Academic literature on the topic 'Animated comedy'
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Journal articles on the topic "Animated comedy"
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Tai, Peng-yi. "The Animator as Inventor: Labour and the New Animated Machine Comedy of the 2010s." Animation 13, no. 3 (2018): 238–51. http://dx.doi.org/10.1177/1746847718805163.
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Around 2010, the inventor character started to populate animated blockbusters. Computer 3D animated films and their sequels such as Robots (Chris Wedge and Carlos Saldanha, 2005), Cloudy with a Chance of Meatballs (Phil Lord and Christopher Miller, 2009), Despicable Me (Pierre Coffin and Chris Renaud, 2010) and Big Hero 6 (Don Hall and Chris Williams, 2014) all feature inventors and their extravagant machines. In this article, the author explores the inventive artisan character as a self-reflexive trope of the animator. She expands Crafton’s thesis of the animator’s self-figuration and Tom Gunning’s work on machine comedy and operational aesthetics to further discussions on the animator and thereby the labour of animation. The article seeks to reveal the political agenda in the new animated machine comedy of the 2010s, which not only reflects the modes of production of contemporary animation studios, but also the larger concerns in the post-Fordist mode of production.
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Falvey, Eddie. "Situating Netflix’s Original Adult Animation: Observing Taste Cultures and the Legacies of ‘Quality’ Television through BoJack Horseman and Big Mouth." Animation 15, no. 2 (2020): 116–29. http://dx.doi.org/10.1177/1746847720933791.
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This article aims to expand upon a key aspect of Mareike Jenner’s work on Netflix original comedy by considering how the streaming network’s original adult animated series reflect developments occurring within the sitcom format post-TV III. Using Netflix original animations BoJack Horseman (2014–) and Big Mouth (2017–) as case studies, this article will consider how thematically complex, ostensibly ‘smart’ animated shows illustrate changing industrial dynamics and taste cultures. While exhibiting qualities found in preceding key adult animated shows such as South Park (Comedy Central 1997–) and Family Guy (Fox 1999–), including lewd humour, metatextual in-jokes and topicality, the knotty storytelling and ambiguous characterizations of the shows under discussion reflect links to other contexts of TV production. Exploring these links, this article uses BoJack Horseman and Big Mouth to explore current trends in animated television, situating their characteristics and reception within a broader network of influences. The author argues that the turn towards complex storytelling manifests both in inherited production tactics, changing taste cultures and in the multifaceted and multifarious potentialities provided by the medium itself.
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Bankes, Edward. "The dangers of ‘Miss Information’: science and comedy in South Park." Journal of Science Communication 15, no. 02 (2016): C02. http://dx.doi.org/10.22323/2.15020302.
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Interest in the possible role for comedy as a medium for communicating and engaging the public in science is growing. However, current research has so far been restricted to exploring whether the content of scientific knowledge is accurate and precise within comedy, and whether the public might be said to understand science better for having watched it. In this commentary, I suggest that this approach neglects the diversity with which scientific ideas and images are used in comedy, particularly when comedy is written without the explicit goal of communicating science. I present my current research on the American animated comedy South Park, which suggests a different story: science serves to expose the hypocrisy and self-interest that governs the town. I suggest that examples such as South Park might benefit the analysis of comedy and science, by seeking to explain the very presence of science in comedy and in doing so, explore the values attributed to science within popular culture.
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Abramska, Magdalena. "Z zagadnień przekładu audiowizualnego: tłumaczenie piosenek w pełnometrażowych filmach animowanych na przykładzie polskiego i rosyjskiego dubbingu do Sing." Acta Polono-Ruthenica 1, no. XXIII (2018): 95–102. http://dx.doi.org/10.31648/apr.1513.
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The article focuses on the problem of translating songs in animated movies. Using Russian and Polish dubbing as examples, the following issues will be discussed: the place and role of the song, the translation strategy adopted, and the consequences and possible impact on reception of the translation strategy. An excellent example that will allow the problem to be fully discussed is Sing the latest animation from the Illumination Entertainment studio – a 2016 American 3D computer-animated comedy.
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Fels, Deborah I., John Patrick Udo, Jonas E. Diamond, and Jeremy I. Diamond. "A Comparison of Alternative Narrative Approaches to Video Description for Animated Comedy." Journal of Visual Impairment & Blindness 100, no. 5 (2006): 295–305. http://dx.doi.org/10.1177/0145482x0610000507.
