011) by DJ Bad Vegan. The films are currently in production and involve many collaborators. Both films have themes of war and include film scenes that are ‘machinima’ – real-time animation made in 3D graphic environments – within live action film scenes. Machinima harnesses the possibilities of reappropriating digital software, game engines, and other tools available in digital media. War-related stories are resemiotized in the machinima film scenes as meanings are transformed in the story’s shift from a war game context to a film context. Thus machinima exemplifies how DIY multimedia storytellers explore new ways to tell and to ‘animate’ stories. The article contains four parts: an introduction to machinima and the notions of resemiosis and authorial practice; a presentation of DIY filmmaking as a practice that intertwines with new networked economics; an analysis of the two DIY film projects; and a discussion of implications including issues relating to IP (intellectual property) and copyrights when reappropriating digital assets from commercial media platforms.
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Šošková, Eva. "The Reincarnation of Animated Film." Slovenske divadlo /The Slovak Theatre 65, no. 4 (2017): 331–44. http://dx.doi.org/10.1515/sd-2017-0019.
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Abstract Throughout its entire history, Slovak animated film has had the form of figurative narrative art or craft. For this reason, the author of this study examines its post-1989 development through the prism of the body. Since the most visible change that has affected contemporary film aesthetics is the feminization of animated film in terms of authorship, the study primarily focuses on the ability of an animated body to represent gender and gender roles. It attempts to capture the most significant changes in the depiction of the body in authorial animated film before and after 1989, in more detail record the post-revolution changes in the body, and relate this to the changes in the institutional background of animated film. Animated bodies have developed from “ordinary people” from a dominant male point of view in socio-critical socialist production through female characters in interaction with clearly distinguished male characters in the films of female authors from the Academy of Performing Arts, the crisis of stereotypical masculinity in the production of male authors to independent women looking for their own identity inside themselves, without relating themselves to their male counterparts.
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Ristiasari, Riska, and Hendra Kaprisma. "SOCIAL CRITICISM IN THE MISTER FRIMEN ANIMATED SERIES." Capture : Jurnal Seni Media Rekam 12, no. 2 (2021): 176–88. http://dx.doi.org/10.33153/capture.v12i2.3255.
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Social criticism is generally comprised of individuals' ideas and opinions of societal problems that bring changes. Individuals can express their opinions through various media, including animated films. The animated series Mister Frimen created by Pavel Muntyan, Vladimir Ponomarev, Anatoly Dobrozan, and Vadim Demchog are notoriously sarcastic. The sarcastic remarks given by the main character are always about current problems in Russian society. This study focuses on the way the animated series Mister Frimen expresses social problems. This article uses intertextual theory and discourse analysis to analyze every message and symbol and how the messages are generated. The results show that each scene in Mister Frimen contains symbols illustrating social criticism messages about the situation of Russian society. Nonetheless, satire/social criticism offers suggestions for establishing societal peace and prosperity
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Kabdullinovna Tanatova, Dina, Ivan Vladimirovich Korolev, Marina Vladimirovna Nevskaya, and Liliya Rafaelevna Tairova. "The Role of Animated Characters in the Socialization of Children in the Russian Federation." International Journal of Engineering & Technology 7, no. 4.38 (2018): 551. http://dx.doi.org/10.14419/ijet.v7i4.38.24621.
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The studies of animated characters as a factor of socialization have virtually no theoretical or empirical interpretation in the Russian sociology. At the same time, cartoons have a huge potential for development and successful socialization of children. It is a well-known fact that animated films are widely used in pedagogy, psychology, and within the family circle. The public especially favors cartoons produced during the Soviet period, but gradually they become a thing of the past. This process is mainly due to the fact that visually and technologically they are inferior to modern cartoons and thus lose their appeal.As a result of the availability of the Internet and Smart TV, the number of young users watching videos and TV broadcasts has risen significantly. The leaders of ratings in terms of views and popularity are cartoons made in the USA, which reflect the values and characteristics of Western society.However, modern animated films boast a wide range of genres, plots, and characters created with the help of new technologies. Their pedagogical, cultural, and development potential is impressive, and their role in the socialization of children is still significant.
