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Relevant bibliographies by topics / Animated cartoon

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Academic literature on the topic 'Animated cartoon'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Animated cartoon"

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Kidenda, Dr Mary Claire Akinyi. "THE NECESSITY FOR PARENTS TO WATCH ANIMATED CARTOONS WITH CHILDREN AGED SEVEN TO ELEVEN YEARS." Journal of Education and Practice 2, no. 1 (2018): 42. http://dx.doi.org/10.47941/jep.261.

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Purpose: The purpose of this study was to establish the necessity for parents to watch televised animated cartoons with children aged seven to eleven years.Methodology: The study used a descriptive survey method to collect information through casual interviews and self-administered questionnaires.Results: The study found out that the amount of time children spend watching animated cartoons on television can make them retract from social interactions with visitors, parents or other siblings when the television is on. Animated cartoons have an impact on children in respect to acquired or "borrowed" language and dressing styles and attitudes towards role types. These relations may be imperceptible to the casual observer but data show that the best (Kim Possible, Ben 10 and American Dragon) cartoon characters are idols, image ideals and role models to children in Nairobi, yet both the two cartoon characters are not representative of children they interact with every day. This study found that it is prudent animated cartoons affect the perceptions and attitudes that are being reinforced in children and the implication of this on how they construct their worldview and self-worth.Unique contribution to theory, practice and policy: Parents should be concerned and watch animated cartoons with children because animated cartoons have become an institution through which society is using to bring up children and use to teach values. Media practitioners should air animated cartoons that have no violence or bad morals but are still popular with children. The government should set policies governing the content in animated cartoons aired by the media houses

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Kidenda, Mary Claire Akinyi. "IMPACT OF ANIMATED CARTOONS ON CHILDREN AGED SEVEN TO ELEVEN YEARS IN NAIROBI, KENYA." American Journal of Education and Practice 3, no. 1 (2018): 10–32. http://dx.doi.org/10.47672/ajep.372.

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Purpose: The purpose of this study was to investigate the impact of animated cartoons on children aged seven to eleven years in Nairobi County, Kenya.Methodology: The study used descriptive survey method to collect information through casual interviews and self-administered questionnaires.Results: The study found that children watch animated cartoons because they are funny, enjoyable and are interesting i.e. because of entertainment. The study also found out that animated cartoons and TV in general can lead to lack of communication between parents and children in the home. Children are also likely to develop the language and social skills exhibited by the animated cartoon characters. This study also revealed that children watch animated cartoons with minimal parental guidance. The study concluded that media has the power to profoundly shape perceptions of the social world and to manipulate actions in subtle but highly effective ways. Animated cartoons have an impact on the children in respect to viewer ship patterns, the views they hold about animated cartoons and how they rate them; acquired language, dressing and sexuality, violence and role types. Unique contribution to theory, practice and policy: The study suggests that parents need to develop guidelines for children on how much animated cartoons they can watch. They should develop the proper perspective concerning their children and be good role models. Parents should take interest in combating hyper sexuality in animated cartoon and allow the children to stay young. Media Practitioners should embrace the development of home-grown animated cartoons, air on Kenyan stations animated cartoons that have local animated imagery designed to relate to the child’s world or context and provide entertainment programming in which life’s problems are not simply and quickly solved with either violent actions or hostile humor. They should air animated cartoons that have no violence or bad morals but are still popular with children. The Government also need to set policies governing the content in animated cartoons aired by the media houses and offer support and facilitate local research initiatives and production, especially on animated cartoons for the African children, with elements that promote our African culture.

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Kidenda, Mary Claire Akinyi. "NATURE OF TELEVISED ANIMATED CARTOONS WATCHED BY CHILDREN AGED SEVEN TO ELEVEN YEARS IN NAIROBI COUNTY, KENYA." American Journal of Education and Practice 3, no. 1 (2018): 1–9. http://dx.doi.org/10.47672/ajep.370.

