Dissertations / Theses on the topic 'Animated cartoon'

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.

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.

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.

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.

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

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

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.

Through the study of OK KO! Let’s Be Heroes! and The Amazing World of Gumball, I argue that children’s cartoons represent and recreate anxieties toward money’s plasticity in the plasticity of the cartoon bodies and worlds. I closely examine the ambivalence towards abstraction’s plasticity in contemporary children’s cartoons to trace the neoliberal ambivalence towards money’s plasticity. While much scholarship has grappled with what can be understood as animatic plasticity, very little of it takes on the questions raised about neoliberal culture by televised children’s cartoons. Cartoons are important to study in this respect because their form allows for unbridled plasticity. Cartoons provide the artists with the freedom to create characters and worlds that are as bound or unbound to our world’s norms and natural laws, unlike in other live action moving media. It combines this with the dynamic, temporal component of moving image media. Unlike a surreal painting, cartoons are capable of dynamic movement and transformation, even in their non-moving image form as comics. However, this plastic dynamism is most fully realized in the animated form, as the characters are capable of movement and change regardless of the viewers’ presence. Contemporary cartoons like OK KO and Gumball asymmetrically mobilize this plasticity by rendering the characters’ bodies as highly plastic while presenting their worlds as comparatively static. This aesthetic practice suggests that the world cannot be reshaped for a variety of reasons, so the only thing that individuals can do is try to change themselves as necessary to accommodate it. Thus, what at first blush looks like a celebration of plasticity is in reality a celebration of mere flexibility, which enables and perpetuates neoliberal power structures. Yet these same shows simultaneously challenge the neoliberal aesthetic project in their hyper-mobilization of non-diegetic plasticity. When the shows mobilize their plasticity in a way that is not narratively impactful, such as through cutaways, inserts, or other asides, the plasticity is instead framed as comedic and thus enjoyable. This suggests that while presenting character and world plasticity as equally valid would be natural next step for animated aesthetics, the major limitation contemporary animation faces is in reality the uneven treatment of diegetic and non-diegetic plasticity.

Orientador: Ana Luiza Bustamante Smolka<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação<br>Made available in DSpace on 2018-08-11T01:40:48Z (GMT). No. of bitstreams: 1 Bortoletto_Maira_M.pdf: 709175 bytes, checksum: 902ec7efac0324757293707845dba148 (MD5) Previous issue date: 2008<br>Resumo: Esta dissertação problematiza a influência dos desenhos animados sobre o público infantil e investiga o processo de recepção deste tipo de produção em crianças, em dois ambientes escolares diferentes. Refletindo sobre os repertórios culturais, elementos constitutivos do mundo infantil e contexto da recepção das mídias como partes integrantes essenciais do processo comunicativo, tem também o intuito de discutir o funcionamento da ideologia que permeia as condições de produção. O desenvolvimento teórico da presente proposta está ancorado, principalmente, em dois autores, Bakhtin e Vygotski. As análises das interações verbais das crianças, durante e depois da recepção do desenho animado ¿Tio Patinhas¿, colocam em evidência e nos permitem compreender diversos aspectos que atuam no âmbito das relações sociais - o imaginário coletivo, gêneros discursivos, imaginação e significação na recepção e compreensão dos desenhos animados<br>Abstract: The present work investigates the influence of cartoons as social production and inquires about the process of their reception by children. Assuming that: 1. cultural repertories are constitutive of the children¿s world; and 2. the context of midia reception is an essential part of the contemporary communicative process; it has also the aim to discuss the functioning of the ideology which pervades the conditions of production. The empirical study was conducted in two different school environments and the theoretical development of the proposal was mainly anchored on two authors, Bakhtin and Vygotski. The analysis of the verbal interactions of children, during and after reception of the cartoon "Duck Tales", places in evidence and allow us to understand several aspects operating within the framework of social relations - the collective imagination, gender discourses, imagination and meaning in receiving and understanding of cartoons<br>Mestrado<br>Educação, Conhecimento, Linguagem e Arte<br>Mestre em Educação