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Ломтева, Татьяна Николаевна, and Екатерина Владимировна Патрушева. "Linguistic and cultural peculiarities of interethnic dialogue in the text of an animated television series." Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», no. 3(282) (March 2, 2022): 55–67. http://dx.doi.org/10.53598/2410-3489-2021-3-282-55-67.
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Рассматриваются языковые и культурологические черты межэтнического взаимодействия на примере американского анимационного сериала «Animaniacs». Языковая игра как актуализируемый лингвостилистический прием исследуется в контексте неотъемлемого компонента культуры различных народов, в том числе американской; определяется ее роль в межнациональной коммуникации; выявляются функции языковой игры, способствующие достижению авторской интенции и адекватному пониманию информационного посыла. The paper focuses on considering linguistic and cultural aspects of interethnic dialogue functioning in the text of an animated television series from theoretical standpoint. The empiric data is based on the American animated comedy musical television series “Animaniacs”. We make an attempt at defining wordplay as an essential component of different cultures and advocate its role in structuring interethnic communication. The wordplay functional peculiarities are specified as contributing to the achievement of the author’s intention.
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Maciejewska, Marta. "O wielogatunkowości filmów pełnometrażowych Jana Švankmajera." Literatura i Kultura Popularna 24 (April 18, 2019): 11–24. http://dx.doi.org/10.19195/0867-7441.24.2.
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On genre-crossing in Jan Švankmajer’s feature filmsJan Švankmajer, a Czech film director and artist is known mostly for his short animated films. In 1994, however, a change in his filmmaking career took place — he devoted himself to working only on feature films. This change of medium is connected both to the length of these films, and using language, narration and genre features typical of feature films. What is important, Švankmajer does not adjust his artistic visions to all the directives of a certain genre. Rather, the director chooses some elements of these genres, and creates new, hybrid qualities. Genres that have the biggest impact on his feature films are: horror, comedy, and speculative fiction.
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Islam, Md Mohiul, Hamedi Mohd Adnan, Mohd Amir Mat Omar, and Nilufa Akter. "Meaning of the Colors in the Portrayal of the Animated Characters: A Structuralist-Semiotic Content Analysis of Tom and Jerry." Jurnal Pengajian Media Malaysia 19, no. 1 (2017): 43–56. http://dx.doi.org/10.22452/jpmm.vol19no1.3.
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Tom and Jerry has been dominating the watch-lists of the cartoon lovers of all ages around the globe since its birth in 1940. It gradually has become one of the most popular cartoons of all time by winning the hearts not only of the children but also of the adult by displaying the slapstick comedy through an unending rivalry between Tom, the cat and Jerry, the mouse. The other characters like Butch (villain), Spike (dog), Toodles Galore (heroine), Nibbles (Jerry’s nephew), Topsy (alley cat), Meat Head (alley cat) have added extra flavors to the plot of different episodes. However, it is not only the slapstick comedy and the unending feud between the cat and the mouse that has made the cartoon to be a topic for discussion. Through the characterization, Tom and Jerry has created some controversies which turned the compass towards racist representations of the African Americans in the cartoon. However, the use of colors while characterization in the very cartoon persisted untouched. The concentration of this study is on the characters of Butch, the alley cat within black and Toodles Galore, the white kitten. Hence this study focuses on the usages of different colors in portraying different characters in Tom and Jerry. Through a content analysis focusing the colors used for the characterization of the different characters of the cartoon, this study discovers the stereotypical depiction of the villain and the heroine through respectively black and white in Tom and Jerry. By adopting structuralist-semiotic analysis as an approach, this study reveals the relationship between the colors and the attributes of the characters in Tom and Jerry, specifically the character of the villain and the heroine. Through this relationship between colors and characters, and by analyzing the characteristics of the characters along with the meanings of colors in the western world, this study also discovers how the Western media has used the colors to make a stereotypical depiction of the villain in black and the heroine in white in Tom and Jerry.
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Dewi, Rizqia Lutfi Kurnia, Ahmad Muhid, and Didit Kurniadi. "PORTRAYAL OF GISELLE’S CHARACTER IN “ENCHANTED” MOVIE: A GENDER STEREOTYPE STUDY." Jurnal CULTURE (Culture, Language, and Literature Review) 9, no. 1 (2022): 82–93. http://dx.doi.org/10.53873/culture.v9i1.327.