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Purpose: The purpose of this study was to establish the nature of televised animated cartoons watched by children aged seven and eleven years in Nairobi County, Kenya. It is about cartoon-consumer relationship in an effort to discover the impacts of animated cartoons on children in Nairobi. It also raises awareness on the implications of raising children in Nairobi on an animated cartoon content that is designed mainly from Euro-American and not local values, attitudes and sensibilities. It is hoped that the findings and conclusions herein will help generate cartoons that can educate Kenyan children to live in ways that are socially and culturally desirable. Methodology: The study used descriptive survey method to collect information through casual interviews and self-administered questionnaires.Findings: This study suggests that animated cartoons have discernible impacts on children in Nairobi in that they influence the children to construct their worldview and create perceptions that are alien to Kenya. Unique contribution to theory, practice and policy: Between the ages of seven to eleven years children are excellent imitators but poor evaluators, therefore, the non-African ideals and values portrayed in the animated cartoons are increasingly defining the perception and attitudes towards gender roles, sexuality, body images and role modelling of children who consume animated cartoons in Nairobi. This is because these children are in that stage where images and impressions from diverse environments play a big part in how they construct their world.

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Retnani, Ajeng Dwi, Titin Sutini, and Suhendar Sulaeman. "Video Kartun dan Video Animasi dapat Menurunkan Tingkat Kecemasan Pre Operasi pada Anak Usia Pra Sekolah." Jurnal Keperawatan Silampari 3, no. 1 (2019): 332–41. http://dx.doi.org/10.31539/jks.v3i1.837.

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The purpose of this study was to analyze the effect of cartoon videos and animated videos on reducing preoperative anxiety levels in pre-school age children. This research method uses quasi-experimental with a pre and post-test approach with out control. The results showed that the reduction in preoperative anxiety levels in pre-school children after being given a cartoon video intervention by 4.20, after being given an animated video intervention by 4.70 and after being given a combination intervention between cartoon videos + animated videos by 7.20. Based on this, the level of preoperative anxiety using a cartoon video + animated video combination intervention showed the greatest decrease. The results of the study also obtained p value> 0,000. Conclusions, the influence of cartoon videos and animated videos on the reduction of preoperative anxiety levels in pre-school age children.  Keywords: Animation, Anxiety, Pre Operation, Cartoon Video

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Akther, Munira, and Md Jahirul Islam. "Video To Animated Cartoon Conversion." IOSR Journal of Computer Engineering 16, no. 4 (2014): 69–75. http://dx.doi.org/10.9790/0661-16446975.

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Padila, Padila, Agusramon Agusramon, and Yera Yera. "Terapi Story Telling dan Menonton Animasi Kartun terhadap Ansietas." Journal of Telenursing (JOTING) 1, no. 1 (2019): 51–66. http://dx.doi.org/10.31539/joting.v1i1.514.

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This study aims to determine the comparison of the effectiveness of story telling therapy  and watching animated cartoons on anxiety levels due to hospitalization in pre-school age children in Raflesia hospital in Bengkulu. This research used quasi experiment two group before after pre-test and post test group design. Sampling was conducted based on inclusion and exclusion criteria, samples taken as many as 10 people in each treatment group with measuring instruments used using the Preschool Anxiety Scale (PAS) questionnaire. The results showed that the treatment by using story telling more significantly decreased anxiety in pre school children at Raflesia hospital in Bengkulu compared to watching cartoon animation, seen from the test result of t test 2 Independent samples got the average value of posttest result to 5 between story telling therapy and animated cartoon watching that is 2.00 and 8.00. So it is highly recommended for nurses who work in the inpatient ward to implement story telling therapy to overcome anxiety problems (Anxiety) in pre-school age children. Keywords: Anxiety, Cartoon Animation, Pre School, Story Telling

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Villegas-Navas, Montero-Simo, and Araque-Padilla. "Investigating the Effects of Non-Branded Foods Placed in Cartoons on Children’s Food Choices through Type of Food, Modality and Age." International Journal of Environmental Research and Public Health 16, no. 24 (2019): 5032. http://dx.doi.org/10.3390/ijerph16245032.

