Academic literature on the topic 'Animated discourse'
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Journal articles on the topic "Animated discourse"
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SEVİNDİ, Koray. "IDEOLOGICAL DISCOURSE ANALYSIS IN SOVIET ANIMATION CINEMA." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 2 (2021): 594–605. http://dx.doi.org/10.7456/11102100/017.
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In this study, the Soviet animation cinema's ideological discourses, which showed the consequences and reflections of the political ideology of the era, were examined. In line with the findings, it was considered that these animated films constitute a kind of cultural memory that exhibits the political history and social culture of the Soviets. The article's ideological discourse analysis method was applied by considering Teun A. van Dijk's study titled Ideological Discourse Analysis. As part of this research, because ideological discourses were analyzed, only short films with propaganda content were regarded among Soviet animations, and the scope of the study was restricted. Furthermore, the date range taken about the films was the term of Soyuzmultfilm, the official animation studio of the Soviet Union. The films created by the studio, which began its actions in 1936 until the dissolution of the Soviet Union in 1991, were taken into account. The conclusions of discourse analysis were evaluated according to the headings 'self-identity', 'activity', 'goal', 'norm and value', 'position and relation' and 'resource' mentioned in the article Ideological Discourse Analysis, and the ideological discourses in Soviet animated cinema were analyzed.
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Ivchenko, Natalia. "Comic Function in the Animated Ecodiscourse (Case Study of “Zootopia”)." Theory and Practice in Language Studies 11, no. 9 (2021): 1080–86. http://dx.doi.org/10.17507/tpls.1109.14.
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This study focuses on the role of comic functions in exposing and challenging hidden ideologies, intentions, potential significance and other phenomena behind the animated ecological discourse of the film "Zootopia". The paper consistently considers two views on the ecology of animated discourse and comic functions that are used to uncover violation and establish an eco-friendly relation by means of language forms. The material of the English-language animated discourse of the film "Zootopia" examines cooperation of verbal and nonverbal modes, exposes problems and encourages solving them as well as promotes establishment of sustainable relationships between humans themselves, humans and nature as well as its phenomena.
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Gorcevic, Admir R., Samina N. Dazdarevic, and Amela Lukač Zoranić. "DYSPHEMISMS IN ANIMATED FILMS." Folia linguistica et litteraria XII, no. 35 (2021): 175–94. http://dx.doi.org/10.31902/fll.35.2021.9.
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Current research focuses on an observational investigation of dysphemistic words and phrases in contemporary animated films. The language of animated films varies from other genres and styles, and this divergence from conventional language presents an important sociolinguistic problem. The main reason for the study is an assumption that authors and script writers of animated films use dysphemisms in this specific language style, despite the fact that they should be avoided. The study's methodological foundation is a corpus analysis which deals with three different corpora: the primary corpus – selected contemporary animated films (dating from 2017 to 2020) and the secondary – a) the native language corpus (Corpus of Contemporary American English - COCA), and b) Google search engine. The following goals were pursued in this dysphemism investigation: (1) the selection of animated films for the primary corpus, (2) identification of dysphemisms in the primary corpus, (3) sociolinguistic analysis and explanation of some of the most appealing expressions from the primary corpus, and (4) to cross-check some of the dysphemisms identified in the primary corpus against the secondary corpus. The authors believe that certain number of them are exclusive to animated films and cannot be found in the native discourse. The analysis has confirmed that the language of animated films contains dysphemisms, and that their number and nature vary from film to film. The most common dysphemisms can be found in all animated films, but those containing the most profane language are characteristic only for South Park. Further investigation revealed that certain number of dysphemistic expressions identified in the primary corpus can only be found in animated films and not in the natural discourse.
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Kirpicheva, Olga V. "PRECEDENT NAMES OF THE WALT DISNEY ANIMATED DISCOURSE CHARACTERS." Bulletin of the Moscow State Regional University (Linguistics), no. 6 (2020): 17–26. http://dx.doi.org/10.18384/2310-712x-2020-6-17-26.
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Tritthart, Martina. "Animated Urban Surfaces: Spatial Augmented Reality in public discourse." International Journal of Film and Media Arts 6, no. 2 (2021): 75–94. http://dx.doi.org/10.24140/ijfma.v6.n2.05.
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Today´s projection art on public surfaces developed from the mutual approximation of painting, architecture, and lighting during centuries. The terms “Spatial Augmented Reality” (SAR) and “projection mapping” describe mostly temporary large screen projections on urban surfaces. The façade architecture becomes the screen for the content, mostly projected 2D and 3D animations. In essence, many of these artworks generate illusionistic clips deriving from the existing façade structure, allowing reality and fiction to merge audio visually. Artists, architects, curators, and institutions are increasingly aware of their responsibility related to this form of the mediatization of architecture, as shown, for example, by the Brazilian artist group Visualfarm. Their members approach their work as a counterpoint to the commercialization of public space in its appropriation by industry, propaganda, and advertising. But on the other hand, they also make a living from commercial assignments. Artists and architects often see themselves as pioneers and experimental researchers for possible developments in the coming digitized cities. By presenting various examples by selected artists like Corrie Francis Parks, Pablo Valbuena and Robert Seidel, the role of animation in connection with an alternative approach to the concepts of augmented realities within this process of social and urban evolution will be discussed. These artists try to integrate digital content into the cityscape in a harmonious sense.
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Fore, Steve. "Reenacting Ryan: The Fantasmatic and the Animated Documentary." Animation 6, no. 3 (2011): 277–92. http://dx.doi.org/10.1177/1746847711416561.