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Enchanted (2007) is a musical romantic comedy movie produced by Walt Disney Pictures that combine animated and live action scenes. The movie has interesting characters and plot to analyze. This study examines Giselle’s character in Disney’s Enchanted movie, the connection with gender-role stereotypes, and the moral values from the story. Data were collected by using library research method and analyzed through structural approach and coded content analysis approach based on coding characteristics. Results showed that Giselle has more feminine than masculine characteristics that confirm the female gender-role stereotype. However, a twist at the climax of the story displaying her acquired masculine traits indicates the rise of modern female-gendered representation from Disney. Further studies are needed to investigate the development of the dynamic character related to Disney’s gender-role message and the influences to today society life.
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Botero Camacho, Manuel, and Guillermo Alonso Menchero. "A Shift in Storytelling: Over the Garden Wall as a Literary Reconstruction of Dante’s Divine Comedy." Comunicación Revista Internacional de Comunicación Audiovisual Publicidad y Literatura, no. 19º (2021): 41–54. http://dx.doi.org/10.12795/comunicacion.2021.i19.03.
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Literature remains a field that serves TV creators and critics as a model both for influence and comparison. The continuity claimed by Thomas Doherty between the most recent TV narrative form with the serialised novels of Dickens or Wharton is not limited to the form itself but to its content as well. Such is the case of the TV animated miniseries Over the Garden Wall, created by Patrick McHale in 2014, whose combination of Victorian fairy-tale imagery and aesthetics, as well as its reliance on literary allusion incarnates this paradigm. Within its narrative there can be found an array of literary references that range from the classics to children’s fables, as well as allusions to history and to different mythologies; an intertextual character that is featured in TV as much as in literary texts from all eras, binding the two forms together. Among the numerous texts referenced in this tale of tales, however, there is one that stands out: Dante Alighieri’s Divine Comedy. This article scrutinises the relationship between Over the Garden Wall and Dante’s Comedy, understanding the show’s protagonist, Wirt, and his quest as a replication of Dante and his descent through Hell. The main claim is that by doing so, Over the Garden Wall also highlights how Campbell’s narrative paradigm, applicable as it is to forms of media other than literature, evinces the narrative continuity, which exists between TV and the written text.
Dissertations / Theses on the topic "Animated comedy"
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Aguas, Alexandra. "Tesla's Totally True Adventures." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/977.
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A half-hour adult animated pilot partially based on eccentric inventor Nikola Tesla.
Logline: Brilliant engineering student Dot must keep her boss, famed eccentric inventor Nikola Tesla, out of trouble as his unhinged contraptions wreak havoc on 1920s New York City while he battles his longtime rival, Thomas Edison.
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Сива, В. І. "Дискурс англомовної анімаційної комедії: перекладацький аспект". Master's thesis, Сумський державний університет, 2019. http://essuir.sumdu.edu.ua/handle/123456789/75413.
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У даній роботі було здійснено обґрунтування та аналіз особливостей перекладу англомовної анімаційної комедії. У першому розділі магістерської роботи було здійснено аналіз теоретичних аспектів дослідження анімаційного дискурсу. Були розкриті поняття дискурсу, зокрема мультиплікаційного дискурсу; виділені лексико-семантичні адаптації та прийоми комічного при перекладі мультиплікації. У другому розділі магістерської роботи були проаналізовані особливості використання лексичних та стилістичних засобів у англомовній анімаційній комедії. А саме були проаналізовані лексичні особливості номінативних одиниць в англомовній анімації та визначено, що вони відображаються найчастіше за допомогою повтору, алюзій, гіперболи та іронії, французьких вкраплень та сленгізмів. Зі стилістичної точки зору особливу увагу в сценарії мультфільму приділяється засобам художньої виразності, але для мультиплікаційного діалогу не характерно використання різноманіття стилістичних тропів і фігур через психокогнітивні особливості розвитку дитини і специфікою її пізнання. У третьому розділі було здійснено аналіз особливостей перекладу англомовних комічних виразів українською мовою в анімаційній комедії.