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Cartoons are among the most consumed media products by children, especially those at a young age. While branded food placements are not allowed in animated series, non-branded food placements are prevalent. However, little is known about the effects that these food placements might have on children’s eating preferences. In an experimental study with 124 children (51.6% girls, age range: 7–11, Mage = 9.24, and SD = 1.19), 62 children in the experimental condition were exposed to 16 food placements in cartoons, whereas children in the control condition were exposed to cartoon scenes without foods. The healthiness of the placed foods (low nutritional value foods versus high nutritional value foods) as well as the modality of food placements (unimodal versus bimodal) were manipulated. After watching the cartoon scenes, children completed a choice task where each placed food appeared on a separate choice card. Our results indicate that non-branded low nutritional value foods placed in cartoons are an effective strategy in modifying children’s food choices when children are under age 9. We suggest that policy makers, particularly those involved in the content design of cartoons, take these results into account when placing low nutritional value foods in cartoons, especially for an animated series that targets young child audiences.

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Liu, Kun, Jun-Hong Chen, and Kang-Ming Chang. "A Study of Facial Features of American and Japanese Cartoon Characters." Symmetry 11, no. 5 (2019): 664. http://dx.doi.org/10.3390/sym11050664.

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Many researchers think that the characters in animated cartoons and comics are designed according to the exaggeration or reduction of some features based on the human face. However, the feature distribution of the human face is relatively symmetrical and uniform. Thus, to ensure the characters look exaggerated, but without breaking the principle of symmetry, some questions remain: Which facial features should be exaggerated during the design process? How exaggerated are the faces of cartoon characters compared to real faces? To answer these questions, we selected 100 cartoon characters from American and Japanese animation, collected data from their facial features and the facial features of real people, and then described the features using angles, lengths, and areas. Finally, we compared cartoon characters’ facial features values with real facial features and determined the key parts and degree of facial exaggeration of animated characters. The research results show that American and Japanese cartoon characters both exaggerate the eyes, nose, ears, forehead, and chin. Compared with human faces, taking the eye area as an example, American animation characters are twice as large compared with human faces, whereas Japanese animation characters are 3.4 times larger than human faces. The study results can be used for reference by animation character designers and researchers.

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Prilosadoso, B. H., R. A. Kurniawan, B. Pandanwangi, and I. K. Yunianto. "appeal of cartoon characters in instructional media through animation in early childhood education in Surakarta." International journal of social sciences 4, no. 1 (2021): 35–38. http://dx.doi.org/10.31295/ijss.v4n1.430.

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Animated learning media using cartoon characters is an appropriate means of supporting learning methods in Early Childhood Education in the Surakarta area, Central Java, Indonesia. This research method includes data collection, data analysis, and presentation of data analysis. This research method uses a qualitative descriptive approach through data sources that include learning materials, animated cartoon characters, literature study through the stages of analysis obtained from various sources of information in interactive references. The investigation stages from multiple sources of information, both literature reviews and interviews, were carried out using an interactive model, where each research component includes the steps of data collection, data reduction, presentation, and conclusion drawing. The use of cartoon characters in animation learning media is beneficial for students who are very interesting and able to receive material and participate in learning activities. Also, animated audiovisual media are needed by students and teachers by using cartoon characters in it.

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Rahmayanti, Wiga, Ahmad Hariandi, and Nopia Wati. "MORAL ANALYSIS IN THE ANIMATED FILMS OF NUSA RARA AND UPIN IPIN AS EDUCATIONAL SHOWS." AL-ISHLAH: Jurnal Pendidikan 12, no. 2 (2020): 465–80. http://dx.doi.org/10.35445/alishlah.v12i2.220.

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This study aims to analyze and describe the moral values contained in the Nusa and Rara animations as well as the Upin and Ipin cartoons. This research is a qualitative descriptive research using a sample entitled from the animation film Nussa and Rara and the cartoon Upin Ipin with content analysis techniques. The data in this study contain religious and moral values contained in the animation of Nusa and Rara and Upin and Ipin cartoon. From this research, the results are religious and moral values in form of “adab” before going to bed, eating manners, saying “basmallah”, alms, keeping doing, doing good deeds, tolerance and help, not being arrogant, keeping words, praying on time, brotherhood, honesty, loving animals, respect, responsibility, justice, tolerance, self-discipline, caring for others, courage and democratization. The animation of Nussa Rara as well as the cartoon of Upin and Ipin are highly requested to be watched by children because it contains many religious and moral values in accordance with the national culture and Islam

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Dissertations / Theses on the topic "Animated cartoon"

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Staben, Julia L. "The Cartoon Effect: Rethinking Comic Violence in the Animated Children's Cartoon." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1532695541735552.