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Gordziejuk, Ewelina. "Polski film animowany – gdzie jest i dokąd zmierza?" Kultura Popularna 3, no. 57 (2018): 2–10. http://dx.doi.org/10.5604/01.3001.0012.7284.
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The article aims to define Polish animated film and its place within contemporary Polish cinematography as well as to predict its future. Based on the literature review, the author's own reflections and the opinions of critics, film experts and filmmakers, the author provides her own definition of an animated film, presents facts related to the history of the genre and speculates on the future of Polish animated film.
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Heise, Ursula K. "Plasmatic Nature: Environmentalism and Animated Film." Public Culture 26, no. 2 (2014): 301–18. http://dx.doi.org/10.1215/08992363-2392075.
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Ko, Fuji. "Esoteric Symbolism in Animated Film Storytelling." Chinese Semiotic Studies 14, no. 3 (2018): 347–70. http://dx.doi.org/10.1515/css-2018-0021.
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Abstract Esoteric symbolism of various kinds is dispersed in media for mass communication, and from the semiotic perspective, films, historically the primary medium for motion pictures, are the most powerful weapons for worldwide attraction. In this paper, two famous cartoon animated movies by Disney, Moana and Zootopia, are under analysis. For one thing, they use profound symbols in conveying a message to the audience, especially to children, and for another, their impact on society is wide due to the breadth and diversity of Disney-branded products. Thus, the present paper discusses these two movies using semiotic theories of signs, codes, and symbols, weaving them together to trace the system of communication between the text (here referring to the cinematic texts) and its audience, and especially how a heroine frame is built in the adventure genre. Interpreting the hidden meaning or occult symbolism requires a special kind of knowledge if we aim to convey the essence of the story to our children beyond merely knowing the plot of the film. The films Moana and Zootopia feature a number of interior or hidden elements such as metaphors and allegories, and illuminati or esoteric symbolism, even though they are animated ones.
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Ilyina, E. N., and V. S. Tivo. "Speech Representation of Female Images in the Polycode Text of “Heroic” Cycle Cartoons of the Art Studio “Melnitsa”." Nauchnyi dialog, no. 3 (March 30, 2020): 67–81. http://dx.doi.org/10.24224/2227-1295-2020-3-67-81.
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The article is devoted to the study of the verbal component of animated films with a folk precedent basis. The relevance of the research is due to the need to study the conceptosphere of modern media texts conveying folklore imagery. The results of a comparative analysis of female images in animated films about Russian heroes are presented (Alyosha Popovich and Tugarin Zmey (2004), Dobrynya Nikitich and Zmey Gorynych (2006), Ilya Muromets and Nightingale the Robber (2007) in comparison with their folk prototypes. The issues of speech representation of the images of the mother and the bride / wife of a hero, traditional for the epic genre, as well as other female images, the appearance of which is due to the influence of other precedent sources, are considered. The conceptual proximity of the narrative-story line basis and the composition of the characters of the texts under study to the Russian fairy tale is proved. Particular attention is paid to the implementation of the stylistic technique of burlesque travesty, it is proved that this technique is the main means of creating a comic effect and performs a text-forming function in the studied polycode content. The scientific novelty of the work is seen in the fact that the verbal component of the animated films studied was not previously the subject of linguistic analysis.
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Lestari, Bini. "Tindak Tutur Ilokusi dalam Film Animasi Upin dan Ipin Episode �Seronoknya Wisata Air� serta Implikasinya Terhadap Pendidikan Karakter Anak." ESTETIK : Jurnal Bahasa Indonesia 2, no. 2 (2019): 139. http://dx.doi.org/10.29240/estetik.v2i2.1191.
