Relevant bibliographies by topics / Animated feature film

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Animated feature film'

Author: Grafiati
Published: 24 April 2022

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Journal articles on the topic "Animated feature film"

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Frølunde, Lisbeth. "Animated war." Convergence: The International Journal of Research into New Media Technologies 18, no. 1 (2012): 93–103. http://dx.doi.org/10.1177/1354856511419918.

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In this feature article two DIY (do-it-yourself) film projects are examined from perspectives of resemiosis (transformations in meaning-making) and the textual production practices of contemporary multimedia authorship. These practices are considered as evolving in a complex media ecology. The two films analysed are Gzim Rewind (Sweden, 2011) by Knutte Wester, and In-World War (USA, expected 2011) by DJ Bad Vegan. The films are currently in production and involve many collaborators. Both films have themes of war and include film scenes that are ‘machinima’ – real-time animation made in 3D graphic environments – within live action film scenes. Machinima harnesses the possibilities of reappropriating digital software, game engines, and other tools available in digital media. War-related stories are resemiotized in the machinima film scenes as meanings are transformed in the story’s shift from a war game context to a film context. Thus machinima exemplifies how DIY multimedia storytellers explore new ways to tell and to ‘animate’ stories. The article contains four parts: an introduction to machinima and the notions of resemiosis and authorial practice; a presentation of DIY filmmaking as a practice that intertwines with new networked economics; an analysis of the two DIY film projects; and a discussion of implications including issues relating to IP (intellectual property) and copyrights when reappropriating digital assets from commercial media platforms.
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Ni Nyoman, Artini, Suwastini Ni Komang Arie, and Utami I.G.A. Lokita Purnamika. "Dory's Paradoxical Characterizations in Disney's Animated Feature Film Finding Dory (2016)." NOBEL: Journal of Literature and Language Teaching 11, no. 1 (2020): 27–37. http://dx.doi.org/10.15642/nobel.2020.11.1.27-37.

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The appearance of Dory, the forgetful blue tang fish, as the main character in Finding Dory (2016), one of Disney’s animated feature films, makes the film popular and has been nominated to 46 awards and won 16 awards. Previously, Dory was a helping character in the original film, Finding Nemo (2003). This study aimed to identify Dory’s characterizations by using textual analysis to find the uniqueness of Dory in the film. The analysis resulted in Dory’s paradoxical characterization where she was forgetful yet creative, reliant yet independent, and anxious yet confident. These paradoxes implied that this film portrays that negative characters can be developed into good characters. Therefore, this film can be used as media to develop characters in informal education.
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Ko, Fuji. "Esoteric Symbolism in Animated Film Storytelling." Chinese Semiotic Studies 14, no. 3 (2018): 347–70. http://dx.doi.org/10.1515/css-2018-0021.

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Abstract Esoteric symbolism of various kinds is dispersed in media for mass communication, and from the semiotic perspective, films, historically the primary medium for motion pictures, are the most powerful weapons for worldwide attraction. In this paper, two famous cartoon animated movies by Disney, Moana and Zootopia, are under analysis. For one thing, they use profound symbols in conveying a message to the audience, especially to children, and for another, their impact on society is wide due to the breadth and diversity of Disney-branded products. Thus, the present paper discusses these two movies using semiotic theories of signs, codes, and symbols, weaving them together to trace the system of communication between the text (here referring to the cinematic texts) and its audience, and especially how a heroine frame is built in the adventure genre. Interpreting the hidden meaning or occult symbolism requires a special kind of knowledge if we aim to convey the essence of the story to our children beyond merely knowing the plot of the film. The films Moana and Zootopia feature a number of interior or hidden elements such as metaphors and allegories, and illuminati or esoteric symbolism, even though they are animated ones.
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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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Frome, Jonathan. "Snow White: Critics and Criteria for the Animated Feature Film." Quarterly Review of Film and Video 30, no. 5 (2013): 462–73. http://dx.doi.org/10.1080/10509208.2011.585300.

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Skowera, Maciej. "Model baśni filmowej w złotym wieku wytwórni Walta Disneya (wraz z późniejszymi modyfikacjami)." Wielogłos, no. 1 (47) (July 2021): 151–81. http://dx.doi.org/10.4467/2084395xwi.21.007.13582.