Були визначені, перекладацькі трансформації для анімаційних комедій: контекстуальна заміна і цілісне перетворення. Також, були виділені дві категорії труднощів при перекладі: труднощі, властиві будь-якому тексту на різних мовних рівнях − фонематичному, морфемному, лексичному, синтаксичному та лінгвокультурному; труднощі, що виникають виключно при перекладі під дубляж. Використання анімаційних комедій для навчання усного синхронного перекладу краще підійде для студентів початкового рівня, адже вони включають в себе просту розмовну лексику та в них рідко зустрічаються складні речення та фразеологічні звороти. За допомогою даного дослідження був розроблений комплекс вправ для студентів 1-2 курсів факультетів іноземної філології Матеріали роботи можуть бути використані у процесі викладання курсів з «Практики перекладу англійської мови».<br>В данной работе было осуществлено обоснование и анализ особенностей перевода англоязычной анимационной комедии. В первом разделе магистерской работы был осуществлен анализ теоретических аспектов исследования анимационного дискурса. Были раскрыты понятия дискурса, в частности мультипликационного дискурса; выделены лексико-семантические адаптации и приемы комического при переводе мультипликаций. Во втором разделе магистерской работы были проанализированы особенности использования лексических и стилистических средств в английской анимационной комедии. А именно были проанализированы лексические особенности номинативных единиц в англоязычной анимации и определено, что они появляются чаще всего с помощью повтора, аллюзий, гиперболы и иронии, французских вкраплений и сленгизмов. Со стилистической точки зрения особое внимание в сценарии мультфильма уделяется средствам художественной выразительности, но для мультипликационного диалога не характерно использование многообразия стилистических троп и фигур из-за психокогнитивных особенностей развития ребенка и спецификой его познания. В третьей главе был осуществлен анализ особенностей перевода англоязычных комических выражений на украинский язык в анимационной комедии. Были определены, переводческие трансформации для анимационных комедий: контекстуальная замена и целостное преобразование. Также, были выделены две категории трудностей при переводе: трудности, присущие любому тексту на разных языковых уровнях - фонематическому, морфемному, лексическому, синтаксическому и лингвокультурному; трудности, возникающие исключительно при переводе под дубляж. Использование анимационных комедий для обучения устного синхронного перевода лучше подойдет для студентов начального уровня, ведь они включают в себя простую разговорную лексику и в них редко встречаются сложные предложения и фразеологические обороты. С помощью данного исследования, был разработан комплекс упражнений для студентов 1-2 курсов факультета иностранной филологии. Материалы работы могут быть использованы в процессе преподавания курсов «Практики перевода английского языка».<br>In this work the substantiation and the analysis of features of translation of the English-language animated comedy was carried out. In the first section of the master's work was carried out the analysis of theoretical aspects of the study of animated discourse. The concepts of discourse, in particular animated discourse, were revealed; lexical and semantic adaptations and techniques of comic in the translation of multiplications were highlighted. In the second section of the master's work, the features of the use of lexical and stylistic means in English animated comedy were analyzed. Lexical features of nominative units in English-language animation were analyzed and it was determined that they appear most often with the help of repetition, allusions, hyperbole and irony, French inclusions and slangisms. From the stylistic point of view, special attention in the script of the cartoon is paid to the means of artistic expression, but the cartoon dialogue is not characterized by the use of a variety of stylistic tropes and figures through the psycho-cognitive features of the child's development and the specifics of her knowledge. In the third section the analysis of features of translation of English comic expressions into the Ukrainian language in animated comedy was carried out. Translation transformations for animated comedies have been identified: contextual substitution and holistic transformation. Also, there were two categories of difficulties in translation: difficulties inherent in any text at different language levels-phonemic, morphemic, lexical, and syntactic and linguocultural; difficulties arising exclusively in translation under dubbing. The use of animated comedies for teaching simultaneous interpretation is better suited for entry-level students, because they include simple spoken vocabulary and they rarely contain complex sentences and phraseological units. Due to the research, a set of exercises was made up for students of 1-2 courses of faculty of foreign Philology. The materials of the work can be used in the process of teaching courses "Practice of English translation".
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Canchari, Coronado Carla Yasmín, Ríos Carla María Carhuamaca, Acuña Julio César García, and Bartolomé Cahuas Karina Lucinda San. "Restaurante de comida saludable preparada sin insumos ni derivados de animales." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2018. http://hdl.handle.net/10757/624784.