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This study aims to describe the forms of illocutionary speech acts in the animated film Upin & Ipin in the series "Seronoknya Wisata Air". In addition, this study also describes the form of character education contained in the animated film. Furthermore, this study uses a qualitative method with a descriptive approach. The data source in this study obtained conversations in the animated film Upin & Ipin obtained from Television. Data collection techniques in this study used the note taking technique, by noting every conversation that contains illocutionary speech acts. The data validity technique in this research is in the form of theory triangulation, data analysis using interactive analysis. The results of the study show that in the animated film Upin & Ipin the series of "Water Tourism" contains illocutionary acts. For example assertive, directive and expressive. In this study, researchers also found the value of character education contained in the Upin & Ipin animated film "Seronoknya Wisata Air", for example disciplinary value, creative value, value of achievement and friendly values.Keywords: Illocutionary Speech Acts, Upin & Ipin Animated Film, Character Education
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VEREȘ, SANDA, and IOANA MAGDAȘ. "The Use of the Educational Animated Film in Primary Education in Romania." Romanian Review of Geographical Education 9, no. 2 (2020): 67–86. http://dx.doi.org/10.23741/rrge220204.
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This study aims to review, analyse and synthesize the literature, which refers to the use of educational film in education in Romania and which deepens aspects related to the use of animated film in primary education. The aim was to review the literature on: classification of animated films in the category of educational means; the functions of animated films; types and sources of animated films; teacher preparation for the use of film for educational purposes; integrating the film into the lesson; how to use animated films in primary education and the results of their use. Existing information in papers in the field of education sciences from the last three decades was analysed. Regarding the use of animation films in primary education, five studies were analysed in depth
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Wang, Yue, and Xiaowen Ji. "A Study of Translation Strategies of Animated Film Titles from the Perspective of Eco-translatology." Journal of Language Teaching and Research 12, no. 1 (2021): 88. http://dx.doi.org/10.17507/jltr.1201.09.
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In recent years, the animated film industry is booming and attracting more and more attention. This study, under the guidance of Eco-translatology, revolves around both E-C and C-E animated film title translation, analyzing its translational eco-environment and three-dimensional transformations. Use of main translation strategies of animated film titles, which are transliteration, literal translation, free translation and creative translation, is analyzed. It is found that free translation is the mainstream in both C-E and E-C translation of animated film titles while that creative translation is the least frequently used method.
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Golovanova, Elena A. "VISUAL IMAGING FEATURES OF MUSIC VIDEO ADVERTISEMENT AND ITS EFFECTS ON CONSUMER." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 43 (2021): 197–206. http://dx.doi.org/10.17223/22220836/43/15.
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Before 1950s, advertising had a reputation as a not entirely reputable business. A fragment from A. Hitchcock’ film may serve as an approval of it, where a hero states that in the world of advertising, there is no such thing as a lie, but there is only the expedient exaggeration. With the advent of the TV, the musical functions of transferring and evoking the emotions are generated. Since 1990s, music in advertising refers to music integrated in the media advertisement in order to enhance its success. The novelty of the research concerns the visual and music-visual modalities in the advertisement video contributing to the commercial interest from the consumers, which have been analyzed based on the aesthetic appeal to the screen images. Music is a crucial part of advertising. Thus, the Race of Parts musical content of the advertisement for 2008 featuring the Renault Megane, accompanied by the music from Vivaldi’s the Four Seasons, Summer, Part 3, is closely associated with formation of a product itself. It is expressed by the attractive interactions between the car parts and the rising tessitura, while the color gamut is in contradiction to the general associative perception. The musical score expressing a product olfactory perception is more rhythmic and airy. Thus, the advertisement of the Giorgio Armani Acqua Di Gioia perfume uses the audio-visual modality of the water element including rain, sea waves, and waterfall. Constructing the visual perception is supported by the dominant in music with a tendency to the gradually developing variation set. Unreasonable music used in advertising can result in decreasing the interest to the made brand. This fact has caused a strong activity in finding the new ways to attract the interest of the audience to the commercial product. Animation is one of them (for instance, the animated Coca-Cola Polar Bears Commercial, 2012). The music is written in the classical style by Glenn Rueger. Music supplements expand the imagery of the main heroes, attracting the potential consumers. In the clip of political advertising, the music may play a significant role. The music sounding as a patriotic call can help the audience perception of the essence of the challenge images in the clip and the opportunities to overcome them. The clip from the I am Shapovalov film (1973) with the Let’s Raise the Cavalry Swords song (Composer E. N. Ptichkin and Lyricist E. E. Karelov) performed by V. Mulerman contains a sustaining calmer rhythm. With respect to the same song performed by A. Chuprin, the constants of the march precise in rhythm sound against the reference history of creating and developing the Armed Forces of the Soviet Union and modern Russia. The musical content in advertising is shown to increase the psychological impact on the audience and its emotional arousal, enhancing the attractiveness of a commercial product. Therefore, careful selection of the music material and the method of its use may contribute to creating the rhythmically charged imagery of the clip itself, providing insight into imagery and forming an appropriate language content with the use of cinematographic techniques (editing, color grading, etc.). In addition, the ideological dimension of the musical rhythmic pattern in advertising may contribute to determining the genres of the clip itself.