L'obiettivo di questa tesi è la produzione di quattro copioni di audiodescrizione di due episodi del cartone animato "Maša e Orso" ("Maša i Medved’" – Oleg Kuzovkov, 2009), con l'utilizzo del metodo standard e della traduzione dei copioni russi in italiano, per dimostrare che quest'ultima è più conveniente per due motivi. Da un lato, è un metodo efficace ed efficiente in un ambiente non professionale, anche in termini di tempisitiche. Dall'altro, si dimostra uno strumento molto utile per l'apprendimento linguistico-traduttologico in ambito universitario. L'elaborato è diviso in tre parti principali. La prima è dedicata agli aspetti teorici dell'audiodescrizione, considerando le varie definizioni formulate negli anni, il suo sviluppo storico, la descrizione dei due metodi principali sopramenzionati, e il suo potenziale aiuto per l'apprendimento linguistico dei bambini con disabilità visiva. La seconda parte è dedicata esclusivamente al cartone animato Maša e Orso attraverso un'analisi dei personaggi e della sua ricezione in Russia e in Italia. La terza parte è quella pratica e consiste in una spiegazione dettagliata di tutti i passaggi di entrambi i metodi utilizzati per creare i copioni definitivi, inclusi alla fine del quarto capitolo. L'ultima parte si conclude con un confronto approfondito dei due metodi e dei risultati ottenuti per i singoli episodi, sottolineando le differenze principali nelle scelte descrittive. Nella sezione Appendice è possibile trovare in parallelo le audiodescrizioni russe e le relative traduzioni.

Le but de cette recherche est la description des formes de fonctionnement diégétique-cognitive des dessins animés de la télévision hertzienne au Chili, et leurs conditions de circulation (offre) et consommation pendant l’année 2000. L’analyse du rapport entre la description de la grille de programmation, l’audience (description statistique), les mondes diégétiques et les conditions cognitives présupposées (analyse qualitatif), nous permettra de constater que les dessins animés japonais sont les plus regardés au Chili, même s’ils ne sont pas les plus programmés.Les dessins animés japonais sont complexes : leur construction narrative ne se fait pas au sein d’une histoire linéaire, ils supposent beaucoup de savoirs pour les comprendre, ils ont des structures que les consommateurs doivent appréhender à travers plusieurs médias et supports différents. Nous pouvons donc affirmer que cette préférence est en corrélation avec l’existence de procès cognitifs complexes chez les téléspectateurs, réalité que nous avons pu découvrir grâce à une enquête appliquée à 300 cas différenciés par strate sociale, genre et âge ; ainsi que grâce à une recherche ethnographique qui nous a permis de découvrir d’autres circuits de circulation des objets culturels (grands magasins et magasins spécialisés liés à l’animation). L'étude sociologique et ethnographique de la réception nous a permis de comprendre, entre autres choses, que les jeunes téléspectateurs construisent leur identité autour des dessins animés japonais. Comme le démontre la recherche que nous avons menée, le goût pour l’anime japonais est lié à sa complexité, et en outre, l’attribution de valeur aux savoirs qui s’y rapportent est repérable chez les enfants âgés de 11 ans ou moins, ainsi que chez les adolescents ayant entre 12 et 15 ans. Alors, à travers de la recherche on a découvert une forme de fonctionnement cognitive complexe basée en comprendre hypertextes qu’ils sont possibles de saisir dans les magasins spécialisés, sur l'écran de télévision, dans Internet, en existant l’émergence de deux espaces d'identification: le non lieu de l'animation même et le lieu des magasins spécialisés, réalité de fonctionnement de la consommation de l’animation japonaise de l'époque. Dans le Chili de l’année 2000 il y a d’Internet dans tous les collèges, mais l'ordinateur et l'Internet n'arrive pas à tout les citoyens, seulement aux strates moyennes et haute, et les jeunes dans cette époque font l’usage du cybercafé pour l’acquisition des information sur l’animation, non Facebook, non Twitter, mais, il s’origine un savoir complexe de fonctionnement hypertextuel, préalable à la société des réseaux d'aujourd'hui, Car, la recherche est une contribution à comprendre une phase de transition préalable à la réalité actuelle, il s’agit de la description d’une partie de notre patrimoine culturel.La méthodologie de travail s’est construite autour de trois axes : des outils statistiques, une analyse qualitative des séries et une étude ethnographique des lieux de circulation<br>The aim of the research is to describe cognitive diegetic operating modes in cartoons transmitted in open access television in Chile, as well as their traffic conditions (supply) and consumption during 2000. The analysis draws correlations