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Ahikpa, James N'guessan. "THE EFFECTIVENESS OF STILL VS. ANIMATED CARTOON PICTURES ON LEARNING SECOND LANGUAGE VOCABULARY." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/theses/546.

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The present study investigated whether the teaching of L2 vocabulary with still cartoon pictures and animated cartoon pictures would result in a significant difference in second language learners' receptive and productive knowledge of the target words. Also, the effect of test type (receptive vs. productive) on participants' retention of the target words was examined. Finally, the study tried to find out whether the semantic category of vocabulary words influences the rate of successful vocabulary retention across picture types. For the purpose, a group of 17 ESL students from a Midwestern University participated in both treatments with still and animated pictures, followed by vocabulary tests. The results showed that over 80% of the target words were successfully retrieved on the receptive knowledge tests vs. only about 40% successful retrieval on the productive knowledge tests. Yet, the results did not reveal significant differences in vocabulary gain due to picture type as both treatments showed similar success rate of retention of the target words, especially in view of receptive knowledge. Also, neither of the two types of pictures was effective in facilitating productive knowledge of the target words. In addition, the study found that some semantic categories of vocabulary words may be easier to recall than others.

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Zhao, Zhiyu. "An investigation into a design framework for animated online characters to promote brands effectively to customers in China." Thesis, De Montfort University, 2016. http://hdl.handle.net/2086/13112.

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This study presents a design framework for helping Chinese companies and designers to create effective animated cartoon characters for promoting brands. Previous research has demonstrated that animated characters which companies use to promote their brands appear to have a good chance of gaining and holding consumers’ attention. However, most relevant research in this area was conducted decades ago and focused on TV advertisements. There is little relevant research into new media advertisements featuring animated characters in an international context even though online advertising is growing. Furthermore, several academic researchers in China have begun to explore this topic without the benefit of practical research. As a result, the Animated Cartoon Promotional Characters (ACPC) are rarely developed and used although the animation industry has boomed in the Chinese market. ACPC for client companies which are created by commercial designers or design studios are not always in accordance with the preferences of their target customers. A design framework is therefore needed to provide a detailed design procedure for potential customer involvement. In order to achieve this, the Sanyuan Foods Company has been involved as a case study in this research. A series of surveys and focus groups with potential customers and interviews with Sanyuan and professional animators have been employed to improve the design process, to explore and identify more effective design procedures and to develop a design framework for the production of ACPCs. Secondary research has also been conducted in order to trace the historical issues and growth of promotional characters which have been employed successfully by selected companies; to determine the design process and fundamental features, functions and narrative for these animated promotional characters; and to discuss the relationship between different age groups and promotional characters, customers' favour and loyalty. The final framework has been evaluated by the development and testing of a “family“ of 2D and 3D hybrid computer characters for Sanyuan Foods and a series of short promotional animations and web site. Results show positive agreement with theoretical predictions and significant improvement over previous efforts. The research presented here has significant implications for future studies on branding strategy.

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Su, Wen Poh. "Modeling expressive character motion for narrative and ambient intelligence based on emotion and personality." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16652/.

