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Journal articles on the topic 'Animated feature film'
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1
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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Moon, Ji-ae, and Tak-Hoon Kim. "A Cast Study of Strategies for Animated Feature Film Production between China and Korea." Cartoon and Animation Studies 57 (December 31, 2019): 81–108. http://dx.doi.org/10.7230/koscas.2019.57.081.
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Shan, Feng, and Youya Wang. "Animation Design Based on 3D Visual Communication Technology." Scientific Programming 2022 (January 5, 2022): 1–11. http://dx.doi.org/10.1155/2022/6461538.
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The depth synthesis of image texture is neglected in the current image visual communication technology, which leads to the poor visual effect. Therefore, the design method of film and TV animation based on 3D visual communication technology is proposed. Collect film and television animation videos through 3D visual communication content production, server processing, and client processing. Through stitching, projection mapping, and animation video image frame texture synthesis, 3D vision conveys animation video image projection. In order to ensure the continuous variation of scaling factors between adjacent triangles of animation and video images, the scaling factor field is constructed. Deep learning is used to extract the deep features and to reconstruct the multiframe animated and animated video images based on visual communication. Based on this, the frame feature of video image under gray projection is identified and extracted, and the animation design based on 3D visual communication technology is completed. Experimental results show that the proposed method can enhance the visual transmission of animation video images significantly and can achieve high-precision reconstruction of video images in a short time.
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Ruiz, Paula Arantzazu. "The Van Gogh Enigma: Re-Mythifications of the Artist’s Genius in "Loving Vincent" and "At Eternity’s Gate"." Comparative Cinema 9, no. 16 (2021): 93–110. http://dx.doi.org/10.31009/cc.2021.v9.i16.06.
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Few painters have had as many films made about their lives as Vincent van Gogh. The interest in his story is due in part to the mystery surrounding his last days, in Arles, France. It is thus no coincidence that all the biopics about the Dutch painter focus on this stage of his life, including the recent works Loving Vincent (2017), an animated film by Dorota Kobiela and Hugh Welchman, and Julian Schnabel’s At Eternity’s Gate (2018). A comparative study of these two feature films, representing two different aesthetic and dramatic approaches, is conducted in pursuit of the two objectives of this paper: to identify the conventions of the subgenre of the artist biopic; and consequently, to analyze how both films reflect on the artist’s creative practice in order to determine whether the film camera is in fact capable of capturing the brushstroke and the mystique of the genius.
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Charisse, Paul, and Alex Counsell. "Alienating the Familiar with CGI: A Recipe for Making a Full CGI Art House Animated Feature." Leonardo 51, no. 4 (2018): 368–74. http://dx.doi.org/10.1162/leon_a_01645.
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This paper is an exploration of the processes used and ideas behind an animated full CGI feature film project that attempts to reach blockbuster production values, while retaining Art House sensibilities. It examines methods used to achieve these production values in an academic production environment and ways costs can be minimized while high quality levels are retained. It also examines the film’s status as an Art House project, by comparing its narrative design and use of symbolism to existing works of Art House cinema.
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Rochester, Katherine. "Visual Music and Kinetic Ornaments." Feminist Media Histories 7, no. 1 (2021): 115–46. http://dx.doi.org/10.1525/fmh.2021.7.1.115.
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This essay traces the theorization of interwar animation through period analogies with painting and dance, paying special attention to the valorization of concepts such as dematerialization and embodiment, which metaphors of visual music and physical kinesthesis were used to promote. Beginning in 1919, and exemplified by her feature-length film Die Abenteuer des Prinzen Achmed (1926), Lotte Reiniger directed numerous silhouette films animated in an ornate style that embraced decorative materiality. This aesthetic set her in uneasy relation to the avant-garde, whose strenuous attempts to distance abstraction from ornament took the form of absolute film, and were screened together at the Absolute film Matinee of 1925. However, their claims for aesthetic integrity were staked on territory these artists largely had in common. By adopting a feminist approach that examines networks of collaboration, publication, and artistic production in Weimar Berlin, this essay reveals Reiniger as an early proponent of haptic cinema in interwar Europe and one of animation's earliest and most perceptive theorists.