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In this article, the author discusses the animated documentary in relation to the use of staged reenactments in works that are generally understood as documentaries. His conceptual foundation draws especially on recent work by Bill Nichols on documentary reenactments, which he argues have specific ‘fantasmatic’ and reflexive qualities. These qualities clearly dovetail with key attributes of animation, with the animated documentary standing as a significant and interestingly hybrid creative form. Key ideas are applied to a case study of Chris Landreth’s Ryan (2004), in which Landreth deploys fantasmatic visual flourishes partly in order to destabilize the documentary’s conventional discourse of sobriety, pushing it in the direction of its mirroring discourse of delirium, and partly to explore the current status of animation (and animation tools) in the realm of visual simulation.
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Sliepushova, Anhelina. "Father-child discourse in Family Guy: a corpus-based analysis." Synopsis: Text Context Media 26, no. 2 (2020): 61–65. http://dx.doi.org/10.28925/2311-259x.2020.2.6.
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The article aims at analysis of gender and family stereotypes in father-child communication in an animated series Family Guy, featuring a typical American family. The study focuses on Peter Griffin's discourse, the father of the family, containing his communication with two of his teenage children, a son and a daughter, unveiling gender peculiarities in father-son and father-daughter discourses. The attempt is made to disclose how gender and family roles are verbalized in communication between family members. The conversation, discourse and corpus-based analyses have been used to analyze the main character's discourse in order to single out the father's specific vocabulary — through word lists, keyword lists, clusters and collocations — he uses while communicating with his son and daughter. The findings show that Peter Griffin chooses different language means while talking to his son and daughter. Thus, his discourse addressing his adolescent son Chris is rich in direct addresses, mainly commands when the father tries to discipline his son. Offering his son emotional support or encouragement the father stays forthright with him creating an image of “real men” stereotypical conversations. On the contrary, while communicating with his daughter Peter modifies her name Meg addressing her as honey, sweetheart, one-of-a-kind in father-daughter discourse. However, using diminutives he humiliates his daughter and makes her feel an abandoned child. In this way, he makes her feel special but in a negative way. Family communication created in the animated series reflects gender stereotypes in father's attitude to his children belonging to two different sexes. Nevertheless, this verbal tendency does not affect relationships within the family. For the future, it is worthwhile to compile a larger corpus including mother-child, child-father, and child-mother discourses to get more representative results
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Giriyani, Perni, and Efransyah Efransyah. "FLOUTING MAXIMS ON THE DIALOGUE OF CHARACTERS IN UP! ANIMATED MOVIE." PROJECT (Professional Journal of English Education) 3, no. 4 (2020): 512. http://dx.doi.org/10.22460/project.v3i4.p512-517.
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This research is about flouting maxims on the dialogue of characters in UP! Animated movie. Hence, it is aimed to know flouting maxim on UP! animated movie. This research is used qualitative research. The data of this study was taken on flouting maxims on the discourse of figure in UP! animated movie from he main characters namely old name Carl Fredrickson and Russel. There are several steps in collecting the data namely, finding a script UP! of the animated movie, next is analyzing the script with the UP! movie and the last is to list the utterances of the main personality of UP! animated movie in flouted maxims and finally analyzing them based on the chosen theory. After conducting the research, the writer found 20 sentences that flouted by Mr. Fredickson and Russel animated UP! movie. Those kinds of maxims are 6 flouted maxims of quantity, 7 flouted maxims of quality, 3 flouted maxims of relevance, and 4 flouted maxims of manner. Keywords: Flouting maxim, Dialogue, Movie
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MUSHTAQ, HAMMAD, and TASKEEN ZEHRA. "Teaching English Grammar through Animated Movies." NUST Journal of Social Sciences and Humanities 2, no. 1 (2021): 77–87. http://dx.doi.org/10.51732/njssh.v2i1.11.
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This study seeks to examine how various components of English grammar can be taught through animated movies. The study demonstrates the use of gerunds in a sentence or a discourse through an animated feature film Tangled. The data for this research was taken from the students of grade eight. The students were shown various video clips, comprising dialogues and songs, from the movie and asked to identify the use of gerunds. Later, the students were given various worksheets containing tasks, based on the use of gerunds in a sentence. The students remained very responsive during the whole lesson and effectively learned the use of gerunds and the difference between gerunds and the present participle. The study concluded that animated movies in grammar teaching classes can serve as a positive reinforcement tool for the language learning process as the animated movies considerably increase the learning speed and proficiency of the students.
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Petiy, Nataliya. "GENDER CATEGORIZATION OF FEMALE CHARACTERS IN THE ANIMATED DISCOURSE IN ENGLISH." Inozenma Philologia, no. 129 (October 15, 2016): 121–26. http://dx.doi.org/10.30970/fpl.2016.129.604.
Full textDissertations / Theses on the topic "Animated discourse"
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Слєпушова, Ангеліна Ігорівна. "Fathers' discourse in American animated series." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18289.
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Martinez, Estefania. "The Old, The New and The Animated Discourse." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/theses/628.
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Emerald is a short animated film that merges three techniques within its narrative: 3D computer animation, 2D hand-drawn animation and live-action HD video. Additionally, the beginning and end credits include two more: 2-D computer animation in Flash and 16mm film cut-out animation shot on an Oxberry stand. Each of the three main techniques is personified by a character in the narrative and represents a particular space with different connotations about new and old media.
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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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Ben, Ayed Maya. "Le cinéma d'animation en Tunisie : genèse et évolution (1965-1995)." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0047.