between the scheduler’s description of the programming, the audience (statistical description), and the cognitive worlds and proposed diegetic protocols (qualitative analysis). Such description will allow us to detect that Japanese cartoons are the most popular and that this does not correspond to what most Chilean television channels program. Japanese cartoons are complex; there is no linear storytelling, and instead they require a vast amount of knowledge for comprehension, which their consumers acquire through reading in various supports and media. In this context "the most watched cartoons correspond to those where there is presence of complex cognitive processes," which was detected through a survey (300 cases, differentiated by social class, gender and age) and ethnographic research has allowed us to discover other circuits’ circulation of cultural objects (department stores / specialty stores). This sociological and ethnographic study of reception allowed us to understand how some Japanese cartoons’ young viewers build their identity. The consume of Japanese animation how much one knows about the series with the attribution of a value that strengthens them the construction of their identity, which is more developed to less equal age of 11 years and 12-15 years. The significance of the series in relation to the real world (diegetic world’s presuppositions) is not taken into account by the channels. The taste for Japanese animation allows one to link how much one knows about the series with the attribution of a value that strengthens their identity or indeed constructs it. This is more prevalent in groups aged 11 and below and ages 12-15. The significance of the series in relation to the real world (diegetic world’s presuppositions) is not taken into account by the channels. The design of statistical tools league qualitative research and analysis on the series with ethnographic studies of the circulation of such cultural objects<br>El objetivo de esta investigación es la descripción de las formas de funcionamiento diegéticas cognitivas de los dibujos animados de televisión abierta (hertziana), y sus condiciones de circulación (oferta) y consumo durante el año 2000. El análisis de la relación entre la parrilla de programación, la audiencia (descripción estadística), los mundos diegéticos y las condiciones cognitivas presupuestas (análisis cualitativo)nos permite constatar que los dibujos animados japoneses son los más vistos en Chile, incluso cuando no son lo más programado.Los dibujos animados son complejos: su construcción narrativa no se desarrolla al interior de una historia lineal, ellos suponen muchos saberes para comprenderlos, conocimientos que los consumidores deben aprehender a través de medios y soportes diferentes.. Nosotros detectamos que esta preferencia está en correlación con la existencia de procesos cognitivos complejos de los jóvenes espectadores, a través de 300 encuestas diferenciadas por estrato social, género y edad, y a través de una investigación etnográfica que nos ha permitido detectar otros circuitos de circulación de los objetos culturales (grandes tiendas y tiendas especializadas ligadas a la animación). El estudio sociológico y etnográfico de la recepción me ha permitido comprender, entre otras cosas, que los jóvenes espectadores construyen su identidad en torno a los dibujos animados japoneses. Como lo hemos demostrado en la investigación, el gusto por la animación japonesa está ligada a la complejidad y a la asignación de un valor cultural respecto a saber sobre los dibujos animados japoneses en aquellos de edad de 11 años y en aquellos que tienes entre 12 y 15 años.En definitiva, a través de la investigación se ha descubierto una forma de funcionamiento cognitiva compleja basada en comprender hipertextos obstenidos tanto en las tiendas especializadas, en la pantalla de televisión, en Internet, existiendo la emergencia de dos espacios de identificación: el no lugar de la animación misma y el lugar de las tiendas especializadas, realidad de funcionamiento del consumo de animación japonesa de la época, el año 2000, donde si bien en Chile Internet está en todos los colegios, el computador e Internet no llega a cada casa, sólo a los estratos medios, y los jóvenes en dicha época usaban el cibercafé para conectarse y obtener información sobre el animé, sin facebook, ni twitter, se va perfilando un saber complejo de funcionamiento hipertextual, previo a la sociedad en redes de hoy, constituyéndose, entonces, en una contribución a comprender una fase de transición previa a la realidad actual, luego una parte de nuestro patrimonio cultural. La metodología de trabajo se ha construido alrededor de tres ejes: herramientas estadísticas, análisis cualitativos de las series y un estudio etnográfico de los lugares de circulación