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Animated agent technology has been rapidly developed to provide ubiquitously psychological and functional benefits for fulfilling communicative goals. However, the character motions of most character-centered models based on pre-stored movement, finite state machine and scripted conditional logic are generally restrictive. The major drawback lies in the lack of maturity of integrating the elements between personality, emotion and behaviour. To bridge the gap between cognitive and behavioural elements, we examine the connections between human personality, emotion, movement and cartoon modeling for the agent design. Human personality and emotional behaviour are the essences in the recognition of a believable synthetic character. Personality and emotion come from the storylines and result in characters’ motions. Cartoon animations successfully engage the audience and create emotional connections with the spectators. However, even a sophisticated animator often faces some difficulties while performing a very laborious task to simulate an emotion- and personality-rich character. This thesis focuses on exploring effective techniques to extract personality and emotion features for a high-level control of character movements. A hierarchical fuzzy rule-based system was constructed, in which personality and emotion were mapped into the body’s movement zones of a character. This facilitates agent designers to control the personality and emotion of a dynamic synthetic character. The system was then applied to a Narrative Intelligent system and extended to an Ambient Intelligent environment. An innovative storyboard-structured storytelling method was devised by using story scripts and action descriptions in a form similar to the content description of storyboards to predict specific personality and emotion. As software or device agents evolve into the Ambient Intelligence, new concepts for effective agent presentations and delegating control are necessary to minimise the human’s tasks and interventions in the complex and dynamic environment. A novel customizable personalised agent framework was developed by utilising the spirit of cartoon animation to match each user’s profile in the form of a cartoon reciprocal agent. As a result, users could explicitly modify personality and emotion values to change the psychology traits of the agent, which would affect their appearance and behaviour through body posture expression. An evaluation of the system was conducted to verify the effectiveness and the applicability in both Narrative and Ambient intelligent agent frameworks. The significance of this research is that applying higher cognitive factors to animated characters can lead to a better animation design tool and reduce strenuous animation production efforts in agent designs. It will also enable animated characters to embody more adaptive, flexible and stylised performance.

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Barbosa, Ana Luiza Pereira. "A relação som-imagem nos filmes de animação norte-americanos no final da década de 1920: do silencioso ao sonoro." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-17032010-175658/.

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Esta dissertação tem por objetivo estudar a relação som-imagem nos filmes de animação norte-americanos realizados no período final do cinema silencioso e no início do cinema sonoro. Foram feitos levantamentos históricos sobre o processo de produção do cinema de animação e sobre o processo de criação de suas trilhas sonoras antes e após o advento do som sincrônico. A partir desses levantamentos e da análise de curtas-metragens do final da década de 1920, identificou-se características próprias do cinema de animação tanto em relação ao uso de soluções visuais para sugestões sonoras nos filmes silenciosos quanto à criação de uma relação única entre som e imagem nos filmes sonoros, especialmente nos filmes produzidos por Walt Disney.<br>The present work aims at studying the sound-image relationship in North American animated films made at the end of the silent era and in the beginning of the sound film era. Historical surveys have been developed about the production process of animated films and about the creative process of their soundtrack before and after the advent of synchronized sound. From these surveys and analysis of short films made at the end of the 1920s, specific traits of animated film have been identified in regard to visual solutions for sound suggestion in silent cartoons as well as the creation of a unique relationship between image and sound in the sound films, especially in Walt Disney\'s films.

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Collignon, Stéphane. "La figurine cisanthrope, humanité liminale et contagion affective dans le cinéma d'animation." Doctoral thesis, Universite Libre de Bruxelles, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209000.

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À travers une séries d'études de cas éclairées par l'apport de l'éthologie, l'histoire de l'art, la psychologie cognitive et les neurosciences, cette thèse tente de répondre au paradoxe apparent du cinéma d'animation qui rend les personnages stylisés et caricaturaux sont plus à même de faire oublier leurs artificialité que les personnages visant au plus grand réalisme. / Through a series of case studies, supported by reasearch in art history, ethology, cognitive psychology and neuroscience, this dissertation aims at explaining the strange animated film paradox that makes stylised and caricatural characters more efficient than characters tending towards strong realism at overcoming their artificialit<br>Doctorat en Information et communication<br>info:eu-repo/semantics/nonPublished

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Klinger, Lori Jean Brestan Elizabeth V. "What are your children watching? a DPICS-II analysis of parent-child interactions in television cartoons /." Auburn, Ala., 2006. http://repo.lib.auburn.edu/2006%20Fall/Dissertations/KLINGER_LORI_42.pdf.

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Lapeyre, Jason. "Mickey Mouse and the Nazis the use of animated cartoons as propaganda during World War II /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0019/MQ59182.pdf.