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Ce travail cherche à comprendre comment le cinéma d’animation en Tunisie, une pratique artistique « en marge », à la fois dans son monde de l’Art et dans la société dans laquelle elle est produite, puisse s’ériger en tant que vecteur de contestation dans un contexte autoritaire. Il s’agit de tracer l’histoire méconnue de cet art depuis sa genèse et sur toute la période étudiée (1965-1995). Une histoire qui se confond avec celle des changements sociopolitiques du pays sous les deux régimes autoritaires postindépendance. Nous entendons dégager la ou les forme(s) de contestation en interrogeant, d’une part le matériau filmique etd’autre part les sources orales, mémoires vivantes de cet art. Nous confrontons deux discours celui du régime (du centre) et celui de l’art (la périphérie) afin de révéler le mécanisme de formulation du propos contestataire dans le cinéma d’animation tunisien<br>This work seeks to understand how animation in Tunisia – an artistic activity on the fringes, both in the art world and in the society in which it is produced - became a vehicle for political protest within an authoritarian context. It recounts the hitherto untold history of this art form together with the socio-political changes under the two post-independence authoritarian regimes. We intend to reveal the form(s) of protest by examining, on the one hand, the cinematic material and, on the other, live testimonials, first-hand memories of the art form. We confront two different types of rhetoric, that of the regime (core values) and the art of animation(marginal culture) to reveal the mechanisms used to formulate the protest statements in Tunisian animation
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Baltzinger, Marie. "Political ecology des engrillagements de Sologne - Tentative de défragmentation du paysage écologique, politique et disciplinaire." Phd thesis, Toulouse, INPT, 2016. http://oatao.univ-toulouse.fr/16002/1/Carrelet_Baltzinger.pdf.
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Quoi de plus naturel qu’une clôture ? Parmi les images d’Epinal qui nous viennent spontanément à l’esprit, le bocage avec ses haies bien ordonnées, évoque une relation apaisée, rationnelle, arcadienne avec une nature nourricière et bienveillante. Pourtant, la prolifération des clôtures en milieu rural depuis un siècle a suscité la curiosité de nombreux chercheurs dans des disciplines variées. Qu’il s’agisse de protéger la nature de dégradations engendrées par les populations humaines - dans le cas d’espaces protégés -, ou à l’inverse de protéger les humains contre des dangers « naturels » - comme dans le cas de la prévention routière, ces clôtures semblent répondre à une nécessité absolue de ségrégation spatiale entre les hommes et la nature : Quoi de moins naturel qu’une clôture ? Vu sous cet angle, le conflit politico-environnemental engendré par la propagation récente des engrillagements forestiers en Sologne reflète assez bien l’ambiguïté de nos perceptions vis-à-vis du caractère naturel ou non de ces clôtures. La Sologne est une région naturelle Française couvrant près de 500 000 hectares délimitée au nord par la vallée de la Loire et au sud par la vallée du Cher. Fruit d’une occupation humaine attestée depuis le XIe siècle, conjuguée à des contraintes écologiques spécifiques, le paysage Solognot est aujourd’hui caractérisé par son couvert boisé important (environ 50% de la surface) et ses populations importantes de grand gibier, qui entretiennent la longue réputation cynégétique de cette région ; la propriété privée y est largement majoritaire (plus de 90% de la surface forestière). En 2012, une agitation médiatique (film, articles de presse, sites internet) cristallisent un conflit environnemental latente, faisant intervenir des éléments écologiques – les effets supposés bénéfiques ou néfastes de ces engrillagements sur la grande faune, mais aussi politiques – la nécessité de réglementer les engrillagements, et culturels - la sauvegarde du « paysage Solognot ». Afin d’analyser ce conflit, une approche interdisciplinaire de type Political Ecology a été menée, mêlant travail d’enquête auprès de la population et étude du fonctionnement écologique des espaces engrillagés. Ces travaux ont montré que les engrillagements modifient la répartition spatiale des cerfs. La recherche d’effets cascades sur les oiseaux forestiers - résultants des surdensités locales de cerfs en espace engrillagé - n’a cependant pas mis en évidence d’effet négatif. A partir des enquêtes, il apparaît que le conflit est pluridimensionnel et que l’aspect écologique – bien réel – ne suffit pas à lui seul pour comprendre l’enjeu de ce débat au sujet des engrillagements. Ces résultats génèrent une réflexion sur la complexité des conflits environnementaux, et la nécessité d’envisager ces conflits sous des angles différents. Cela implique d’utiliser des outils et des approches issues de plusieurs disciplines, mais aussi et surtout de parvenir à mettre en résonance le matériel hétérogène ainsi obtenu, afin de proposer une approche multifacette mais cohérente. Dans ce cas d’étude, les résultats sur les effets cascades se sont par exemple révélés extrêmement marginaux, alors qu’une étude parallèle sur le comportement du sanglier en milieu engrillagé aurait probablement été très pertinente. Cela amène plus largement à réfléchir sur le « cadrage » des problèmes environnementaux, et sur les choix conscients ou non que nous faisons lorsque nous décrivons une situation comme problématique pour « la nature ». Plus généralement, ces résultats incitent à (re)placer le politique au cœur de nos réflexions sur ce qu’est la « nature », y compris dans la façon dont nous écologues posons nos questions de recherches.
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Ruiz, Carreras María. "Grupos de presión, discurso y orientaciones alimentarias: el caso de la industria láctea europea." Doctoral thesis, Universitat Pompeu Fabra, 2021. http://hdl.handle.net/10803/672682.