Submitted by Ana Lúcia Torres (bfmhuap@gmail.com) on 2018-01-11T14:38:16Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) JULIANA CLEMENTE MACHADO.pdf: 8318045 bytes, checksum: 1739cdd1c45f4a2f80ab212c7000ecdf (MD5)<br>Approved for entry into archive by Ana Lúcia Torres (bfmhuap@gmail.com) on 2018-01-11T14:38:26Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) JULIANA CLEMENTE MACHADO.pdf: 8318045 bytes, checksum: 1739cdd1c45f4a2f80ab212c7000ecdf (MD5)<br>Made available in DSpace on 2018-01-11T14:38:26Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) JULIANA CLEMENTE MACHADO.pdf: 8318045 bytes, checksum: 1739cdd1c45f4a2f80ab212c7000ecdf (MD5) Previous issue date: 2015<br>Acessa.com<br>Desde muito cedo na história da comunicação, os animais não humanos são usados como símbolos para representar características da sociedade humana. No presente, é comum encontrá-los em filmes, livros, propagandas e desenhos animados trazendo valores e ideologias que sinalizam o modo como entendemos o mundo. Existe uma linha de pesquisa, com contribuição da antropologia, pedagogia, sociologia e comunicação, que visa investigar como são estas representações, por que elas ocorrem e quais as consequências disto para a relação das pessoas com os demais animais na vida real. Haveria relação entre o modo como a sociedade representa os animais na mídia e o modo como ela compreende estes seres na realidade? Esta foi a pergunta principal que norteou toda a condução do presente estudo. Considerando que os desenhos animados são talvez a primeira forma de contato com animais na ficção, este trabalho dedicou-se a investigar este meio de comunicação. Entre os animais, o gato doméstico foi escolhido por se tratar de uma espécie cuja relação com a sociedade é cercada de simbolismos, misticismos, compreensões equivocadas e percepções preconceituosas. Há registros significativos, inclusive, de maus-tratos, abandono e não adoção destes animais. Assim, este trabalho objetivou investigar como ocorre a representação do gato doméstico nos desenhos animados: como é apresentado o seu comportamento, se é antropomorfizado, em que grau e em quais aspectos. Se antropomorfizado, como seria sua representação moral. Foi possível confirmar a ausência de representação fidedigna da grande maioria dos comportamentos. Também verificou-se que é um animal antropomorfizado, especialmente em sua biologia e comportamentos e em segundo lugar, por meio da linguagem. Finalmente concluiu-se que nos desenhos sua representação moral é ambígua, ora com características positivas, ora com traços negativos, reforçando a ambiguidade e incerteza presentes em outros contextos da sociedade. A discussão girou em torno das possíveis consequências deste panorama na percepção das pessoas em relação ao gato doméstico. Defende-se aqui a necessidade de uma reflexão sobre o dever moral que a mídia, pais e educadores têm em direcionar a olhar crítico das pessoas em formação sobre estes modos de representar. Esta preocupação vai ao encontro das reflexões que a ética animal vem levantando no presente. Espera-se que com este debate, possamos melhorar a forma como compreendemos e nos relacionamos com os animais não humanos em diferentes setores da nossa sociedade<br>Since very early in the history of communication, nonhuman animals are used as symbols to represent features of human society. At present, it is common to find them in films, books, advertisements and animated cartoons with values and ideologies that signal the way we understand the world. There is a research line, with contribution of anthropology, pedagogy, sociology and communication which aims to investigate how these representations are, why they occur and what the consequences of this for the relationship between people and other animals in real life. Is there a relationship between the way society represents animals in the media and the way we understand them? This was the main question that guided the conduction of this study. Considering that cartoons are perhaps the first form of contact with animals in fiction, this work was dedicated to investigate this media. Among animals, the domestic cat was chosen because it is a specie whose relationship with society is surrounded by symbolism, mysticism, wrong understandings and prejudiced perceptions. There are significant records of maltreatment, abandonment and non adoption of these animals. This work aimed to investigate how the representation of domestic cat in the cartoons is, how their behaviour is presented, whether it is anthropomorphized, to what degree and in what aspects. If cat is anthropomorphized, how his moral representation is. It was possible to confirm the absence of faithful representation of most behaviours. It was also found that cat is an anthropomorphic animal, especially in their biology and behaviours and secondly, by language. Finally it was concluded that in animated cartoons his moral representation is ambiguous, sometimes with positive characteristics, sometimes with negative traits, strengthening the ambiguity and uncertainty present in other society contexts. The discussion was around the possible consequences of this view in people perception towards the domestic cat. It is argued the need for a reflection on the moral duty of the media, parents and educators in directing the critical perception of people on these ways of representing. This concern agrees with animal ethics reflections in the present. It is hoped that with this debate, we can improve the way we understand and relate to non-human animals in different sectors of our society