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Park, Hunjin. "A Study on Animation Style of Full 3d Animated Feature Film for Full Animation and Limited." Korean Society of Culture and Convergence 39, no. 6 (2017): 777–96. http://dx.doi.org/10.33645/cnc.2017.12.39.6.777.
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Chmelyk, Iryna. "Loving Vincent: Online Exhibition as an Innovative Form of Presenting Visual Art in Ukraine." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 145–52. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235242.
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The article considers the online exhibition and art events Loving Vincent as the relevant forms of exhibition of art works, the main idea of which is to promote the work of Vincent van Gogh and the art of the animated films in Ukraine. The aim of the paper isto highlight the importance of the latest forms of visual art representation in Ukraine on the example of the online exhibition Loving Vincent and a number ofrelated events dedicated to the world’s first full-length eponymous animated feature film about the life of Vincent van Gogh. The role of Ukrainian artists in the process of working on the film is also highlighted. The methodology of work includes a set of culturological and art research methods and approaches. In particular, empirical observations, analysis of the source base and video materials contribute to the comprehensive coverage of the process of organization and realization of the Loving Vincent exhibition. The interviews with the organizers, screenwriters, and artists helped to get a deep insight into the specifics of working on the film. Descriptive and analytical methods contributed to the formation of a comprehensive view regarding the innovative forms of representation of visual artworks in Ukraine. On the basis of factual material, a synthetic comprehension of problems and prospects of development ofsuch newest exposition forms as virtual excursions and online exhibitions were formed. Emphasis is also made on the participation of Ukrainian artists in the largescale international art projects that leads to the creation and development of new opportunities of the representation of contemporary art
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Nagtegaal, Jennifer. "Animation and Affirmative Aging in Ignacio Ferreras’s Arrugas." Revista Canadiense de Estudios Hispánicos 44, no. 2 (2021): 437–62. http://dx.doi.org/10.18192/rceh.v44i2.6132.
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This paper enters the ongoing debate on the portrayal of old age in Ignacio Ferreras’s animated feature Arrugas (Spain, 2011). My approach to a new understanding of Ferreras’s film is two-fold: first, I engage with the often-overlooked animation to ask how it too contributes to the cinematic vision of later life; second, I aim to liberate Arrugas from the predominant binary discourses of successful aging/aging-as-decline often employed to understand the film. Drawing on theories of animation and aging, I highlight how Arrugas reflects later life as more complex, a notion central to Linn Sandberg’s theory of affirmative old age.
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Rahayu, Mundi, Irwan Abdullah, and Wening Udasmoro. "PERGESERAN NILAI-NILAI ISLAM DALAM CERITA ALADDIN: PERBANDINGAN “ARABIAN NIGHTS” DAN FILM ANIMASI DISNEY." El-HARAKAH (TERAKREDITASI) 17, no. 1 (2015): 52. http://dx.doi.org/10.18860/el.v17i1.3085.
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<p class="Abstrak"><em>This study compares the folktale “The Story of Aladdin and the Wonderful Lamp” from the Arabian Nights, and the animated film produced by Walt Disney Feature Animation under the title “Aladdin” (1992). </em><em>The story of Disney’s animated film “</em><em>Aladdin</em><em>” is based on the </em><em>“The Story of Aladdin and the Wonderful Lamp.” </em><em> The comparison of the two is focused on the aspect of Islamic values, its shifts and changes in the animated film </em><em>Aladdin. The study applies Fairclough’s Critical Discourse Analysis, by applying the three stages of analysis. The first level is micro level, on the language practice. In </em><em>the </em><em>second level, mezo level, </em><em>discusses the </em><em>discourse practice </em><em>that </em><em>covers the intertextuality</em><em> that explore the production and consumption of text </em><em>as the reference in delivering the ideas. In </em><em>the </em><em>third level, macro level, it interprets the social </em><em>context of </em><em> particular </em><em>events.</em><em> </em><em>The finding shows that there is a change of discourse of Islamic value which is strongly expressed in the origiinal Aladdin story of </em><em>“Arabian Nights</em><em>” especiallly the important role of family. On the other hand, in the animated film Aladdin, remove the discourse of Islamic value and change it into the discourse of freedom. </em></p>
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Ford, Akkadia. "Duration, Compression, Extension and Distortion of Time in Contemporary Transgender Cinema." Somatechnics 9, no. 1 (2019): 58–83. http://dx.doi.org/10.3366/soma.2019.0265.