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Varga, Zoltán. "Look Behind the (Animated) Pictures. Notes on the Role of the Aesopic Language in Hungarian Animated Film." Acta Universitatis Sapientiae, Film and Media Studies 10, no. 1 (2015): 121–39. http://dx.doi.org/10.1515/ausfm-2015-0030.
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Abstract The essay explores a certain tendency of Hungarian animated film related to a strategy of constructing meaning. The so-called Aesopic language, which can be found in Hungarian animated film, is interested in creating ambiguity, hidden meanings, especially against oppressive political systems. The paper approaches the development of the Aesopic language in Hungarian animated film based on two factors. The first one examines the characteristics of the animated film in general, focusing on the double sense of the animated image. The second one is a historical approach, considering how the Communist regime affected artistic freedom, and how the Aesopic language became general in Central and Eastern Europe during the decades of Communism. After delineating the concept, the essay continues with interpretations of Hungarian animated films produced by the famous Pannonia Film Studio as examples of the Aesopic language. The paper distinguishes between a less and a more direct variant of creating ambiguity, depending on whether the animated films lack or contain explicit references to the Communist system. The group o|f the less direct variant includes Rondino, Changing Times and The Fly, among the examples of the more direct variant we can find Storv about N, Our Holidays and Mind the Steps!.
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Nidiansyah, Rafinur, Arif Sulistiyono, and Pandan Pareanom Purwacandra. "Penciptaan Karya Film Animasi 2D “Miliv” Dengan Teknik Hybrid." Journal of Animation and Games Studies 5, no. 1 (2019): 057–76. http://dx.doi.org/10.24821/jags.v5i1.2800.
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When human realize that they are not as they appear, it causes personal conflicts in humans, there are two sources that come from inside and outside. With animated films that have become increasingly popular with various groups, the creation of the animated film “MILIV” as one of media delivery in the form of visual and media delivery messages contained in the film.With the concept of hybrid, it combines stopmotion animation techniques, rotoscope, and digital animation, creating an experimental genre animation work with its unique visual style.The animated film “MILIV” tells of a bird who is too late to realize his true identity and is trapped in comfort zone. Contemplation became the main goal in this animated film “MILIV”Keywords: Film, MILIV, Hybrid, Rotoscope, Stopmotion, Experimental, Animation
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Hidayat, Rahmat, and Husnul Khatimah. "ANIMATED FILM “NUSSA DAN RARA EPISODE OF FRIENDS TREAT COMPETITION”AS A MEANS FOR PLANTINGEDUCATION IN CHILDREN." Almufida: Jurnal Ilmu-Ilmu Keislaman 5, no. 1 (2020): 48–58. http://dx.doi.org/10.46576/almufida.v5i1.779.
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Interests will bring shows that do not educate children behind the animated film Nussa and Rara with regard to the ability to appreciate the character of education. This film is one alternative spectacle that can be used for educational inculcation through film. This study aimed to discuss the educational value needed in the animated film Nussa and Rara episode of the Friends Treat Competition through the film. The subject of this research is the animated film Nussa and Rara which are easily taken from the Official Nussa page on youtube. The results of this research are the animated film Nussa and the episodes of the Traktir Ten Competition. The educational values include: curiosity, honesty, success, religious, national spirit, social care and creativity. If children always see shows that educate even those who teach good character and education, then dont deny that in the future the child will become an educated person according to our expectations.
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Safitri, Meidiana, Tanto Harthoko, and Andri Nur Patrio. "Produksi Film Animasi 2D Pool." Journal of Animation and Games Studies 6, no. 2 (2020): 141–50. http://dx.doi.org/10.24821/jags.v6i2.4405.