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[Model of a Film Fairy Tale in the Disney Golden Age (with Later Modifications)] The article attempts to determine the constitutive elements of a model film fairy tale in the so-called Disney Golden Age and to examine how it was used in later works, both these created by the studio and those by unrelated creators. After preliminary remarks, the author analyses three feature-length animated films: Snow White and the Seven Dwarfs (1937), Cinderella (1950), and Sleeping Beauty (1959). In these works, as he notes, one can notice a set of features that make up the classic Disney model of a film fairy tale. Next, the author discusses modifications applied to the pattern during the Disney Renaissance and Revival. Finally, he cites examples of cultural texts polemical to this paradigm which point to the cultural vitality and heterogeneity of the studio’s films.
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Lönroth, Linn. "‘I don’t have a skull… Or bones’: Minor Characters in Disney Animation." Animation 16, no. 1-2 (2021): 36–50. http://dx.doi.org/10.1177/17468477211025666.

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This article explores the place of minor characters in Disney’s animated features. More specifically, it proposes that Disney’s minor characters mark an aesthetic rupture by breaking with the mode of hyperrealism that has come to be associated with the studio’s feature-length films. Drawing on character theory within literary studies and on research into animated film performance, the article suggests that the inherent ‘flatness’ of Disney’s minor characters and the ‘figurativeness’ of their performance styles contrasts with the characterizations and aesthetic style of the leading figures. The tendency of Disney’s minor characters to stretch and squash in an exaggerated fashion is also reminiscent of the flexible, plasmatic style of the studio’s early cartoons. In addition to exploring the aesthetic peculiarity of minor characters, this article also suggests that these figures play an important role in fleshing out the depicted fictional worlds of Disney’s movies. By drawing attention to alternative viewpoints and storylines, as well as to the broader narrative universe, minor characters add detail, nuance and complexity to the animated films in which they appear. Ultimately, this article proposes that these characters make the fairy-tale-like worlds of Disney animation more expansive and believable as fictional spaces.
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Telles, Jason Paolo. "Local Film Production in the Philippine Cordillera: Processes, Motivations, and Constraints." Plaridel 17, no. 2 (2020): 99–122. http://dx.doi.org/10.52518/2020.17.2-05tells.

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The local film production industries in the Philippine Cordillera region have been thriving since the 1980s. In Baguio City, Benguet, and Mountain Province, local filmmakers have already produced various cinematic forms such as documentary films, feature (short and full length) films, music videos, and animated films for various purposes. Utilizing political economy of media as a framework, this paper provides a preliminary exploration of the processes involved in the local production of those types of films in Baguio, Benguet, and Mountain Province. It also discusses the motivations and constraints that influence or inform the decisions and activities of local filmmakers in terms of content and production.
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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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Squires, Richard. "Doozy deconstructed: Paul Lynde’s voicing of Hanna Barbera’s animated villains." Animation Practice, Process & Production 9, no. 1 (2020): 117–30. http://dx.doi.org/10.1386/ap3_000020_1.

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‘Doozy deconstructed’ documents the research and animation production processes of artist-filmmaker Richard Squires’s debut feature Doozy. Part creative documentary, part essay film, the work utilizes a number of distinct techniques to interrogate the voice casting of American actor Paul Lynde as a series of Hanna Barbera villains in the late 1960s: an animated anti-hero Clovis ‐ designed by Squires and animated by Elroy Simmons ‐ who re-enacts alleged episodes in the life of the actor; a curious game show featuring specialist opinions from the worlds of animation, neurology, history and criminology; archival and documentary materials that reveal Lynde’s real-life circumstance. ‘Doozy deconstructed’ considers how sexuality is coded and performed by animated characters; Hollywood’s legacy of queer-coded villainy; the relationship between the actor’s real-life circumstance and his animated roles; Hanna Barbera’s motivations in casting the closeted actor and the experimental strategies Doozy employs to disseminate this research.
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Dissertations / Theses on the topic "Animated feature film"

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Davis, Amy Michele. "Disney's women : changes in depictions of femininity in Walt Disney's animated feature films, 1937-1999." Thesis, University College London (University of London), 2001. http://discovery.ucl.ac.uk/1382007/.