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

In questo elaborato si analizzano alcuni film d’animazione prodotti durante il regime nazista e il loro ruolo come vettore propagandistico. Lo scopo è trattare nel dettaglio un aspetto spesso ignorato o meno noto a chi studia il nazismo. Grazie all’analisi dei film d’animazione si riescono a comprendere gli effetti della propaganda tedesca durante il Terzo Reich e la volontà del regime di creare nuove reclute sin dalla tenera età, indottrinando i bambini attraverso i cartoni animati. Nei film d’animazione sono presenti, infatti, le ideologie sostenute e veicolate dal regime nazista. Un altro scopo che si pone questo elaborato è di offrire un metodo alternativo per apprendere la lingua tedesca e la cultura nazista, in particolare gli strumenti utilizzati per la ricerca di consensi verso il regime.

Orientador: Ana Luiza Bustamante Smolka<br>Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação<br>Made available in DSpace on 2018-08-04T04:26:57Z (GMT). No. of bitstreams: 1 Rocha_MariaSilviaPintodeMouraLibrandida_D.pdf: 8685363 bytes, checksum: 6d055810767e461d6729651f6b5c64f9 (MD5) Previous issue date: 2005<br>Resumo: Esta tese teve como objetivo compreender as relações entre crianças, televisão e dois animes (pokémon e Dragonball Z) em sua intertextualidade, a partir de fundamentos teóricos de L. S. Vygotsky, M. Bakhtin e de contribuições de D. Maingueneau, E. Orlandi e J. Fiske. Participaram deste estudo 8 meninos (com idades entre 11 e 12 anos), que vem se constituindo em condições materiais cotidianas (incluindo suas "experiências televisivas") marcadamente diferentes. O material empírico foi composto por: análises de enunciações das crianças, produzidas ao assistirem e comentarem dois episódios de cada um dos animes, entretecidas com análises sobre estes episódios, os animes como gênero de discurso e sobre a televisão. Estas análises permitiram compreender que as relações intertextuais estão marcadas por complexas e ininterruptas tensões. Entre várias outras, pode ser destacada a existente entre tendência de monofonização dos textos dos animes em relação ao seu mote principal - as lutas - e movimentos de adesão e resistência dos meninos (considerando-se a produção de paráfrases, de outros sentidos - a partir da polissemia de palavras/imagens-, enunciações polifônicas e deslocamentos na centralidade deste mote). Apontadas similitudes e diferenças nas relações íntertextuais (por entendê-Ias como processos social,. cultural e historicamente marcados) problernatizou-se suas relações com as condições de vida destas crianças. Por fim, tendo como sustentação os pressupostos teóricos e as análises que foram construídas, foi possível dialogar com trabalhos que tematizam a televisão, suas produções e/ou as relações das crianças com estes termos e os (des)compromissos das instituições educacionais e escolares em relação a estes temas<br>Abstract: The present thesis aims at.understanding the relationships among ehildren, television, and two animes (pokémon and Dragonball Z) in their intertextuality, based on the theoretical grounds of L.S, Vygotsky, M, Bakhtin and the contributions of D. Maingueneau, E. Orlandi and Fiske. Eight boys (at ages between 11 and 12 years old), who have been living under distinetively different material eonditions in their daiJy life (ineluding their "television experience"), participated in this study. The empirie material was composedof:the analyses of the children's enunciations, produced as they watched and commented on two episodes, the animes - as diseourse geme - and television. The analyses show that intertextual relationships are eonstituted by complex and uninterrupted tensions. lt may be stressed, among several others, the existing tension between the tendeney towards the monophonization of the texts of the animes in relation to its main motif -the fights - and the joining and resistanee movements of the boys (considering the production of paraphrases, of other meanings - based on the polysemy of wordslimages -, polyphonie enunciations and displacement ofthe centrality ofthis motif). Once similarities and differences were found in their intertextual relationships (those being characterized as social, cultural and historica1 processes), questions related to their life conditions were raised. At last, by supporting on the theoretieal presuppositions and on the analyses that were constructed, it was possible to dialogue with works that deal with television, their productions and/or ehildren's relationships with these terms and the (non)commitment on the part of schools and educational institutions regarding these themes<br>Doutorado<br>Educação, Conhecimento, Linguagem e Arte<br>Doutor em Educação

Lo straordinario mondo di Gumball è una serie animata trasmessa su Cartoon Network a partire dal 2011. Tale serie in pochi anni ha raggiunto un grande successo nel target infantile e adolescenziale, per svariati motivi, come i dialoghi umoristici e il cast variegato. Ma al contempo, essa non è immune da problemi di doppiaggio, come molte altre serie per l'infanzia. Questa tesi è un'introduzione allo straordinario mondo di Gumball e della sua famiglia, invogliando, possibilmente, lo spettatore a visionare la serie, con occhio critico, ma anche divertendosi.

The animated film serves as a means for interrogating the political and social ideologies which influenced its development; features of its construction and aesthetics also gesture towards the historical and psychological factors affecting its production, albeit indirectly. This paper investigates the use of the animated cartoon as a medium for transmitting propaganda in America during the Second World War between the years 1941 and 1945; specifically, it examines the animated cartoon as documentation of homefront psychology in the Second World War, and includes an historical overview of Hollywood animation in addition to a critical analysis of both the cartoon propaganda aesthetic and the psychological factors shaping the design and dissemination of propaganda in entertainment media. The animated cartoon is positioned as a favourable focal point for the re-examination of popular wartime productions as propaganda as well as an entry point for examining presuppositions regarding the efficacy of mass entertainment as a pedagogical tool.

Dissertação de mestrado em Língua, Literatura e Cultura Inglesas<br>The thesis discusses the importance of foreign language learning which constitutes one of the basis for a good education. The use of animated cartoon humor as a complementary tool to English learning is the main focus of such work. A set of teaching techniques and several linguistic analyses of humor are presented as well. Several advantages of the humor present in animated cartoon (particularly in Peppa Pig) as a complementary tool to transmit concepts from a foreign language are addressed. Some of the questions concerning the matter are the following: (i) What are the benefits of learning a foreign language at an early stage? (ii) How can educators and parents contribute to an effective second language acquisition? (iii) How can animated cartoon humor introduce vocabulary and grammatical constructions to the younger audiences? (iv) What composition do animated cartoons’ episodes present so as to teach/revise a foreign language? (v) How does one use animated cartoon humor in a practical situation? (vi) What follow-up activities can a teacher or educator implement after showing an episode of an animated cartoon in class? It can be firmly acknowledged that a proper teaching and learning of EFL (English as a Foreign Language) is due to an appropriate education system, combined with a strong willpower. International agreements and education policies are cited that endorse the importance of language learning. Similarly, it has become vital that for workers in areas such as medicine and other health sciences to be skillful in more than one language and have a knowledgeable constructive language learning experience. Many methods of how to teach EFL to children, since they constitute the most auspicious age group to be effectively educated are explored as well.