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El objetivo general de esta investigación es estudiar el discurso de los grupos de presión de la industria láctea europea (ILE) desde una perspectiva antiespecista. Para ello se examina a la ILE como actor económico y de influencia, con el fin de identificar a las principales empresas y grupos de presión, y se analiza el discurso que estos últimos construyen con respecto a los animales a los que la industria explota, las vacas, y a las recomendaciones nutricionales que acaban en las guías alimentarias. Mediante el análisis documental y el análisis crítico del discurso, se concluye que la industria láctea constituye un entramado económico y corporativo que dedica un enorme esfuerzo a ejercer influencia en las recomendaciones alimentarias. El análisis demuestra que los grupos de interés de la ILE han adaptado su narrativa a los valores actuales de preocupación por la ciencia, salud e incluso bienestar animal, al mismo tiempo que los contradicen. De entre las contradicciones destaca la negación de los intereses de los animales explotados por sus segregaciones maternas a través de una representación que les cosifica y obvia su capacidad de sintiencia, autonomía e individualidad.<br>The general objective of this research is to study the discourse of the European Dairy Industry (EDI) lobbyists from an antispeciesist perspective. To achieve this, the EDI is examined as an economic and influential actor, in order to identify the main companies and pressure groups, and the discourse that the latter construct with respect to the animals that the industry exploits, the cows, and to the nutritional recommendations that end up in the dietary guidelines. Through documentary analysis and critical discourse analysis, it is concluded that the dairy industry constitutes an economic and corporate framework that dedicates a great effort to exert influence on food recommendations. The analysis shows that the EDI interest groups have adapted their narrative to the current values of concern for science, health and even animal welfare, while contradicting them. Outstanding among the contradictions is the denial of the interests of animals exploited by their maternal segregations through a representation that objectifies them and obviates their capacity for sentience, autonomy and individuality.
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Shih, Ho-Cheng, and 施和成. "Creation Discourse of Animated Short Film ”Dream Arms”." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/8je83a.
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碩士<br>國立臺灣藝術大學<br>多媒體動畫藝術學系動畫藝術碩士班<br>101<br>“Dream Arms” is a 3D animated short film in which the main character, an armless young man, tried to fulfill his ambition to become an athlete by acquiring a pair of arms. A cat hinders his attempt by snatching away those arms one step ahead. The young man goes after the cat, and scenes of fighting and stunt ensued in the chase. The study attempts to identify the fundamental elements of action films by examining and analyzing classic films in the genre.
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Peres, Cátia Alexandra dos Santos. "Liberated words: a method of analysis on graphical language and discourse in the animated film and in the work of Hayao Miyazaki." Doctoral thesis, 2019. http://hdl.handle.net/10400.26/32317.
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Esta tese analisa a construção de significado e linguagem gráfica das imagens animadas. A análise centra-se na relação criada entre conteúdo, forma e movimento e no seu discurso gráfico resultante, dando visibilidade a uma parte fundamental da atividade e evolução humana, a construção de significado através da forma das imagens. Para este propósito analisa o caso de estudo de dez longas metragens que constituem a obra do realizador Japonês, Hayao Miyazaki produzidas pelo lendário estúdio Ghibli.
No âmbito de design, esta tese cruza diferentes campos disciplinares dentro da área gráfica nomeadamente estudos de cultura visual, na análise do conteúdo nas imagens, estudos de design gráfico, na análise dos elementos formais que geram significado nas imagens, estudos de animação na análise do discurso gráfico e movimento resultante que gera significado nas imagens. O resultado do cruzamento destas áreas convergem numa contextualização desta tese num modelo teórico e num modelo prático de análise do filme animado e dos seus elementos constituintes fundamentalmente gráficos. No modelo teórico esta tese enquadra, propõe e define os domínios do filme animado relacionando: (a) Produção (processo de fabricação de significado nas imagens), (b) Imagem (recursos formais e gráficos de significado nas imagens) e (c) consumo e recepção cultural (interpretação de significado nas imagens) com enfâse no discurso gráfico resultante. No modelo prático de análise da linguagem gráfica em animação esta tese centra-se no elemento (b) para responder à questão da investigação de como é que a construção do significado é construída no filme animado nos seus elementos gráficos de linguagem e discurso.
A metodologia utilizada apresenta uma análise qualitativa dos filmes segundo o modelo proposto em categorias fundamentais da criação de significado em animação e elabora uma análise dos resultados segundo padrões de ocorrências e exceções que resultam numa conclusão dos resultados obtidos.
A contribuição do conhecimento desta tese propõe: a contextualização e alargamento teórico dos campos disciplinares para a análise gráfica do filme animado, a proposta de um modelo teórico dos seus domínios, a proposta de um modelo prático de análise, e ainda os resultados específicos da aplicação do modelo ao caso de estudo escolhido, a obra do realizador Hayao Miyazaki.<br>This thesis analyses the construction of meaning and graphical language in the animated film. The focus of this research is centred around the relationships among content, form and movement and how the resulting graphical discourse gives visibility to a highly important part of our human activity and human evolution, the construction of meaning in the form of images. To this end, a case study is analysed, considering ten feature films directed by Japanese animation director, Hayao Miyazaki, and produced at the legendary Studio Ghibli.
Within the scope of Design, this thesis is characterised by an overlapping of different fields of knowledge: visual culture studies, in the analysis of content which generates meaning in images; graphical design studies, in the analysis of the formal and graphical structures which generate meaning in images; animation studies in the analysis of the graphical discourse which generates meaning in images. The result of this overlap converges into a framework, which proposes a theoretical model for the domains of the animated film, and a practical model of analysis of the animated film and its structural elements, which are essentially graphical.
In the theoretical model, this thesis proposes an interrelationship among three aspects: (a) production (the meaning making process in images), (b) images (formal and graphical meaning resources in images) and (c) perception and cultural reception (interpretation of meaning in images) with particular emphasis on the resulting discourse.
In the practical model of analysis, this thesis proposes a focus on aspect (b), formal and graphical meaning resources in images, to answer the research question of how the construction of meaning is generated in the animated film in its graphical elements and graphical discourse.
The methodology of the present thesis is based on a qualitative analysis of the films under the proposed practical model of analysis to collect systematic information, in order to elaborate patterns of occurrences and exceptions and a consequent conclusion of the results.