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El presente proyecto de negocio consiste en un restaurante que ofrece comida vegana, a través de platillos saludables que son preparados sin insumos ni derivados de animales, bajo un concepto de responsabilidad social, porque cuida el medio ambiente y respeta la vida animal. Nuestra propuesta está enfocada en aquellas personas que gustan de alimentarse saludablemente, como los veganos, vegetarianos, las personas con algún problema de salud y deportistas. El trabajo desarrolla un plan de marketing, operaciones, recursos humanos y financiero, que demuestran la viabilidad del proyecto, su puesta en marcha y forma de operar. Finalmente, el análisis de los resultados financieros nos indica que en el mejor escenario, el proyecto es factible.<br>The present business project consists of a restaurant that offers vegan food, through healthy dishes that are prepared without inputs or derived from animals, under a concept of social responsibility, because it takes care of the environment and respects animal life. Our proposal is focused on those people who like to eat healthy, such as vegans, vegetarians, people with a health problem and athletes. The work develops a plan of marketing, operations, human and financial resources, which demonstrate the viability of the project, it’s implementation, way of operating and financial results. Finally, the analysis of financial results indicates that in the best scenario the proyect is feasible.<br>Trabajo de investigación
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the Twenty-First Century American Musical." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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Mai, Huong. "Evaluation of the deleterious effects of heavy metals and pesticides on early life stages and gametes of the Pacific Oyster, Crassostrea gigas : application to the pollution context of the Arcachon Bay." Phd thesis, Université Sciences et Technologies - Bordeaux I, 2013. http://tel.archives-ouvertes.fr/tel-01053814.
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The coastal areas are subject to multiple anthropogenic pressures including chemical pollution that can pose a real risk to the sustainability of aquatic species. The Arcachon Bay, macrotidal lagoon located on the French Atlantic coast, is the important ecosystem for oyster farming. But for several years, the oyster farms face lower recruitment and high mortality of oyster spat. Chemical contamination of the environment as a factor that may contribute to the observed effects on oysters has so far not been investigated.The present thesis aimed at evaluating through different approaches, of the potential toxicity of heavy metals and pesticides representative of the Arcachon Bay contamination on the early life stages of the Pacific oyster, Crassostrea gigas. Embryotoxicity, genotoxicity and expression levels of eleven targeted genes were studied. Firstly, different pesticides (S-metolachlor, irgarol, and diuron) and metals (copper and cadmium) were separately tested to determine their spectrum of effects. It were shown that exposure of gametes and embryos of oyster to environmental concentrations of pesticides and copper increased developmental abnormalities and DNA damage, and reduced fertilization success and affected offpring quality. Cadmium, meanwhile, showed no embryotoxic and genotoxic effects at the concentrations found in the Arcachon Bay. Metabolites of metolachlor, metolachlor ESA and metolachlor OA, are found in the Arcachon Bay at higher concentrations than their parent compound. The results showed that these metabolites were less embryotoxic and genotoxic on oyster embryos and spermatozoa than metolachor. Significant changes in expression of genes involved in antioxidant defense were observed for oyster larvae exposed to metolachlor and metolachlor ESA. Toxicity of mixtures of pesticides representative of the Arcachon Bay contamination with and without copper was then evaluated. Exposures of oyster embryos to these mixtures lead to development defects, DNA damage and changes in the expression of genes involved mainly in oxidative stress responses. Finally, mapping of toxicity of sediments from the Arcachon Bay was conducted for four seasons of 2011 with the oyster embryo-larvae assay. Sediments collected from Arguin exhibited low toxicity, regardless any season. In contrast, sediments from Le Tès showed higher toxicity in spring and summer seasons compared to winter season.From this work, it can be hypothesized that chemical contamination of the Arcachon Bay represents a threat for oyster reproduction and development.
Books on the topic "Animated comedy"
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Funny pictures: Animation and comedy in studio-era Hollywood. University of California Press, 2011.
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Hise, James Van. The Addams Family Revealed: An Unauthorized Look at America's Spookiest Family. Pioneer Books, Inc., 1991.
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Caroline, Thompson, and Wilson Larry, eds. The Addams Family. Scholastic Inc., 1991.
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Capitani, Paola, ed. Il controllo terminologico delle risorse elettroniche in rete. Firenze University Press, 2001. http://dx.doi.org/10.36253/88-8453-008-3.