碩士<br>國立臺東大學<br>進修部兒文所碩士班(夜間)<br>100<br>This animated cartoon &auot;Sponge Bob SquarePants&auot; entertains many children audience with funny characters and humorous plots. The purpose of this study is to discuss the humor in the animated cartoon &auot;SpongeBob SquarePants&auot; by analyzing its shaping of characters, the humorous way of presentation skills, as well as how the story is set with a view to investigating the functions. The study results showed that the skills of figure shaping and presentation in this series involves delightful personality and style of the characters, comical movements, the surprise of deformation, novel imagination and unique ingenuity of language games. The plots are presented in a humorous way. In a bizarre environmental context, an unexpected development is accompanied by witty dialogue. Its structural patterns include the use of repetition, exaggeration, transformation, reversal, parodies, contrast, irony, humor, weirdness and wit. Simultaneously , &auot;Sponge Bob SquarePants&auot; animation cartoon series broadly affect child`s lovely, except rich imagination plot,vivid,vigorous pictures , more important was it has transmitted child`s most basical conviction , provided the forward influence, conforms to the child most basical a spiration, which is the charm of the animated cartoon &auot;SpongeBob SquarePants.&auot;

碩士<br>國立臺灣科技大學<br>應用外語系<br>107<br>A trend towards combining traditional teaching materials with creative supplementary educational materials emerges in recent years. The purpose of the study is to investigate the application of using animated cartoon as supplementary teaching materials in the interpretation class on graduate students. Previous studies have proposed the use of various materials in interpreter training. However, very few of them have investigated the use of animated cartoon as supplementary teaching materials in students’ interpreting training. To bridge this gap, two research questions are proposed: (1) What were the students’ perceptions of animated cartoons in an interpreting class? (2) How did animated cartoon influence students’ motivation and performance? The series “Rick and Morty”, an American adult animated science fiction sitcom, was chosen as the supplementary teaching materials in this study. Thirteen English major students from an interpretation class of an MA program at a university of science and technology in Northern Taiwan participated in this class design. A mixed-method was applied to collect and analyze the data from multiple sources including a semi-structured interview, an online questionnaire which was designed based on ARCS (Attention, Relevance, Confidence and Satisfaction) model of motivational theories, mid-term and final exam, which was applied as pre-test and post-test in the study. The results indicated that applying animated cartoon as supplementary teaching materials in an interpretation class not only successfully released the nervous atmosphere during the class but also significantly raised students’ attention in interpreting, therefore, leading students to have more confidence in themselves and hence perform better.

碩士<br>國立彰化師範大學<br>藝術教育研究所<br>99<br>Researcher has felt anxiety on most students’ artistic creation in junior high school, as they often imitate classic “cartoon characters” and believe those are the standard esthetic model. Students have lost their originality and confidence in their work. Thus, this study aims to focus on animation images which are popular among students. Throughout observation from teaching environment, the researcher asks questions , uses action research and designs the program curriculum. The course design is then implemented in 8th graders at Li-Ming Junior High School in Taichung. Next, instructor uses various ways to resolve the esthetic problems encountered at the classroom. She also discusses with students about their character design consisting of their own cultural. The various ways used are observation, students’ creative work, interview, and document including the teacher’s diary, students’ evolution sheet and questionnaire. The research purpose includes four points: 1.To design the visual art teaching plan which combines the student experience of life and interest; 2. To investigate the process of the teaching program which integrates the cartoon animation subject in the visual culture; 3. To investigate how students integrate the self-culture characters with the creation through the result of teaching; 4. To induce a development suggestion for “taking the cartoon animation as topic in art teaching curriculum design.” Research results can be summarized into the following points: 1. There are lots of connection with the multi-dimensional cartoon animation image and the visual experience in students’ everyday lives. Thus, the cartoon animation course design relates closely to the student’s personal life and also is easy to attract students. 2.Throughout gradually teaching implement style and the cartoon animation as the subject, it helps students to deeply criticize their characters created. The creation process can facilitate students to reflect their cultural lives, and acts according to their viewpoints 3. The student’s creation still imitates the original cartoon character. There is still room for discussion under cultural translation of “self-culture” in action research. To conclude, the action research provides suggestions for teaching, Nine-Year Curriculum consistent design, and further relative study. Key words: Action research, cultural translation, self-cultural characteristics, animation role of form