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CHANG, LI-HSUN, and 張立勳. "The Discourse of animated film making of 「Patient No.13」 and the study of composite art on video taping combined with CG." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/58828728760385533815.
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碩士<br>國立臺灣藝術大學<br>多媒體動畫藝術學系<br>97<br>Abstract
“Patient No. 13” is an illusory hyper-realistic story filmed by multiple process shots combining 3D animation with real images. It describes a past-and-present causality brought by a phychedelic patient confined in a phychhouse. He travels throught different lives, breaking the limits of time and space, and gives his doctor a real-like fantastic experience. His illusory travels extricate not only himself but also his doctor from all encumberances that bothers him for years. The illusory world was both familiar and far-away for me who dreams a lot. Thanks for the progesss and popularization in image technology, I can finally concretely present a hyper-realistic imaginary world with the keynote of illusory dreams complementing with the social issue of family abuse, and create an image work featuring my personal art style.
The whole film is presented with low-color-screen (低彩度) to express a depressing atmosphere, meanwhile the particle noise gives forth an anxious and ambiguous feeling. These techniques can visualize conflicts between the perceptual and the rational, as well as the salvation and the relief by integrate the elements of yearning for free world, the subconscious fragment memories, the contact throught time and space, and the emotional contradition.
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Мирошниченко, Марина Сергіївна. "Лінгвостилістичні особливості сучасного англомовного анімаційного телесеріалу та їх відтворення у перекладі (на матеріалі мультсеріалу “Gravity Falls”)". Магістерська робота, 2021. https://dspace.znu.edu.ua/jspui/handle/12345/6191.
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Мирошниченко М. С. Лінгвостилістичні особливості сучасного англомовного анімаційного телесеріалу та їх
відтворення у перекладі (на матеріалі мультсеріалу “Gravity Falls”) : кваліфікаційна робота магістра спеціальності 035 «Філологія» / наук. керівник І. О. Андрєєва. Запоріжжя : ЗНУ, 2021. 60 с.<br>EN : The object of the study – language innovations in the animated series “Gravity Falls”. The aim of the study: to outline the structural and semantic features of language innovations in the animated text and ways to reproduce them in translation on the material of the series "Gravity Falls" The method of research – a continuous sample when collecting language innovations for research; contrastive method when comparing English-language occasionalisms and their Ukrainian-language translations; the transformative method allowed to analyze translations of innovations; the method of quantitative calculations helped to compare the quantitative calculations of occasionalisms according to different criteria and with the help of the descriptive method the analysis of the explanation of translation difficulties was carried out. The results obtained: the study revealed the features of film text and animated text, in particular. The following models were found in relation to parts of languages: noun + noun, adjective + adjective, verb + noun, verb + adjective, verb + verb. Productive ways of word formation for occasionalisms are affixation, basic composition, telescopy, conversion, reduplication, analogy, metaphor, onomatopoeia. According to the semantic principle of classification, it was found that the largest group of occasionalisms were those that give names to characters (anthroponyms, mythonyms), places (mythos), animals (zoonyms) and objects or phenomena (occasional nouns). Examining the translation of proper names and names in the cartoon series, it was concluded that their reproduction in the language into which we translate, is through transcription and transcription. Regarding the translation of occasional phenomena, objects, actions, etc., the most productive methods of translation are tracing, search for a functional replacement, omission of the occasional word or descriptive translation.<br>UA : Дипломна робота – 60 стор., 62 джерел.
Об’єкт дослідження: мовні інновації в мультиплікаційному серіалі “Gravity
Falls”.
Мета роботи: окреслення структурно-семантичних особливостей мовних
інновацій в анімаційному тексті та шляхів їх відтворення в перекладі на
матеріалі серіалу “Gravity Falls”
Теоретико-методологічні засади: суцільна вибірка при зборі мовних
інновацій для дослідження; контрастивний метод при зіставленні англомовних
оказіоналізмів та їх україномовних перекладів; трансформативний метод
дозволив проаналізувати переклади інновацій; метод кількісних підрахунків
допоміг зіставити кількісні підрахунки оказіоналізмів за різними критеріями
та за допомогою описового методу було здійснено аналіз пояснення труднощів
перекладу.
Отримані результати: у дослідженні було виявлено особливості кінотексту
та анімаційного тексту. Продуктивними способами словотворення для
оказіоналізмів є афіксація, основоскладання, телескопія, конверсія,
редуплікація, аналогія, метафора, ономатопея. За семантичним принципом
класифікування, було виявлено, що найбільшою групою оказіоналізмів стали
антропоніми та міфоніми. Дослідивши переклад власних назв та імен у
мультсеріалі, було зроблено висновок, що їх відтворення у мові, на яку
перекладаємо, відбувається за допомогою транскрибування та транскрипції.
Найпродуктивнішими способами в перекладі є калькування.
Books on the topic "Animated discourse"
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The quintessence of the animate and inanimate: A discourse on the Holy Dharma. KDK Publications, 1985.
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Grgic, Ana. Early Cinema, Modernity and Visual Culture. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463728300.