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The story of a boy named Boy who is trying to overcome his trauma to a swimming pool. Trauma is the result of a terrible experience that has occurred during life. With a long recovery time, a trauma sufferer always imagines bad events and some traumatic symptoms that is difficult to overcome. Therefore, the character needs the support of the closest people to recover slowly. The creation of 2D animated film "Pool" using direct frame by frame technique in animation creation software. All manufacturing processes from production to post-production use digital media and produce an animated film with duration of 2 minutes.
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Yasa, Nyoman Miyarta. "TANDA VERBAL PADA FILM ANIMASI “El Empleo”." Jurnal Nawala Visual 2, no. 1 (2020): 45–53. http://dx.doi.org/10.35886/nawalavisual.v2i1.77.
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"El Empleo" is a silent animated film that won 102 Awards. This animated film is only equipped with sound effects, so that makes it alive. This film is very important to be investigated when viewed from the uniqueness that is located in a strange visual, humans are used as tools and objects around their residence. This animated film, communicates messages through verbal signs However, not everyone understands the meaning of the sign. Therefore, the problem that arises in this research is about how the verbal signs are displayed in the animated film " El Empleo ". The purpose of this study is to analyze in-depth in the first, middle and end scenes of verbal signs, the intent that the animator communicates in the animated film. The method used is qualitative interpretative with the foundation of Charles S. Pierce's semiotics theory. The results of this study are verbal signs in the form of icons of men living as bosses; human symbolized as a seat, vehicle (taxi), traffic signs, and as a toilet mat; index contained in the expression of the face of the character/character that indicates power and oppression. In conclusion, at the level of verbal signs in the first, middle, and final scenes, they can be divided into icons depicting a man living a boss; humans as subordinates are symbolized as seats, vehicles, traffic signs, even as footwear in front of the toilet door, the index looks at the boss's facial expression, and subordinates that indicate oppression. The purpose and objectives as a symbolic message that signifies power are not always owned, but on the contrary the power will be oppressed.
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Makarova, Alexandra S. "REALIZATION OF TRANSFORMATION AND CREATIVE POTENTIAL OF THE KRYLATIKA IN MEDIA DISCOURSE." RUDN Journal of Language Studies, Semiotics and Semantics 10, no. 2 (2019): 273–87. http://dx.doi.org/10.22363/2313-2299-2019-10-2-273-287.
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The modern process of the mediatisation of all spheres of public life affects both the volume of speech creation and the media texts themselves. The mass character and the multi-language openness of media discourse allow us to consider winged units as a means for representing and imple- menting phraseological innovations. The role of mass media in the formation of new sustainable turns is being actively studied, which speaks of their significance in this process, since it is the media discourse that demonstrates most clearly the current usage and viability of phraseological innovations in language and speech. The media discourse has a large number of ways of influencing the mass addressee, and, as recent studies of Russian media texts show, the fund of winged units as an integral part of the phraseological corpus of the national language is widely used in it. Various phrase resources (idioms, winged expressions, paremias, aphorisms, etc.) are often used both in a strong text position - the title or ending of the publication, and in the creation of media texts connecting the verbal and visual parts in which their transformational and creative potential is most clearly realized, multiplying their linguo-pragmatic effect on the addressee. The analysis of the media content of the site “Orthodox Laughs” revealed the tendency of creative use of folklorism “Баю-баюшки-баю, не ложися на краю. Придет серенький волчок - И укусит за бочок!”, which has not yet been fixed by lexicographical practice, as well as its variants that are the result of various methods of transformation language units. Structural and semantic transformations of various categories of phraseological units are an effective means of implementing specific expression in the media text. Previously, fiction was considered the main source of winged units, today the situation is changing, and the leadership belongs to synthetic art forms (cinema, television, pop, etc.). The analyzed potential winged unit has not one source of appearance: along with Russian and German folklore, this is German literature, but the expression in the Soviet animated film “The Bremen Town Musicians” was actualized. In analyzing the publications of this site, interdisciplinary methods of studying media content were used: discursive, descriptive-analytical, linguocultural, and media linguistic. The conducted research has shown that the functioning of the considered potential winged unit and its transforms confirms the thesis that these language units are in demand and widely used in modern media texts, since they have productive mechanisms of meaning formation.