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Dalla tavola rotonda del 27 gennaio è emerso che lo "strumento" Internet è un affilato coltello: da una parte le tecnologie uccidono impietose chi non è pronto ad accoglierle e a difendersene, dall'altra possono rendere più efficace e dinamici l'archivistica, la biblioteconomia, la catalogazione - che rischierebbero la paralisi o la confusione. È stata sottolineata la difficoltà di trovare un punto di incontro tra un'area così tradizionale e oggettivamente piuttosto statica con la mobilità turbinosa e incontrollabile della rete. La rete fa paura perchè in essa è molto facile perdersi e restare con un pugno di mosche. I termini più ripetuti sono stati: controllo terminologico - le parole cambiano senso a seconda del contesto, figuriamoci in uno scenario ipertestuale animato da link, continui riferimenti, aggiornamenti e rivisitazioni! - qualità, autenticità dell'informazione - come riuscire a dare fiducia ad un'informazione che non riusciamo a "guardare in faccia"? - irreperibilità della fonte originaria.
Book chapters on the topic "Animated comedy"
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Basanese, Manny. "The animated comedy pilot." In Writing the Comedy Pilot Script. Routledge, 2021. http://dx.doi.org/10.4324/9781003108788-6.
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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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"Chapter 4 The Comedian Comedy." In Animated Personalities. University of Texas Press, 2019. http://dx.doi.org/10.7560/317433-007.
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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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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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"8. From Wile E. to Wall-E: Computer-Animated Film Comedy." In The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.1515/9781474427906-011.
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Holliday, Christopher. "DreamWorks Animation, Metalepsis and Diegetic Deconstruction." In The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.003.0010.
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Chapter Nine applies a framework drawn from Gérard Genette’s (1983) notion of “metalepsis” (recently recovered within contemporary animation studies) to explain the behaviour of computer-animated film characters who freely ascend from the fictional world into the surrounding promotional spaces. Although animation has a long tradition of deconstruction and self-reflexive practices, this chapter offers new space to consider how the seamless worlds of computer-animated films can equally be conceptualised according to a deconstructive comedy of metalepsis. This chapter argues that computer-animated film characters are able to abruptly intrude into company logos, corporate signatures, credits sequences and even features of film form. It maps such repeating comic devices onto wider historical developments in studio signification, digitally-assisted logo design and the promotional strategies of contemporary Hollywood cinema. This chapter also affords the specific opportunity to focus on the cycle of feature-length computer-animated films produced by the Dreamworks Animation studio, which exhibit an unprecedented and widely-operational mingling of promotional space with the animated activity of its digital characters.
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Holliday, Christopher. "The Mannerist Game." In The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.003.0011.
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This chapter argues that mannerism and traditions of mannerist art give greater definition to how computer-animated films playfully dismantle their illusionist activity by making false claims about their relation to live-action cinema. To consider these specific forms of Mannerist humour in the computer-animated film, this chapter plots Mannerism’s cinematic lineage within certain styles and genres (film noir, pop music film, heritage drama, period film and cinéma du look), and notes that despite scholars having employed a vocabulary drawn from European art history to describe the (often digitally-assisted) bravura camerawork of New Hollywood cinema, Mannerism has yet to be employed as a descriptor for digital animation. This chapter therefore re-imagines computer-animated film comedy as strongly Mannerist in its invention, and draws particular attention to their strategies of allusive anti-illusionism. Computer-animated films frequently stage false, illusory discourses of revelation (feigned blooper reels, outtake material, behind-the-scenes ‘actor’ interviews) as a comic flourish that maintains the genre’s illusion. To interrogate the wit of the genre’s Mannerist play, I examine its many trompe-l’œil illusion effects and activities of self-deception.
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Tucker, Terrence T. "Blackness We Can Believe In: Authentic Blackness and the Evolution of Aaron McGruder’s The Boondocks." In Post-Soul Satire. University Press of Mississippi, 2014. http://dx.doi.org/10.14325/mississippi/9781617039973.003.0002.
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This chapter explores Aaron McGruder’s use of “comic rage” – comedy fuelled by anger and resentment – as a driving principle behind the satire of his hit comic and animated television series The Boondocks. This chapter demonstrates how The Boondocks challenges the mainstream belief in a “colorblind” society that Supposedly followed the Civil Rights Movement. This chapter shows how McGruder uses satire and parody to critique the inconsistencies present in contemporary discussions of race in America.