Kong Pui Ling, Charlotte.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2001.<br>Includes bibliographical references (leaves 82-85).<br>Abstracts in English and Chinese.<br>Abstract --- p.ii<br>Chapter Chapter 1: --- Introduction --- p.1<br>Chapter Chapter 2: --- Literature Review --- p.7<br>Chapter Chapter 3: --- Methodology --- p.21<br>Chapter Chapter 4: --- Manifestations of Childhood in Cartoons --- p.27<br>Chapter Chapter 5: --- Negotiating Childhood --- p.48<br>References --- p.82<br>Chapter Appendix I: --- Interviewees' Families Profile --- p.85<br>Chapter Appendix II: --- Interview Questions --- p.88<br>Chapter Appendix III: --- "List of cartoons have been broadcast on TVB Jade, ATV Home, TVB Pearl and ATV Home from August, 1998 to January 1999 " --- p.89

碩士<br>國立臺中教育大學<br>幼兒教育學系碩士班<br>106<br>This study investigated the content change in and the appropriateness for young children of three Disney animated films, including “Snow White and the Seven Dwarfs”, “Mulan”, and “Frozen”. The changes in “male and female roles”, “conveyed values”, and “film background” were examined, and the appropriateness for children was assessed along four dimensions, including “educational value”, “behavioral examples”, “gender view”, and “language”. The subjects were three Disney animated films, including “Snow White and the Seven Dwarfs”, “Mulan”, and “Frozen”. The dialogues and screens in these three films were analyzed using an evaluation checklist and content analysis. 　　Results showed that Disney animated films have changed over time. “Frozen” received more positive ratings than the other two films in all the four dimensions of appropriateness, including “educational value”, “behavioral examples”, “gender view”, and “language”. “Snow White and the Seven Dwarfs” features too much negative content. For example, many scenes contain materials that may cause phobia, fear, and vanity in young children or convey a negative value that the end justifies the means. “Mulan” has a large amount of scenes displaying negative gender views and gender stereotypes. As far as content change is concerned, “male and female roles” have gradually become more balanced, but achieving the goal no matter what it takes and calculation are still the “conveyed values” in these films. The ballroom dancing scene remains the everlasting feature of Disney animated films.

Poster exhibited at GPSC Student Showcase, November 7th, 2014, University of Arizona.<br>Today’s language teachers find increasing resources online that allow greater variety of authentic material. With the opportunities offered by digital video, the traditional listening comprehension activity has reached new potential for incidental learning and learner’s autonomy (Robin, 2011). While conscious attention is on the message delivered by the audiovisual, learners assimilate new words from context without intending to do so, stimulating incidental vocabulary learning (Carlisle, 2007). Video’s inherent multimodality makes sensory information available in various semiotic codes, allowing to the comprehension of information via separate channels (Guichon & McLornan, 2008). This case study involves three students of advanced Italian at a large American University. It will argue in favor of video cartoons as a valuable tool to foster a constructive environment for the acquisition of the L2 (Bahrani, 2014). Specifically, we will look at British award-winning preschool cartoon Peppa Pig in its Italian version. The rationale for choosing this particular cartoon includes: 5 minutes of episode length, authentic interpersonal language and descriptive prose, slow pace of speech, familiar every-day and humorous stories, free online access and the possibility to activate captions. Furthermore, this cartoon may be used for listening comprehension for the 30 other languages in which it has been translated. Feedback from university-level students confirms the potential of this particular cartoon and will be presented in this poster. Students reported strong motivation due to the low affective filter environment (Rule & Ague, 2005) as well as improvement in areas like vocabulary, pragmatics and idiomatic expressions from contextual clues.

This thesis deals with the depiction of racial and ethnic stereotypes in American animated cartoons particularly from the first half of the twentieth century. It studies the relationship between animation and American culture and examines how animation reflects and shapes American identity in terms of race and how it critiques and promotes American values and attitudes regarding race and ethnicity in particular. Considering the historical, political, legal and cultural background of the contemporary eras of American animation, the thesis analyses the portrayal of racial and ethnic features in animated cartoons from the 1920s to the 1960s. Such stereotypes represent, in my opinion, significant aspects of societal and cultural changes in American society of the examined eras of animation. The beginnings of the entertainment industry affected the booming era of animation by implementing commonly recognised literary stereotypes of the African-Americans into animated cartoons. This thesis strives to study the development of animated features of the racial stereotypes throughout the contemporary eras. It provides a brief systematic overview of the main eras that have significantly highlighted the start of animation as markers of race and ethnicity. Simultaneously, it discusses the problematic...