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Merijeau, Lucie. "Le cinéma d'animation et son image. Étude des pratiques industrielles et spectatorielles du cinéma d'animation américain contemporain. Le cas prototype de Pixar (1995-2010)." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030137.

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Parce qu’ils sont les premiers à avoir réalisé un long métrage en images de synthèse, Toy Story, dont le succès artistique et populaire – qui ne se dément pas - a été le déclencheur d’un nouveau cycle de films d’animation, les studios d’animation Pixar occupent une place importante dans le paysage culturel actuel, et représentent une bonne opportunité d’étudier la manière dont les objets des industries culturelles sont créés et consommés. Au travers d’une étude du dessin animé américain, abordé du point de vue historique et esthétique, il s’agit tout d’abord de déterminer l’évolution du système de production et des techniques, qui sont en lien avec les évolutions stylistiques, pour comprendre dans quel système émergent puis s’établissent les films d’animation Pixar. Alors que la manière dont les films sont faits et dont ils sont vus a changé à la fin du XXe siècle, la trilogie Toy Story sera l’objet privilégié d’une étude des mutations du cinéma, et des usages qui en sont faits. Par le statut culturel élevé spécifique à Pixar, par l’ambiguïté textuelle qui les caractérisent et qui sont l’occasion d’interprétation très variées, ou grâce aux nouveaux modèles de féminité et de masculinité qu’ils proposent, les films d’animation tendent à devenir des films "comme les autres", laissant aux spectateurs la possibilité de les appréhender comme ils le veulent<br>As the first studio to have created a CGI animated feature film, Toy Story, whose success initiated a new era in animation production, Pixar Animation Studios occupy a significant position in the actual cultural landscape, and present a great opportunity to study the ways in which objects from cultural industries are produced and consumed. By examining the animated cartoon, from historic and aesthetic perspectives, I intend to determine the evolution of the production system and of the technics, which are related to stylistic changes as well. This study will help us understand the studio system in which Pixar’s movies have taken place. While the ways films are made and seen changed at the end of the last century, Toy Story’s films are the privileged object for an analysis of the transformations of cinema and its uses. By Pixar’s high cultural status, by the textual ambiguity that characterized them or the new representations of masculinity and femininity that they share, animated feature films tend to become "ordinary films", letting viewers grasp them as they want

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Karlsson, Dotty. "Language and gender in animated cartoons : A comparison of linguistic features in the Winx Club and LEGO Ninjago series." Thesis, Karlstads universitet, Fakulteten för humaniora och samhällsvetenskap (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-76499.

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Even though numerous studies on language and gender have been carried out, the number of studiesconducted in researching language and gender in cartoons is limited. The present study analyzestalkativeness and the use of questions and interruptions in two popular cartoons, the Winx Club andthe LEGO Ninjago: Master of spinjitzu in order to investigate possible differences in language usebetween female and male characters. The present study concludes that there are more similaritiesthan differences in language use of male and female characters.<br>Även om ett stort antal studier av språk och kön har genomförts, är antalet studier av språk och genusi tecknade serier begränsat. Den föreliggande studien analyserar pratsamhet och användandet avfrågor och avbrytningar i två populära serier: Winx Club och LEGO Ninjago: Master av spinjitzu föratt utforska eventuella skillnader i språkbruk mellan kvinnliga och manliga karaktärer. Denna studiedrar slutsatsen att likheterna i språkbruk hos manliga och kvinnliga karaktärer är större änskillnaderna.

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Books on the topic "Animated cartoon"

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Cartoon animation. W. Foster Publishing, 1994.

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Rauf, Don. Cartoon Animator. Facts on File Inc, /DBA Infobase Publishing, 2010.

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ill, Brigman Chris, ed. Looking inside cartoon animation. John Muir Publications, 1992.

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Gray, Milton. Cartoon animation: Introduction to a career. Lion's Den Publications, 1991.

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1950-, Erickson Hal, ed. Television cartoon shows: An illustrated encyclopedia, 1949 through 2003. 2nd ed. McFarland & Co., 2005.