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At the end of the nineteenth century, the Balkans were animated by cultural movements and socio-political turmoil with the onset of the collapse of the empires. Around the same period, the proliferation of print media and the arrival of moving images gradually transformed urban life, and played an important role in the creation of national and regional cultures. Based on archival research that explores previously overlooked footage and early press materials, Early Cinema, Modernity and Visual Culture: The Imaginary of the Balkans is the first study on early cinema in the region from a transnational and cross-cultural perspective. This book investigates how the unique geopolitical positioning of the Balkan space and the multicultural identity of its communities influenced and shaped visual culture and the development of early cinema until World War I. It highlights how early moving images and foreign film productions contributed to the construction of Balkanist and semi-colonial discourses. Building on approaches such as ‘new cinema history’, ‘vernacular modernity’ and ‘polycentric multiculturalism’ to counter Eurocentric modernity paradigms and to reframe hierarchical relations between centres and peripheries, this monograph adopts an alternative methodology for interstitial spaces. Using the notion of the haptic, it examines the relationship between the new medium and regional visual culture. By doing so, it establishes new connections between moving image artefacts and print media, early film practitioners and intellectuals, the socio-cultural context and cultural responses to the new visual medium in the Balkan region.
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Hadfield, Andrew. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198789468.003.0001.
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There were few subjects that animated people in early modern Europe more than lying. The subject is endlessly represented and discussed in literature; treatises on rhetoric and courtiership; theology, philosophy, and jurisprudence; travel writing; pamphlets and news books; science and empirical observation; popular culture, especially books about strange, unexplained phenomena; and, of course, legal discourse. For many, lying could be controlled and limited even if not eradicated; for others, lying was a necessary element of a casuistical tradition, liars balancing complicated issues and short-term pragmatic considerations in the expectation of solving more problems than they caused through their deceit....
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Rohman, Carrie. Strange Prosthetics: Rachel Rosenthal’s Rats and Rings. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190604400.003.0005.
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Rosenthal’s book, Tatti Wattles: A Love Story, reveals her aesthetic practice itself to be animated by the discourse of species. The drawings in this text, especially, suggest that Rosenthal’s self-identification as an artist is mediated by animality. The images also efface the human yet “en-face” the rat, de-emphasizing human power and privilege. These images are also marked by Rosenthal’s “auto-graphy” as a mover or dancer, by an alimentary tropology highlighting the body, by the concept of mediation, and by the taming of human exceptionalism. The argument follows that all of these elements in Rosenthal’s view of her artistic practice, self, and process are mediated by animality, and they challenge our received notions of art as a centrally human practice.
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Holliday, Christopher. The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.001.0001.
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The Computer-Animated Film: Industry, Style and Genre is the first academic work to examine the genre identity of the computer-animated film, a global phenomenon of popular cinema that first emerged in the mid-1990s at the intersection of feature-length animated cinema and Computer-Generated Imagery (CGI). Widely credited for the revival of feature-length animated filmmaking within contemporary Hollywood, computer-animated films are today produced within a variety of national contexts and traditions. Covering thirty years of computer-animated film history, and analysing over 200 different examples, The Computer-Animated Film: Industry, Style and Genre argues that this international body of work constitutes a unique genre of mainstream cinema. It applies, for the very first time, genre theory to the landscape of contemporary digital animation, and identifies how computer-animated films can be distinguished in generic terms. This book therefore asks fundamental questions about the evolution of film genre theory within both animation and new media contexts. Informed by wider technological discourses and the status of animation as an industrial art form, The Computer-Animated Film: Industry, Style and Genre not only theorises computer-animated films through their formal properties, but connects elements of film style to animation practice and the computer-animated film’s unique production contexts.
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Rogers, Holly, and Jeremy Barham, eds. The Music and Sound of Experimental Film. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.001.0001.
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This book explores music- and sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives. Several themes run through the book, connecting with and significantly enlarging upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film. The contributors investigate repertoires and artists from Europe and the United States through the critical lenses of synchronicity and animated sound, interrelations of experimentation in image and sound, audiovisual synchresis and dissonance, experimental soundscape traditions, found-footage film, remediation of pre-existent music and sound, popular and queer sound cultures, and a diversity of radical technological and aesthetic tropes in film media traversing the work of early pioneers such as Walter Ruttmann and Len Lye, through the mid-century innovations of Norman McLaren, Stan Brakhage, Lis Rhodes, Kenneth Anger, Andy Warhol, and studio collectives in Poland, to latter-day experimentalists John Smith and Bill Morrison, as well as the contemporary practices of VJing.
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Secunda, Shai. The Talmud's Red Fence. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198856825.001.0001.
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Rituals governing menstruation were an important aspect of Babylonian Jewish life, and they took shape within the context of Sasanian Mesopotamia, where neighboring religious communities were similarly animated by menstruation and its assumed impurity. The Talmud’s Red Fence: Menstruation and Difference in Babylonian Judaism and its Sasanian Context examines how the Talmudic rules of menstruation functioned within the dynamic space of Sasanian Mesopotamia. It argues that difference and differentiation between pure and impure, women and men, gentile and Jew, and the Babylonian and Palestinian Talmuds drove the development and observance of the Talmudic discourse of menstrual impurity, which influences Jewish life to this day. The Talmud’s Red Fence exemplifies Irano-Talmudic research—the effort to understand the Babylonian Talmud within its Sasanian Iranian context. To this end, it reads the Talmud alongside relevant Zoroastrian, Mandaic, and Syriac Christian texts to shed light on this previously overlooked aspect of late antique religious life. The book shows how the Talmudic menstrual rituals developed in conversation with other Sasanian religious communities, especially with Zoroastrians, who had a developed a similarly legalistic discourse of menstrual purity. And it considers the challenges of using an androcentric text to reconstruct a feature of late antique Jewish life that is intimately connected to the female experience.
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Sarit, Kattan Gribetz. Time and Difference in Rabbinic Judaism. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691192857.001.0001.