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Li-Vollmer, Meredith, and Mark E. LaPointe. "Gender Transgression and Villainy in Animated Film." Popular Communication 1, no. 2 (2003): 89–109. http://dx.doi.org/10.1207/s15405710pc0102_2.
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Jonison, Muhammad Adha Fajri, and Anggy Trisnadoli. "Implementation of Rotoscoping Technique in the making of the Hang Tuah Ksatria Melayu 3D Animated Film." Jurnal RESTI (Rekayasa Sistem dan Teknologi Informasi) 4, no. 5 (2020): 943–50. http://dx.doi.org/10.29207/resti.v4i5.2404.
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The development of information technology in the multimedia field is growing very rapidly today. Multimedia development is often found in making animated films. Animation is an image that moves and is arranged so that it makes inanimate objects appear to be moving. Animation initially has a problem, where it is difficult for an animator to create animation with complex movements to imagine directly and sometimes the results will look stiff. Max Fleischer also saw it as a problem, so he invented rotoscoping. Rotoscoping is a technique for making animation by tracing the movements of an actor. This technique is used to create movements that are complex to imagine directly so that the animation movement is realistic. In implementing rotoscoping techniques in an animated film, a folk tale entitled Hang Tuah Ksatria Melayu was adopted. This folktale will be packaged into a 3D animated film using rotoscoping techniques. With the creation of a 3D animated film, the folklore of Hang Tuah Ksatria Melayu, an animated film was created with realistic character movements and people get moral messages of Hang Tuah Ksatria Melayu.
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Greenberg, Raz. "How Animation Won Over the Lightning Sketch: Re-Evaluating Humorous Phases of Funny Faces." Animation 13, no. 2 (2018): 162–74. http://dx.doi.org/10.1177/1746847718783641.
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The short film Humorous Phases of Funny Faces, released in 1906 and directed by J Stuart Blackton (1875–1941), is considered to be one of the earliest examples of cinematic animation. This article aims at examining the film’s influence from another perspective, beyond its pioneering use of film camera: the author argues that Blackton’s film has also laid the foundation for common design principles in subsequent animated productions, particularly in the design of animated characters. The analysis of Blackton’s film aimed at supporting this argument is based on Scott McCloud’s seminal book Understanding Comics: The Invisible Art (1993) and this article offers a modified method of McCloud’s ‘Vocabulary of Comics’ to demonstrate how Blackton has introduced the basic building-blocks of animated characters’ design that are common to this day: designs that rely on an emotional, universal core upon which culture-specific items are overlaid. Moreover, through appearance and performance of his animated characters, Blackton broke the design process of animated characters into such building blocks, emphasizing their importance.
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Rafiek, Muhammad. "Equation of Malay vocabulary in the animation film of Upin and Ipin with Banjarese vocabulary in South Kalimantan." Journal of Language and Linguistic Studies 17, no. 1 (2021): 85–114. http://dx.doi.org/10.52462/jlls.6.
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This research is aimed at explaining the equation of the Malay vocabulary in the animated film of Upin and Ipin with Banjarese vocabulary in South Kalimantan. In this research, the researcher used a qualitative method with comparative linguistic research design or equation characteristic method of linguistic features. In collecting the data, the researcher used the technique of listening and direct typing after watching the animated series Upin and Ipin on Youtube. In analyzing the data, the researcher used the equation techniques of forms and meanings of the vocabulary. This technique is called retention and innovation techniques together in methods of equation linguistic features (Mahsun, 2014). Researchers also analyzed and discussed using comparative linguistic theories from Adelaar, Blust, and Nothofer to reinforce the evidence that there are similarities in Malay vocabulary in the animated films Upin and Ipin with Malay vocabulary in South Kalimantan. The results of this research found that there are three groups of the equation of Malay vocabulary in the animated film of Upin and Ipin with Banjarese vocabulary in South Kalimantan, namely (1) Malay vocabulary in the animated film of Upin and Ipin have an equation in the form and differences meaning with the Banjarese vocabulary; (2) Malay vocabulary in the animated film of Upin and Ipin have an equation in form and meaning with the Banjarese vocabulary; and (3) Malay vocabulary in the animated film of Upin and Ipin have a semblance of forms and equation in meaning with Banjarese vocabulary, in South Kalimantan.