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The animated films of Walt Disney have played an important role in American culture. Most Americans, either during childhood or adulthood, have been exposed to at least some of them. The films themselves have, in some respects, reflected American society and culture. They may also, at least to some extent, have influenced them. As academic scholarship on the history of Hollywood film has grown, various aspects of Disney's influence and cultural position have likewise come to be the focus of study. In recent decades, also, there has been a continually greater interest in the role of women in American society and how that role is constructed. Uniting both these scholarly interests, this thesis analyses how Disney films depict femininity, and the ways in which such depictions correspond with those in the larger arena of Hollywood film. To make these issues more comprehensible, it describes the beginnings of animated film in the United States, together with the early career and works of Walt Disney. In order to cast light on the manner in which such portrayals have changed over time, the films examined are analysed in relation to three particular time periods: 193 7-67, 1967-89, and 1989-99. By examining the depictions to be found within individual films, and comparing these depictions both with one another and with selected live-action, mainstream Hollywood films of the same eras, a better understanding of the make-up of the Disney films as a body of work is achieved, and a corrective offered to some of the misconceptions of Disney to be found within American society in general.
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Zhao, Shi Qi Jennifer. "The use of accents in Disney animated feature films 2010-2015." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3953579.

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Allan, Robert Mumby. "Walt Disney and Europe : European influence on the animated feature films of Walt Disney." Thesis, University of Exeter, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.335467.

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Jacobs, Howard. "Animated enchantment : a psychoanalytic exploration of the enduring popularity of Disney's first feature films." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/6859.

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In this thesis I explore reasons for the widespread and enduring popularity of Disney’s first feature-length films (Snow White and the Seven Dwarfs (1937), Pinocchio (1940), Dumbo (1941) and Bambi (1942)). While acknowledging the historical, industrial and aesthetic features that have contributed to their success, my argument is that the continuing fascination of these films is in large part attributable to the manner in which they engage the spectator and evoke unconscious concerns about family cohesion, interpersonal conflicts and the death of parents. My investigation begins with an analysis of the films’ prefilmic provenance and narrative characteristics, placing an emphasis on the role of their narrative and extra-narrative components as embodying social, pedagogical and psychological meanings. In order to explore how the films engage with the spectator’s unconscious mind, I employ a number of Freudian and post-Freudian psychoanalytic concepts. The post-Freudian models include that of Jacques Lacan and those based on object-relations theory, particularly as developed by Melanie Klein and Donald Winnicott. These conceptual models are used to explore the content of the films, while that of Winnicott is also used to explore the visual fascination of the form Disney gave them. Although these films were designed for family viewing, and many of the more distressing aspects of their original stories were toned down in Disney’s adaptations, the films portray a remarkably dystopic version of family life, of childhood and of growing up. Moreover, psychoanalytic investigation suggests that concealed within the films’ attractive animation, music and humour, there lie recurrent ruminations on anxieties about death caused by germs (Snow White and the Seven Dwarfs) and old age (Pinocchio) and about culpability for injury (Dumbo) and death of mothers (Bambi). I conclude that the films reward the spectator by offering her/him the opportunity to engage with, fantasise about and work through the problems encountered by the films’ protagonists.
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Dupuy, Élodie Bérengère Gaël. "American foreign policy and representation of Germans and French in animated feature films since World War II the little mermaid's pact with the devil /." Connect to resource, 2006. http://hdl.handle.net/1811/24241.

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Thesis (Honors)--Ohio State University, 2006.<br>Title from first page of PDF file. Document formatted into pages: contains 58 p. Includes bibliographical references (p. 55-58). Available online via Ohio State University's Knowledge Bank.
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Hibbeler, Britney L. "Exploring Representations of Masculinity in Disney Animated Feature Films." 2009. http://hdl.handle.net/1969.1/ETD-TAMU-2009-08-7023.

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The purpose of this research project was to examine representations of male characters and masculinity in Disney animated feature films. Social learning theory, gender and hegemonic masculinity were used to theoretically frame this study. Twenty-two movies were examined; a total of ninety-one characters were included in the analysis. The movies included in the sample were produced between 1930 and 2007. This study sought to examine the dimensions of character descriptions, physical descriptions, socioeconomic status, sexuality, family structures and practices, and aggression as well as to understand how constructions of masculinity in Disney films changed over time. The results of the present study regarding character role indicate that good characters were most often middle aged, slender and fit but not muscular, single, royalty, and had community as family. They were most often heterosexual, equally likely to be romantically involved as to be not romantically involved, were sexual in nature, and were most often the victims of physical aggression. Evil characters were most often middle aged, slender and fit but not muscular, single, royalty, had community as family, and were well dressed. Evil characters were most likely to trap other characters and to steal. Neutral characters were most often old/elderly, overweight and not muscular, and were most often employed as inventors, royalty, and diamond miners. They were also most often single and to have community as family. The results regarding character centrality indicated that central characters were most often white, slender and fit but not muscular, single, middle aged, showed physical strength, and were well dressed compared to peripheral characters. Central characters were heterosexual, romantically involved, sexual in nature, engaged in hand to hand fighting, and engaged in social isolation and name calling. Peripheral characters were most often white, slender and fit but not muscular, single, and also more likely than central characters to be old/elderly. For the analysis of masculinity across time, it was found that the types of masculinity shown in Disney films did not match with hegemonic masculinity historically. Overall, the most common theme of masculinity that was observed throughout all decades was the fatherhood movement.
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Moura, João Garcia de Lima de. "Visual development as a tool for storytelling in animated feature films." Master's thesis, 2014. http://hdl.handle.net/10400.14/16460.