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The rabbinic corpus begins with a question — “when?” — and is brimming with discussions about time and the relationship between people, God, and the hour. This book explores the rhythms of time that animated the rabbinic world of late antiquity, revealing how rabbis conceptualized time as a way of constructing difference between themselves and imperial Rome, Jews and Christians, men and women, and human and divine. Each chapter explores a unique aspect of rabbinic discourse on time. The book shows how the ancient rabbinic texts artfully subvert Roman imperialism by offering “rabbinic time” as an alternative to “Roman time.” It examines rabbinic discourse about the Sabbath, demonstrating how the weekly day of rest marked “Jewish time” from “Christian time.” The book looks at gendered daily rituals, showing how rabbis created “men's time” and “women's time” by mandating certain rituals for men and others for women. The book delves into rabbinic writings that reflect on how God spends time and how God's use of time relates to human beings, merging “divine time” with “human time.” Finally, it traces the legacies of rabbinic constructions of time in the medieval and modern periods. In doing so, the book sheds new light on the central role that time played in the construction of Jewish identity, subjectivity, and theology during this transformative period in the history of Judaism.
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Lodru and Venerable Larma Lodo. Quintessence of the Animate and Inanimate: A Discourse on the Holy Dharma. Kdk Pubns, 1985.
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Stavrakakis, Yannis. Populism and Hegemony. Edited by Cristóbal Rovira Kaltwasser, Paul Taggart, Paulina Ochoa Espejo, and Pierre Ostiguy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780198803560.013.26.
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How can theories of hegemony advance our understanding of populism? Against the background of Gramsci’s work, this chapter draws on Laclau, Mouffe, and other theoretical resources in order to illuminate what shapes and animates populist discourse, what overdetermines its hegemonic potential. We focus on populist articulatory practices as political interventions operating within a broader socio-symbolic as well as psycho-social terrain that both facilitates their formation and—at the same time—limits their scope. The chapter highlights thus the need to take into account the broader terrain of populism/anti-populism antagonisms in order to effectively identify and inquire into the political performance and hegemonic effects of populist movements. Finally, a series of empirical examples are used to illustrate the argument.
Book chapters on the topic "Animated discourse"
1
Heath, Christian, and Gillian Nicholls. "Animated Texts: Selective Renditions of News Stories." In Discourse, Tools and Reasoning. Springer Berlin Heidelberg, 1997. http://dx.doi.org/10.1007/978-3-662-03362-3_4.
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Yoshioka, Keiko. "Manual Introduction of Animate Referents in L2 Narrative Discourse." In Readings in Second Language Pedagogy and Second Language Acquisition. John Benjamins Publishing Company, 2006. http://dx.doi.org/10.1075/ubli.4.14yos.
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Ulusal, Dilek. "Feminist Discourse in Animated Films." In Advances in Media, Entertainment, and the Arts. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1774-1.ch012.
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Animation in cinema, which appeals not only to children but also adults, is one of the most important film genres that has existed since the birth of cinema. As in the other genres of cinema, feminist discourse formed through female characters is remarkable in animated cinema. This study aimed to present the feminist narratives in animated films, one of the most popular film genres today. In this context, computer-animated fantasy film Brave, regarded as one of the feminist films in animation cinema, was included in the scope of the study and was investigated in line with feminist film theory. The study revealed, as opposed to the powerless and passive woman image imposed by the patriarchal structure in society, the female characters in this film were represented as strong, brave, and free as designed by feminist ideology.
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Ulusal, Dilek. "Feminist Discourse in Animated Films." In Research Anthology on Feminist Studies and Gender Perceptions. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-4511-2.ch030.
Full textAbstract:
Animation in cinema, which appeals not only to children but also adults, is one of the most important film genres that has existed since the birth of cinema. As in the other genres of cinema, feminist discourse formed through female characters is remarkable in animated cinema. This study aimed to present the feminist narratives in animated films, one of the most popular film genres today. In this context, computer-animated fantasy film Brave, regarded as one of the feminist films in animation cinema, was included in the scope of the study and was investigated in line with feminist film theory. The study revealed, as opposed to the powerless and passive woman image imposed by the patriarchal structure in society, the female characters in this film were represented as strong, brave, and free as designed by feminist ideology.
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"Point of View in Picture Books and Animated Film Adaptations: Informing Critical Multimodal Comprehension and Composition Pedagogy." In Critical Multimodal Studies of Popular Discourse. Routledge, 2013. http://dx.doi.org/10.4324/9780203104286-21.
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Deligiorgi, Alexandra. "Education without Truth in Postmodern Perspectivism." In The Paideia Archive: Twentieth World Congress of Philosophy. Philosophy Documentation Center, 1998. http://dx.doi.org/10.5840/wcp20-paideia19986138.
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Poststructuralist relativism, following the Nietzschean critique of Western rationalism, denounces the quest for truth as a quest to legitimize various claims on the level of universal human value, by covering up the indirect coercion of their discourse or imagery. Using perspectivism as an argument against philosophical grounding of various patterns and schemes, post-modern thinkers, under the influence of Poststructuralist relativism, try to depart from the cognitivist tradition by transforming philosophical thought to an edifying discipline (Rorty) or learning (Lyotard) liberated from a theory of knowledge, and giving into a discourse of literary or prosy character. I argue that post-modern perspectivism and the individualistic or collectivistic logic which nurtures its scope can be transcended through construction of hyperperspectivistic prisms based on alogic of interrelation animated by the interdisciplinarian spirit prevailing in the field of modern science. This latter serves as the leading thread for the foundation of a new canonicity which, without losing its historical and cultural character, can make claims to truth and validity of general acceptance. The hyperspectivistic canonicity deriving from such an interrelational logic is in a position to animate a new educational model capable of overcoming both idealistic and romantic versions of Bildung.
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Lutomia, Anne Namatsi, Julia Bello-Bravo, Teresia Muthoni Njoroge, and Barry R. Pittendrigh. "Beyond Binaries of Scientific and Indigenous Knowledge Bean Storage Techniques." In Handbook of Research on Indigenous Knowledge and Bi-Culturalism in a Global Context. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-6061-6.ch004.