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Kholiq, Abdul, Dian Luthfiyati, and Nur Dian Tamimih. "AN ANALYSIS OF LANGUAGE IMPAIRMENT OF AUTISM IN LIFE, ANIMATED FILM." E-LINK JOURNAL 8, no. 1 (2021): 1. http://dx.doi.org/10.30736/ej.v8i1.421.
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The aims of this study were to find language impairment of autism in Life, Animated film. The autistic child in this film is the second son of Suskind Family This study the writer uses descriptive analysis techniques. The data of this study are the conversation of Life, Animated film. Data analysis techniques used in this study is transcription, classification and analysis. Data source was Life, Animated Film. This study only focused on language impairment. The result of this study shows that Owen language impairments are Owen was confused or needed a help if he have to answer but he was forgotten. His articulation sometimes can be fast or slow, especially when Owen talked with Emily, he articulated slower than usual. He often use word “great” because his vocabularies are low, he confused to understand other people, he was echolalia, his articulation is delay and he like something scripted, but he did not confuse in using pronoun and grammatical. Keywords: Language impairment, autism, life, animated film
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Zhang, Rong. "Computer Vision-Based Art Color in the Animation Film Performance Characteristics and Techniques." Journal of Sensors 2021 (September 13, 2021): 1–12. http://dx.doi.org/10.1155/2021/5445940.
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If an animated film wants to present extraordinary visual effects, the successful use of art colors is the key to the success or failure of an animated film. Although our country’s animated film started a short time ago, its development has been slow. In modern times, it is difficult to compete with excellent animation works of other countries; animation is an art form that requires the combination of modern technology and traditional cultural areas. Chinese cartoons are gradually declining today when the technology is taking off. The reason is that the traditional culture of the country has not been thoroughly explored. In today’s diversified world, if you want to revive the brilliance of Chinese animation, you must deeply and systematically study various elements of national art and form your own creative thinking and creation system. Particularly under computer vision, the gap is very obvious. Under the computer vision, in order to study the characteristics and techniques of the use of fine art colors in animated films, to promote the development of animated films in China, this article analyzes the role of art color in the animation of excellent Chinese and foreign animation works in recent years, through literature analysis, comprehensive qualitative and quantitative analysis, etc., to study the meaning and application of color symbols, hoping to be a Chinese animation providing useful help for film creation and development. Studies have shown that color has a strong influence on animated films. A good use of artistic color can add a lot of color to an animated film. According to statistics, art colors account for at least 20% of excellent animation works, which can be integrated into animation colors. Animation works with domestic characteristics are easier to succeed. This shows that the use of artistic colors can play a key role in animated films.
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Wong, Oscar Gordon, and Imelda Ann Achin. "The Hero’s Journey: 12 Stages in The Narrative of Animation Boboiboy Movie 2." Mudra Jurnal Seni Budaya 36, no. 3 (2021): 316–25. http://dx.doi.org/10.31091/mudra.v36i3.1580.
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2019 is a phenomenal year for the development of the Malaysian animated film industry as it has successfully produced two superheroes animated films in total. However, the animated film industry in Malaysia is still not competitive at the international level. This can be seen from the 17 animated films that have been produced from 1998 to 2019, only two superheroes animated films managed to get the attention of the audience. This is due to the lack of knowledge of the concept and function of the hero character in animated films. Therefore, the main objective of this paper aims to demonstrate how the Hero’s Journey narrative structure can be applied in BoBoiBoy Movie 2 (2019). This research method involves the use of video analysis tools namely Kinovea and Motion Picture Analysis Worksheet to explain on how the Hero’s Journey of this film conveys the storytelling. The results of this study found that each semicircle Hero’s narrative structure has an important meaning across from one half-circle to the other half-circle. As a result, it explains the concept of peace and chaos as well as stasis and changes in the narrative structure of superhero animated films. This paper will provide information to researchers on the importance and use of the Hero’s Journey approach to analyze superhero animated films.