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This dissertation aims to study and deepen the understanding of Visual Development and the way it is used towards storytelling. In animated feature and short films every element is studied and created in order to help the viewer understand the story. We will study concepts like color and light to understand how they are used in order to create an emotional connection between the animation and the viewer. The animated film ‘Beauty and the Beast’ (1991) from Walt Disney studios will be the test subject for this dissertation and we will analyze its visual elements to understand the way they convey emotion and how those emotions connect to the evolution of the story. For the final project in computer animation, we propose to apply these findings towards a better understanding on the matter of Visual Development. The visual elements will be approached in the way they were idealized and studied in the preproduction stage and in the way that they were executed in the production. We will also establish their connection with the progression of storytelling.
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Ware, Karen. "Ultrakinetic features of anime texts : revisioning composition theory and exploring visual rhetoric pedagogy / by Karen O'Connell Ware." 2009. http://digital.library.louisville.edu/cgi-bin/showfile.exe?CISOROOT=/etd&CISOPTR=918&filename=919.pdf.

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Šváchová, Lenka. "Audiovizuální média na prvním stupni ZŠ." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-315840.

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The first part of the thesis aims to provide basic background information for teachers prior to teaching FAE. The second part provides reflections on practical classroom teaching. The thesis also broaches the problems and possibilities which occur when working with with the film medium in the classroom.
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Books on the topic "Animated feature film"

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Osmond, Andrew. 100 animated feature films. Palgrave Macmillan on behalf of the British Film Institute, 2010.

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100 animated feature films. Palgrave Macmillan on behalf of the British Film Institute, 2010.

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Gardner's guide to feature animation writing: The writer's road map. Garth Gardner Co., 2002.

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Film cartoons: A guide to 20th century American animated features and shorts. McFarland & Co., 1998.

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K, Heumann Joseph, ed. That's all folks?: Ecocritical readings of American animated features. University of Nebraska Press, 2011.

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Webb, Graham. The animated film encyclopedia: A complete guide to American shorts, features, and sequences, 1900-1979. McFarland & Co., 2000.

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Demystifying Disney: A history of Disney feature animation. Continuum, 2011.

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The animated film encyclopedia: A complete guide to American shorts, features, and sequences, 1900-1979. McFarland & Co., 2006.

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Webb, Graham. The animated film encyclopedia: A complete guide to American shorts, features and sequences 1900-1979. McFarland, 2000.

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Barrier, J. Michael. Hollywood Cartoons: American Animation In Its Golden Age. Oxford University Press, 1999.

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Book chapters on the topic "Animated feature film"

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Bendazzi, Giannalberto. "The First Feature Length Animated Film in History." In Twice the First. CRC Press, 2017. http://dx.doi.org/10.1201/9781315149004-6.

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Bendazzi, Giannalberto. "Peludópolis: The First Animated Feature Length Film with Sound." In Twice the First. CRC Press, 2017. http://dx.doi.org/10.1201/9781315149004-14.

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Ardolino, Alessandro, Remi Arnaud, Paula Berinstein, et al. "A Uniform Geometry Workflow for Cutscenes and Animated Feature Films." In Game Development Tool Essentials. Apress, 2014. http://dx.doi.org/10.1007/978-1-4302-6701-0_5.

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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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SIMON, M. "Woody Woodman, Animated Feature Film Storyboard Artist." In Storyboards. Elsevier, 2007. http://dx.doi.org/10.1016/b978-0-240-80805-5.50065-6.

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"Woody Woodman, Animated Feature Film Storyboard Artist." In Storyboards: Motion In Art. Routledge, 2012. http://dx.doi.org/10.4324/9780080465951-67.

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Holliday, Christopher. "Notes on a Luxo World." In The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.003.0004.