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Cinema provides ‘privileged access’ ( Zubrycki 2011 ) into trans lives, recording and revealing private life experiences and moments that might never be seen, nor heard and after the time had passed, only present in memory and body for the individuals involved. Film, a temporal medium, creates theoretical issues, both in the presentation and representation of the trans body and for audiences in viewing the images. Specific narrative, stylistic and editing techniques including temporal disjunctions, may also give audiences a distorted view of trans bodily narratives that encompass a lifetime. Twenty first century cinema is simultaneously creating and erasing the somatechnical potentialities of trans. This article will explore temporal techniques in relation to recent trans cinema, comparing how three different filmmakers handle trans narratives. Drawing upon recent films including the Trans New Wave ( Ford 2014 , 2016a , 2016b ), such as the experimental animated autoethnographic short film Change Over Time (Ewan Duarte, United States, 2013), in tandem with the feature film 52 Tuesdays (Sophia Hyde, Australia, 2013), I will analyse the films as texts which show how filmmakers utilise temporality as a narrative and stylistic technique in cinematic trans narratives. These are texts where cinematic technologies converge with trans embodiment in ways that are constitutive of participants and audiences' understanding of trans lives. This analysis will be contrasted with the use of temporal displacement as a cinematic trope of negative affect, disembodiment and societal disjunction in the feature film Predestination (The Spierig Brothers, Australia, 2014), providing a further basis for scholarly critique of cinematic somatechnics in relation to the trans body.
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Brodesco, Alberto. "I've Got you under my Skin: Narratives of the Inner Body in Cinema and Television." Nuncius 26, no. 1 (2011): 201–21. http://dx.doi.org/10.1163/182539111x569829.
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Abstract1966 Twentieth Century Fox big-budget film Fantastic Voyage represents a corner stone around which a whole audiovisual trope was built. The topic of the voyage of shrunken people sent to explore the inner space of the body was adopted since then by many feature films, television series and animated TV series, for the aims of education, entertainment or edutainment. While the exploration of the body (and, often, the meeting with its inhabitants) gives space to just a few possibilities of plot development, it leaves open ground for metaphors. Starting from the hypotext, this article analyzes a sample of audiovisuals to try to summarize a taxonomy of narrative schemes and the different metaphors (and their uses) that our body can host.
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Carr, Joi. "Crafting Longevity." Pacific Coast Philology 56, no. 1 (2021): 60–77. http://dx.doi.org/10.5325/pacicoasphil.56.1.0060.
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This intimate conversation with Emmy Award winner and Tony Award nominee Keith David traverses his expansive career and the invaluable lessons he has gleaned along the way: performance craftwork, author’s intent, and finding the humanity in each character toward exploring the human condition. At the heart of his success is thoughtful artistry, which has helped him craft longevity in the television and film industry. Keith David’s perspective on the craft is deeply rooted in the text and consists in “finding a kind of engaged objectivity”—his desire and ability to tap into the tone of each story he encounters. This interview explores David’s remarkable credits from his iconic ensemble performance in Oliver Stone’s Platoon to his more recent critically acclaimed lead role in OWN’s Greenleaf, from his numerous television, feature film, and theatrical appearances, to his award-winning documentaries, animated features, video gaming, and commercials.
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van Leeuwen, Theo. "The semiotics of movement and mobility." Multimodality & Society 1, no. 1 (2021): 97–118. http://dx.doi.org/10.1177/2634979521992733.