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Meinel, Dietmar. "Finding Brooks: Animating the Baby Boomer Generation in Finding Nemo." In ReFocus: The Films of Albert Brooks. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474434256.003.0010.
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This chapter reads Albert Brooks through the lens of star studies with particular interest in his embodiment of the baby boomer generation to understand a shift in his persona from meta-comedy to sincerity. Voicing the animated clownfish Marlin, Brooks addresses the parents and grandparents, particularly the baby boomer generation, in Finding Nemo’s (2003) audience. In doing so, the chapter argues, Brooks-as-Marlin challenges the predominant cultural climate in post-9/11 America.
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Snelders, Stephen. "Introduction." In Leprosy and Colonialism. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781526112996.003.0001.
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In the 2012 American animated comedy film The Pirates! Band of Misfits, the pirates attack and board a ship. To their horror, they are confronted with leprosy sufferers. One of the sufferers pulls off his arm and the pirates, aghast, beat a hasty retreat. Of course, this scene was not meant as a serious depiction of leprosy or Hansen’s disease, as it is called today. However, patients who had formerly had Hansen’s disease complained and the filmmakers hastily changed the leprosy ship into a plague ship. ...
Conference papers on the topic "Animated comedy"
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Zhang, Catty Dan. "Animating Mediums: From Visuality of Superimposition to Drawings for Afterimage." In 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.32.
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In her book Phantasmagoria, Marina Warner states a relationship between vision and mentality that “one kind of mental image was described as ‘eidetic’, referring to optical experiences that are retained in the mind’s eye with hallucinatory intensity. It comes from eidos, used by Aristotle for that which is seen, or ‘form, shape, figure’, both of something particular and of a generic kind of form, and it is related to ide in, to see, and eidolon, a shape, image, spectre, or phan-tom, also an image in mind, a vision or fancy”1.It was within a relatively short period of time— comparing with over a century long obsession of the aesthetics of superimposed moving sequences— that the discourse of animation in architecture has diverged its paradigm from analytical motion forms in the digital environment towards new possible optical experiences and atmospheric effects in physical spaces. Differing from the traditional cinematic model implemented in architectural design which stitches series of views through spatial organizations, recent investigations regarding these dynamic spatial effects have been largely inspired by mapping techniques, autonomous drawings, and hybrid mediums; or in other words- expanded operations on visuals. The long tradition of the spatiotemporal visual practice in forms of superimposed images, however, has taken on various trajectories transitioning from the static basis to animated implications. Historically used for capturing and representing motion, it is recognized identically assets of frames with discrete positions, where the animation virtually emerges from the viewer’s subconscious process of translation.
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Simon, Carlo, Stefan Haag, and Lara Zakfeld. "Research-Agenda For Process Simulation Dashboards." In 35th ECMS International Conference on Modelling and Simulation. ECMS, 2021. http://dx.doi.org/10.7148/2021-0243.
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The European Conference on Modelling and Simulation is a prominent but not the only conference showing possibilities and relevance of simulation. Meanwhile, it is an important field of research worldwide and current discussions about the industry of the future and especially the idea of digital twins for the simulation of forecasts in parallel to an existing reality increase its importance. All these efforts led to highly elaborated simulation modeling methods and tools that can be applied to different fields from air traffic management to zoo building. However, based on conference participations, literature research, and conversations with other researchers and practitioners, we observe that simulations are by far not being used as often as possible in day-to-day business. And if they are used, typically individual software solutions are developed that can hardly be transferred to other applications. So, how can we reduce the barriers for using simulation? Any simulation comes along with a profound domain knowledge, a modeling method, a tool for the definition and simulation of models, and the visualization of the simulation results. Different roles conduct these tasks: Domain experts deliver the domain specific knowledge and – as is the case for further members of staff – must be able to interpret the simulation results. Modeling and visualization experts develop the simulations but also deliver a proper presentation for the domain experts, probably without having a deeper understanding of these results. A decision on whether a simulation is conducted at all is made by management, possibly together with the information systems department. The latter roles need information concerning the benefits both in advance as well as in retrospect. Since we mainly work in the field of process modeling and simulation with the aid of Petri nets for production and logistics, the above made considerations encouraged further studies on the usage of simulation with a special focus on dashboard visualization of the simulation results in this field. A holistic approach includes the process of simulation development and use. The research agenda for which a grant could be won is explained within this paper and may animate other researchers to participate.