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This chapter advances the term ‘Luxo’ as a useful descriptor that awards definition to the unique fictional worlds of the computer-animated feature film. The main body of writing in the initial stages outlines how the Luxo worlds of computer-animated films intersect with (and depart from) other forms of animation and digital world construction, situating computer-animated films against scholarship dealing with world creation. Emphasis is paid to the multiplicity of cinema’s ‘computer-animated’ worlds across popular Hollywood cinema, drawing in comparisons with Rotoscoping and the current effects industry via the virtual backlot. A significant discrimination made here is the idea that a Luxo world operates as a computer-animated film fiction achieved through the act of production, not as a fictional world crafted separately in post-production. Animatedness becomes a term that is developed throughout the chapter, invoked to promote the specificities of this new digital cinema and the richness of its film worlds. By exploring the particular “animatedness” of a Luxo world against other types and traditions of animated fictions, this chapter distinguishes the ways in which technology is harnessed through the spectacle of the digital multitude and how computer-animated films operate in dialogue with the formal style of “open world” videogames.
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Bendazzi, Giannalberto. "The First Italian Animated Feature Film and Its Producer *." In A Moving Subject. CRC Press, 2020. http://dx.doi.org/10.1201/9781003098973-3.

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Woller, Megan. "Naiveté and the Depiction of Arthur’s Childhood in Disney’s The Sword in the Stone." In From Camelot to Spamalot. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197511022.003.0004.

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This chapter examines Disney’s animated feature film The Sword in the Stone (1963), based on T. H. White’s account of the future king’s childhood. The final film features six songs written by Robert B. Sherman and Richard M. Sherman, designed to add to the tone of Disney’s adaptation as a fantasy for children. This chapter considers how the Disney version alters the characters depicted in White’s book. Unsurprisingly, the animated film abridges White’s story for its seventy-nine-minute runtime. Despite the numerous changes, The Sword in the Stone contributes to the musical retellings of T. H. White’s interpretation that enter into popular culture in the 1960s.
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Murray, Jonathan. "Memory Drawn into the Present: Waltz with Bashir and Animated Documentary." In Drawn from Life. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748694112.003.0011.

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The international success of Ari Folman’s Waltz with Bashir (2008) saw this work routinely defined and discussed as the first feature-length example of animated documentary cinema. This chapter analyses Folman’s film and the multidisciplinary body of scholarly response that it has provoked. Much response to Folman’s film evaluates it in isolation and speculates more ambitiously on animated documentary’s possible aesthetic, conceptual and ethical strengths and weaknesses as a distinctive mode of audio-visual practice. This chapter’s analysis of Folman’s film likewise identifies defining formal and thematic characteristics that drive the contemporary turn towards animated documentary filmmaking more generally. This chapter also identifies several main evolving concepts and debates that characterise animated documentary scholarship as a distinctive subset of Animation Studies and Film Studies. Finally, this chapter also identifies other academic disciplines – such as Memory Studies and Trauma Studies – within which significant discussion of animated documentary is also taking place.
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Conference papers on the topic "Animated feature film"

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Sharma, Rajesh, and Brian Wherry. "Software Development for Disney Animated Feature Film Production." In 2009 Agile Conference (AGILE). IEEE, 2009. http://dx.doi.org/10.1109/agile.2009.60.

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Deng, Weiwen, Yong Lee, Robert Nisonger, and Yuen-kwok Chin. "An Integrated Environment for Vehicle Dynamics Controls and Integration." In ASME 2000 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2000. http://dx.doi.org/10.1115/imece2000-2353.

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Abstract This paper provides an overview of VehSim, a PC Windows-based vehicle simulation software for vehicle dynamics, controls and integration. The function and features of VehSim are discussed in general. With its high fidelity, flexibility, portability and user-friendly interfaces, VehSim provides an integrated development environment for engineers to conduct vehicle, especially chassis/driveline modeling, simulation and control algorithm design and to build quick software prototypes to accelerate chassis/driveline controls and integration development. VehSim’s structure, which includes file system, database structure and user graphic interfaces are described. Through its modularized and hierarchical structure, VehSim features great flexibility for engineers to customize their own project needs by developing their own control algorithms or incorporating supplier provided subsystem models and control modules into vehicle dynamics. With the compatibility of VehSim to real-time environment, engineers are able to perform both quick off-line simulation and on-line in-vehicle validation for algorithm development. VehSim also provides built-in user-friendly model preprocessors and postprocessors for engineers to easily build vehicle and/or subsystem models, adjust numerical computation parameters and process the simulation results on line. A 3D solid model based motion animator is also integrated in VehSim for on-line visual processing of simulation results.
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