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The paper presents a framework for the distinctive feature analysis of movement and mobility in texts, performances and semiotic artefacts, showing its applicability to the analysis of meaning-making in dance, music, animated and live action film and video, and product design. Emphasis is placed on the role of movement and mobility in identity design. Identity design is realized by the style in which movements are performed and can be analysed in terms of the gradable distinctive features present in any movement – direction, expansiveness, velocity, force, angularity, fluidity, directedness and regularity. The paper includes a historical dimension, focusing on the development of movement and mobility as semiotic resources, and argues for the pioneering role of modernist artists in this development.
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Halim, Ethannael, Jonathan Russel, and Kevin Nathanael. "Analysis on Laika’s Puppets in Kubo and the Two Strings: A Stop-motion Animated Feature." IMOVICCON Conference Proceeding 2, no. 1 (2021): 46–53. http://dx.doi.org/10.37312/imoviccon.v2i1.35.
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Stop-motion is one of the highly regarded animation/film techniques in the industry. Although infamous for its long production time, stop-motion can take advantage of literally every other artform and technology. But, one medium that stop-motion never strays far from is puppetry. This is because puppets can easily be made to resemble living beings. Also, they are reusable. In this digital age, efficiency and effectiveness became the top priorities in any form of production. In this context, puppet animation (puppetry in stop-motion) is considered too pricey and not ideal for the rapid competition happening throughout the industry. This is why the genre started to fade in the ‘90s. Fortunately, a western animation studio bearing the name Laika brought puppet animation back to life, making the genre popular again. Their works reached the hearts of their audience through smooth animation, breathtaking visuals, and cool-looking puppets. This may seem like a mere pipe dream for their predecessors, but Laika has done it with the help of cutting-edge technology — making the production process way cleaner than ever. As time keeps on flowing, innovations and new ideas are needed to sustain creativity and value in the industry. Therefore, this journal is a study to prove how relevant Laika’s innovative puppets are in the stop-motion world. All data used in this journal is acquired through literary studies across the online web.
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Stsiazhko, Nataliia G. "The Image of the Holocaust in the Television Documentary Drama Trilogy “The Chronicle of the Minsk Ghetto”." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 56–98. http://dx.doi.org/10.21638/spbu15.2021.104.
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The prevailing view in modern film studies is that television documentary drama (docudrama) is either a hybrid, a synthesis, or a documentary film genre. The author of the article hypothesizes that docudrama has long exceeded the boundaries of documentary films and asserted its own place in the system of screen arts on par with feature films, documentaries and animated films. The author claims that docudrama is a unique phenomenon generated by television and it combines all the modern innovations in cinema. Docudrama allows for the text information to be reformatted into an audio-visual experience in an emotional, spectacular and accurate way, therefore possessing the inherent features of other screen arts. Like other forms of screen arts, it forms an image capable of evoking certain emotions and makes the viewer think and draw their own conclusions. The combination of artefacts and quotes adds volume and artistic value to the image. The article explores the genesis and development of television docudrama and gives it a definition based on key characteristics. It shows how films of various genres can be created within docudrama, proving that docudrama is not a subgenre within the genre of documentary film but a new independent branch of screen arts. The author highlights that the reason for the popularity of docudrama lies in the fact that the historical and informative material, which can be interesting and useful to the viewer, is presented in a spectacular and lightweight form. This idea is supported through the analysis of the documentary drama trilogy The Chronicle of the Minsk Ghetto, in which an image of the Holocaust, the unspeakable tragedy of the Jews during the Second World War, is shown.
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Formenti, Cristina. "When imaginary cartoon worlds get the "documentary look"." Alphaville: Journal of Film and Screen Media, no. 8 (February 9, 2015): 41–59. http://dx.doi.org/10.33178/alpha.8.03.