碩士<br>國立臺北教育大學<br>幼兒與家庭教育學系碩士在職專班<br>104<br>The goal of this study investigates whether cartoons have an impact on children’s figure drawings or not. The two independent variables are the children’s gender and the introduction of cartoons to the children. The dependent variable is the 128 children’s figure drawings. The findings as follow : 1. The categories of body structure-shape and body structure - quantity between the two groups are significant difference. The experimental group is higher average score, especially in “shape” and “quantity”. 2. The category of decorative feature between the two groups is a significant difference. 3. The category of color between the two groups is not difference. 4. The experimental group has been improved in both genders. Hopefully, the findings can provide a useful and meaningful resource for parents, school teachers, the media and future researchers.

Магистерская диссертация «Издательская составляющая мультипликационных брендов» состоит из двух частей. Магистерская диссертация содержит 59 страниц, 4 рисунка. В списке литературы содержится 32 библиографические единицы. Цель исследования – разработать критерии оценки качества изданий с использованием мультипликационных брендов. Объект исследования ‒ издания на основе мультипликационных брендов. Предмет – видовые, жанровые, структурно-содержательные и визуально-полиграфические особенности изданий на основе мультипликационных брендов. В первой главе были рассмотрены особенности издательской продукции с использованием мультипликационных брендов. Также рассмотрены определения понятий «бренд» и «мультипликационный», а также предложено понятие и определение мультипликационного бренда. Издания на основе мультипликационных брендов классифицированы по видам продукции. Во второй главе магистерской диссертации дана общая характеристика мультипликационных сериалов, проведено исследование потребительских предпочтений к мультипликационным брендам. В ходе опроса было выявлено, какие мультсериалы предпочитают потребители, какую издательскую продукцию на основе мультипликационных сериалов предпочитают, и какие критерии для целевой аудитории являются главными для приобретения данной издательской продукции. Результаты опроса были разделены по возрастным показателям целевой аудитории на три группы. На основе ответов респондентов определены критерии первой, второй и третьей степени важности. Отдельные положения проведенного исследования были представлены на международной научно-практической конференции «Книжное дело: достижения, проблемы, перспективы – VI», проходившей в апреле 2017 г.<br>The Master's thesis "Publishing Component of Animated Brands" consists of two parts. The master thesis contains 59 pages, 4 drawings. The list of references contains 32 bibliographic units. The purpose of the study is to develop criteria for assessing the quality of publications using animated brands. The object of the research is publications based on animated brands. Subject - Species, genre, structural and informative and visual-printing features of publications based on animated brands. The first chapter examined the features of publishing products using animated brands. Also considered the definitions of the concepts of "brand" and "animated" and proposed the concept and definition of an animated brand. Editions based on animated brands are classified by product. In the second chapter of the master's thesis, the general characteristics of animated series are given, and a study of consumer preferences for animated brands is conducted. The survey revealed which cartoon series consumers prefer, which publishing products based on animated TV series they prefer, and which criteria for the target audience are central to the acquisition of this publishing product. The survey results were divided by age indicators of the target audience into three groups. On the basis of the respondents' answers, criteria of first, second and third degree of importance are determined. Separate provisions of the study were presented at the international scientific-practical conference "Book Business: Achievements, Problems, Prospects - VI", held in April 2017.

This thesis concerns with media models of preschool child resilience. The theoretical part summarizes knowledge about developmental period of preschool child, social learning, imitation and human resilience. Further it is devoted to the media issue, especially media communication influence, child viewer and model learning per television transmission. The empirical part contains qualitative research of eighteen child animated cartoons. There were demanding situations and the coping strategies explored in the analysis. After their evaluation we recommended advisable child cartoons from the perspective of potential influence on resilience development of preschool child in the sense of self-efficacy, and comparison of Czech and foreign production. KEY WORDS Resilience, self- efficacy, imitation, media, television, animated cartoons, qualitative research

el presente trabajo pretende desarrollar la totalidad del proceso creativo llevado a cabo en la realización del cortometraje animado “bug”, con el fin de exponer, no sólo la cronología de la metodología aplicada, sino todas las pruebas, decisiones y dificultades que fueron surgiendo a lo largo del recorrido, formando parte importante, tanto del producto final como del proceso de elaboración y aprendizaje. este proyecto de investigación gira alrededor de la creación de una animación a través de la combinación de técnicas 2d y 3d. más específicamente, se trabajó con personajes cartoon 2d dibujados a mano, lo cuáles fueron insertados en fondos digitales 3d. por otra parte, el film cuenta con una escena animada totalmente en 3d en el momento del final.<br>fil: ortiz sosa, joaquín. universidad nacional de córdoba. facultad de artes. departamento académico de cine y televisión; argentina.<br>fil: pérez hinding, héctor exequiel. universidad nacional de córdoba. facultad de artes. departamento académico de cine y televisión; argentina.