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Erickson, Hal. Television cartoon shows: An illustrated encyclopedia, 1949 through 1993. McFarland, 1995.

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Lenburg, Jeff. The great cartoon directors. Da Capo Press, 1993.

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Amidi, Amid. Cartoon modern: Style and design in fifties animation. Chronicle Books, 2006.

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Lucente, Marilena. Graffiti animati: I cartoon da emozioni a gadget. Vallecchi, 2007.

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Get animated!: Creating professional cartoon animation on your home computer. Watson-Guptill Publications, 2008.

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Book chapters on the topic "Animated cartoon"

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Leon, Lucien. "The animated moving image as political cartoon (9:1)." In The Routledge Comedy Studies Reader. Routledge, 2019. http://dx.doi.org/10.4324/9780429057526-37.

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Kirkpatrick, Glenn, and Kevin Peaty. "Layout 1—Creating an Animatic." In Flash Cartoon Animation. Apress, 2002. http://dx.doi.org/10.1007/978-1-4302-1090-7_6.

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Cook, Malcolm. "Primitive Animation: British Animated Cartoons in the 1920s." In Early British Animation. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73429-3_7.

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Cook, Malcolm. "The First World War: British Animated Cartoons and Their International Contexts." In Early British Animation. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73429-3_5.

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Surkamp, Carola. "Animated Cartoons and Other Innovative Forms of Presenting Consciousness on Screen: The German TV Series Berlin, Berlin." In Narrative Strategies in Television Series. Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230501003_4.

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"Music and the Animated Cartoon." In Hollywood Quarterly. University of California Press, 2019. http://dx.doi.org/10.1525/9780520936324-009.

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"Animated Television: The Narrative Cartoon." In Television. Routledge, 2001. http://dx.doi.org/10.4324/9781410604361-18.

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"Animated Television: The Narrative Cartoon." In Television. Routledge, 2006. http://dx.doi.org/10.4324/9781410614742-18.

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Grant, Barry Keith. "Jazz, Ideology and the Animated Cartoon." In Film's Musical Moments. Edinburgh University Press, 2006. http://dx.doi.org/10.3366/edinburgh/9780748623440.003.0002.

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Holliday, Christopher. "From Wile E. to Wall-E: Computer-Animated Film Comedy." In The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.003.0009.

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Abstract:

Chapter Eight argues how comedy is worked into the stable, solid genre elements of the computer-animated film in particular ways, leading to a range of comedic orthodoxies that both define, and are defined by, the specificities of these specific screen worlds. Building on pre-existing typologies of animated comedy, and scholarship on the evolution of the American cartoon during the 1940s, this chapter introduces the exceptional comic arsenal of computer-animated films that often departs from ‘crazy’ disruptions of spatio-temporal unity and unorthodox patterns of ‘cartoonal’ behaviour. The chapter argues that in the computer-animated film, exaggerated degrees of physical distortion and degradation of the animated body operate outside the agenda of a Luxo world. The genre instead establishes a new comic modality rooted in other common features: a tendency towards cross-species couplings as a reinvigoration of the “bi-racial” buddy movie popular in 1980s Hollywood; the enhanced role of verbal comedy through performative connections with “comedian comedy” and casting practices of stand-up comedians; and the comic role of multi-faceted personality types in relation to theories of character structure derived from twentieth-century psychiatric therapy and biogenetics.

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Conference papers on the topic "Animated cartoon"

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Bhatoo, Raees Muhammad, Muhsina Hansye, and Somveer Kishnah. "A cartoon animated science learning tool for lower secondary students of Mauritius." In 2017 Second International Conference on Electrical, Computer and Communication Technologies (ICECCT). IEEE, 2017. http://dx.doi.org/10.1109/icecct.2017.8117903.

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Leiner, Marie, Maria Theresa Villanos, Jesus Peinado, and Dan Blunk. "Youtube as a Valuable Healthcare Education Platform: Using Educational Animated Cartoons on Social Media to Reach Young Children." In Selection of Abstracts From NCE 2016. American Academy of Pediatrics, 2018. http://dx.doi.org/10.1542/peds.141.1_meetingabstract.245.

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