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Due to their clearly imaginary narratives and to the presence of animation itself, animated mockumentaries make the viewer aware of their fictionality from the start. Therefore, these animated works constitute the clearest example of mockumentary being not a genre, but rather a narrative style capable of transcending the boundaries of genres, media, and individual poetics. Through the analysis of Ash Brannon and Chris Buck’s feature film, Surf’s Up (2007), and of The Simpsons’ episodes “Behind the Laughter” (Mark Kirkland, 2000) and “Springfield Up” (Chuck Sheetz, 2007), in this article I argue that the mockumentary style does not consist solely in the adoption of documentary aesthetics and structures, but also in the deployment of elements (such as booms left “accidentally” in view, glances in the direction of the camera and so on) that I will call fictionality clues. I will demonstrate that, whereas in hoaxes or credible live-action mockumentaries the presence of these hints might be dismissed as due to the need of alerting the viewer to the film’s effective ontological status, in the case of animated mockumentaries they would be redundant, if used just for this purpose. Thus their occurrence in these works suggests that they are central to the mockumentary as a form.
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Koverienė, Indrė, and Kristina Čeidaitė. "Lip Synchrony of Rounded and Protruded Vowels and Diphthongs in the Lithuanian-Dubbed Animated Film “Cloudy with a Chance of Meatballs 2”." Respectus Philologicus, no. 38(43) (October 19, 2020): 214–29. http://dx.doi.org/10.15388/respectus.2020.38.43.69.
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In this article, the problems of dubbing, especially related to lip synchrony as one of the most challenging aspects of audiovisual translation, are scrutinised. Contrarily to the traditional focus on bilabials and open vowels, the object of this research is lip synchrony of both rounded and protruded vowels and diphthongs since lip rounding is a visibly marked feature, which cannot be neglected especially in close-ups. The study aims at determining the inaccuracies in lip synchrony of the mentioned phonemic group in the dubbed animated feature film Cloudy with a Chance of Meatballs 2 from English to Lithuanian. Qualitative and quantitative analysis is carried out by employing a comparative method. The research methodology is based on the theoretical insights and assumptions provided by Frederic Chaume (2004, 2006, 2012), Richard Barsam & Dave Monahan (2010), and Indrė Koverienė (2015). The research findings demonstrate the main issues of lip synchrony a translator might face while adapting a piece of audiovisual material for the target language audience. Also, it provides insights into the quality of the overall translation of the chosen film.
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Hetherington, Richard, and Rachel McRae. "Make-Believing Animated Films Featuring Digital Humans: A Qualitative Inquiry Using Online Sources." Animation 12, no. 2 (2017): 156–73. http://dx.doi.org/10.1177/1746847717710738.
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A qualitative inquiry of reviews of films featuring digital humanlike characters was performed by sampling user comments from three online reviewer aggregator sites: the Internet Movie Database, Rotten Tomatoes and Metacritic. The films chosen for analysis were: Final Fantasy: The Spirits Within (dir. Hironobu Sakaguchi and Motonori Sakakibara, 2001), The Polar Express (dir. Robert Zemeckis, 2004), and Beowulf (dir. Robert Zemeckis, 2007), all produced using CGI animation, together with A Scanner Darkly (dir. Richard Linklater, 2006) whose visuals are depicted by rotoscoping using Bob Sabiston’s Rotoshop software. The authors’ analysis identified individual differences in the viewing experience, particularly in relation to the uncertain ontology of the humanlike characters created using CGI (CGI-Humans). They found examples of reviews indicating an inability to distinguish between real and CGI-Human actors, observations of characters transiently exhibiting realism before returning to their artifice, and of characters being viewed as eerie (analogous to the uncanny valley), thus illustrating a complex and dynamic response to this phenomenon. In some situations, character uncanniness was related to the presence of an atypical feature such as movement of the eyes. Whilst specifically for Beowulf, perceptions became more problematic when there was familiarity with the actor playing the CGI-Human character, with some reviewers describing difficulties in categorizing the character as either real or animated. CGI-Human performances were also characterized by a lack of, or inappropriate, social interaction. Online reviewers did not perceive characters depicted using Rotoshop (Rotoshop-Humans) as eerie; rotoscoping was found to preserve, and possibly enhance, the natural social interactions between actors recorded from the live-action film which was used as the source material for the animation. The authors’ inquiry also identified user motivations for viewing these films and the importance placed by reviewers on the form of display when viewing the CGI films. They situate their interpretation of these findings in relation to Walton’s make-believe theory ( Mimesis as Make-Believe: On the Foundations of the Representational Arts, 1990).