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Using a case study, this chapter illustrates how indigenous knowledge—and particularly female knowledge systems—can intersect with technology to disclose the limits of the conventional binary discourse of knowledge as either scientific or indigenous. Data here are drawn from research on legume market women in Ghana, who watched linguistically localized animated educational videos on cellphones while conducting business at their stalls. Using a framework of adult learning theory informed by feminist pedagogy, this chapter provides a multidisciplinary discussion around post-harvest loss prevention practices, specifically, but also how indigenous and scientific knowledge can interact to achieve learning.
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Lockhart, Ellen. "Giuditta Pasta and the History of Musical Electrification." In Animation, Plasticity, and Music in Italy, 1770-1830. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520284432.003.0006.
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Chapter 5 traces the theme of human plasticity into Italian aesthetic discourse and opera of the 1820s and 1830s. The echoes of the musical statues of the late Enlightenment can be heard in the reception of performers of Ottocento opera, especially the women. Figures like Maria Malibran and particularly Giuditta Pasta were construed as living statues or artificially animated interlopers from an ancient past. This quality of animatedness was described with a very new kind of imagery within music criticism, one that drew on well-known developments in the nascent scientific field later known as electrobiology.
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Tontini, Roberta. "Tianfang Sanzijing: Exchanges and Changes in China’s Reception of Islamic Law." In Islamic Thought in China. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474402279.003.0003.
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This chapter examines the implications of the legal discourse set forth by a Chinese primer for Muslims, the Tianfang Sanzijing (Three Character Classic of Islam), regarding notions of Islamic “legitimacy” and “orthodoxy.” Credited to the author of the Tianfang Dianli, Liu Zhi (1662-ca. 1736), and animated by that book’s purpose of reconciling Islamic law with the legal culture of the Qing, Liu’s concise primer on the main tenets of Islam spoke to a broader audience than its textual antecedent. This chapter argues that the Muslim Sanzijing set the ground for an independent development of Islamic law in the Chinese context, one that had the power to detach China from conventional Islamic jurisprudence outside its frontiers while remaining consistent with the overarching legal principles of Sunni Islam.
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Molavi, Michael. "Uncovering the Politics of Class Actions." In Collective Access to Justice. Policy Press, 2021. http://dx.doi.org/10.1332/policypress/9781529210002.003.0003.
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This chapter offers a deeper look into reforms in England and Wales. It describes the technical language of class actions as civil procedures that uncover the politics and economic interests involved in reform processes. It reviews debates over class action that have been divided along ideological lines, with conservative forces and corporate lobbies seeking to restrict the expansion and delimit the purview of the legal vehicle and progressive forces seeking to introduce and expand their scope. The chapter examines the redistributive feature of class actions and their effectiveness in vindicating the rights of harmed people against largely corporate misbehaviour on a mass scale. It discusses the political and economic interests that have animated discourse and reforms, including the ways in which such interests have perpetuated misconceptions and misinformation about class actions.
Conference papers on the topic "Animated discourse"
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Matsuyama, Yoichi, Arjun Bhardwaj, Ran Zhao, Oscar Romeo, Sushma Akoju, and Justine Cassell. "Socially-Aware Animated Intelligent Personal Assistant Agent." In Proceedings of the 17th Annual Meeting of the Special Interest Group on Discourse and Dialogue. Association for Computational Linguistics, 2016. http://dx.doi.org/10.18653/v1/w16-3628.
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Végső, Ágota. "The shifting role of animation in science dissemination." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.74.
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This research proposal aims to map animation possibilities in science communication focusing on public science dissemination. The research plan is helped by the experience of a collaboration with TED-Ed creating climate-related animated video lectures since 2020 in co-production with the Denmark-based Sci-Vi Initiative and The Animation Workshop/VIA UC. To fulfill this aim the research will deliver a State of the Art Report about the current usage of functional animation in research articles and create a systematic review about how the articles describe verbally and visually the used animated materials. The systematic review aims to point out the gaps about how overlooked the animation development process is. The creation of guiding principles can generate discourse between research scientists and animation professionals to establish a common language. This proposal wishes to continue to research on the shift in these articles from ‘whether animation facilitates learning’ to ‘which animation facilitates learning’ and bring it further by defining ‘how animation collaboration can be integrated into research education’. The spread of animation in education and public science dissemination has exploded due to the technical development of the last 10 years. It has been given a dominant role not only in classroom curricula but also in online education, reinforced by the 2020 COVID-19 pandemic. The theoretical study of the role of animation in learning has undergone incredible change over the past 20 years. The role of animation is shifting from an applied art to a collaborative partner in research dissemination. Practice-oriented research is planned to test and fine-tune the hypothesis through three case studies, that the integration of collaboration between animators and scientists to produce visual research dissemination would not just increase the level of public understanding but help scientists to structure the communication about their research process. The three case studies are designed to establish the integration of animation collaboration into research education. Case Study one is a plan of a crash course for researchers to learn about animated visual communication processes by preparing a plan of an animated explainer. Case Study two is a test ride on how a research institute provides animation collaboration opportunities to allow the researchers to communicate their research findings. Case Study three is a collaboration opportunity between animators and scientists to work with local communities explaining their research about Climate Change and creating visual dissemination using animation. Climate Change, part of the multidisciplinary science of environmental studies, allows research about a complex problem group. All three case studies are aimed to emphasize the creative and productive power of collaboration between visual storytellers and research scientists. The locations and collaboration partners are not yet fixed; exploratory experiments will be performed over the autumn of 2021 to establish the specificities of these data collection contexts.
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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.