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Pronkevich, Oleksandr. "Is Don Quixote a Symbol of Resistance or of Totalitarianism?" Miscellanea Posttotalitariana Wratislaviensia 5 (June 12, 2017): 25–37. http://dx.doi.org/10.19195/2353-8546.1(5).3.
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This paper focuses on analyzing visual representations of Don Quixote in Central and Eastern European films produced during the Soviet and post-Soviet periods: the animated cartoon Don Kihote created in 1961 by Croatian director Vlado Kristl: a TV episode, Don Quixote and His Bodyguard, by Viktor Shenderovich 1995; and the feature film Don Quixote Returns by Vasiliy Livanov 1997. The image of Don Quixote is interpreted in the paper as a cultural myth used as a symbol both of resistance and of totalitarianism. This ambivalence of the quixotic myth is studied through the prism of trauma theory. The approach suggested by the author of the paper explains the popularity of Cervantes’s character in totalitarian and post-totalitarian culture and reveals the complicated dynamics of liberation from slavery and the search for freedom in Central and Eastern Europe.
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Pagès, Maria. "The shift to national Catholicism and the Falange in the Second World War: The case of Garbancito de la Mancha (1945)." Journal of Visual Political Communication 6, no. 1 (2020): 81–106. http://dx.doi.org/10.1386/jvpc_00004_1.
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This article analyses the political undercurrents running through the first European hand-drawn animated feature-length film, which was made in Barcelona in 1945. It was titled Garbancito de la Mancha and will be analysed at discursive, iconic and visual levels. The goal is to establish whether political events during the Second World War years as well as the early years (1939‐45) of the Franco dictatorship are reflected in the film. After the Spanish Civil War (1936‐39), two main political parties struggled to control the nation. One of them was the Spanish version of fascism (the Falange); the other was the Catholic Party (National-Catholicism). The end of the Second World War was to mark a showdown between the two parties for political hegemony. The outcome set the tone for the regime until its demise in 1975 with Franco’s death. Given that the film was made by key political figures of the period, the ideology of the film will be revealed by visualizing the myths and values for the period spanning from 1939 to 1951 when Spain pursued autarky (self-sufficiency).
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Kim, Minhyoung, and Sung-do Kim. "Anthropological-semiotics of rhythm and animating modernity in China: A rhythmanalysis of Princess Iron Fan." Semiotica 2016, no. 210 (2016): 1–34. http://dx.doi.org/10.1515/sem-2016-0023.
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AbstractThis article explores the contribution made by anthropological-semiotics of rhythm when it comes to comprehending visual modernity of East Asia, with a particular focus on China’s experience. From the humanistic foundations of rhythm including cultural anthropological perspectives, traditions of rhythmanalysis, and semiotic thinking of rhythm, this paper demonstrates the construction of a semiotic square of rhythm along with a topology of rhythmia; then provides a case study of rhythmanalysis surrounding the emergence of the first Chinese feature animated film entitled Princess Iron Fan; and ultimately presents the potential of establishing the multiplicity of modernities based on the transdisciplinary examination of rhythm in visual cultures of East Asia.
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Kim, Gum Young, and Ingyoo Jang. "Changes in Visualization Methods for Animated Feature Film Adaptations of Comic Books – Focused on 〈Spider-Man:Into the Spider-Verse〉." Cartoon and Animation Studies 60 (September 30, 2020): 99–130. http://dx.doi.org/10.7230/koscas.2020.60.099.
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Husniyah, Nur Iftitahul. "Tantangan Globalisasi Pendidikan Islam (Study Komparasi Budaya Pop di Indonesia dan Malaysia)." AKADEMIKA 11, no. 1 (2017): 78–91. http://dx.doi.org/10.30736/akademika.v11i1.46.
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Popular culture broadcast from electronic media in this paper is aimed at introdution children to the importance of good moral messages in addition to being a medium of Islamic religious education transfer in the matters of worship or moral and social values. Animated Upin Ipin film produced in Malaysia, the business management, creative ideas, and quality of the image could deliver the Upin & Ipin film in getting some awards. In 2008, Upin & Ipin was awarded International Achievement Appreciation Award, Best of Media Entertainment Category-Merit Award (MSC Malaysia APICTA 2008), and President's Award (Malaysia-Canada Business Council Business Excellence 2008). Meanwhile, in 2009, it was awarded Winner of MSC-Malaysia Management Game 2009, IT Frank 2009 (Global Emerging Innovative Enterpreneur), First 3D Animation Feature Film (Malaysia Book of Records), Viewer Choice Award (Kids Film Festival), Anugerah Khas Juri and Anugerah Box Office (Malaysia Film Festival), Best on Screen Chemistry Awards (Shout Awards), and Best Editing and Best Music (MSC Creative Digital Contents Conference). These awards have once again marked the high quality of Upin & Ipin series and Upin & Ipin technology innovation in Malaysia.
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Ciszewska, Ewa. "Who Benefits from the Past? The Process of Cultural Heritage Management in the Field of Animation in Poland (The Case of the Se-Ma-For Film Studio in Łódź)." Animation 14, no. 2 (2019): 117–31. http://dx.doi.org/10.1177/1746847719857837.
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With a view to studying the social and institutional practices related to the post-1989 approaches to film animation under socialism, this article addresses the transformation of the state-owned Se-Ma-For Film Studio in Łódź and the private company that later took over its name (the Se-Ma-For Film Company). The chronological scope of the study extends from 1989 to 2016; however, to identify the impact of the 1989 watershed on the animation market in Poland, modalities of operation of animation film studios in state-socialism era are presented. This article addresses the question of which heritage communities work with the memory of the animated film studio in Łódź, as well as the issue of the ways in which cultural heritage management processes have taken place. The article makes the case that the approving attitude towards the organizational and aesthetic values of Poland’s film industry under socialism has become a characteristic feature of strategies leading to the cultural heritage management of Polish film animation from this period. In conclusion, the author asserts that the commercialization of the cultural heritage of the former state-owned studio benefited the economic and symbolic capital of two institutions, the Museum of Cinema and the Se-Ma-For Film Company, as well as the city of Łódź, which branded itself as a city of film.
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Junguitu Dronda, Maitane. "Ipar Haizearen Erronka: A boat trip from the Basque Country to Newfoundland." Mutual Images Journal, no. 10 (December 20, 2021): 251–70. http://dx.doi.org/10.32926/2021.10.jun.iparh.
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The nature of animated cinema involves the creation of any realistic or fantastical characters, places, and situations. Animation can be used to take characters far from their hometowns on believable journeys without big budgets used on location shooting. The Basque animated feature film Ipar Haizearen Erronka (The Challenge of the North Wind), directed in 1992 by Juanba Berasategi, illustrates how animation can represent a journey and a historic reality in a plausible way. The movie depicts a Basque whale hunting vessel travelling to the wild coast of Newfoundland, Canada in the sixteenth century. Typically, Basque live action movies in the 80s would recreate foreign locations with nearby settings. Ipar Haizearen Erronka avoids this problem by showing America through drawings. In this paper, we will use the movie Ipar Haizearen Erronka to interpret how animation uses backgrounds and objects to represent a voyage across the Atlantic Ocean and determine the realistic accuracy of the social and historical moments represented in the movie. We will also see how this journey embodies the characteristics of the literary genre of Bildungsroman, as well as the narrative structures pointed out by Vladimir Propp’s folktale and Joseph Campbell's monomyth. The study also focuses on how the film depicts the most representative characteristics of the journey, and how they are used as filming narrative resources. A closer look will be taken into the main vessels, the captain's logbook, the map, the historical context of the sailing of the ship, the maritime laws where sexism is abundant, the financing of the trip, and the work on board.
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Kowal, Justyna. "Frankensteinowska hybryda." Literatura i Kultura Popularna 25 (July 28, 2020): 529–32. http://dx.doi.org/10.19195/0867-7441.25.30.
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The review of Frankenstein — 100 lat w kinie describes a unique form of the book proposed by Rafał Donica, Polish film critic and expert in popular culture. The shape of the book remains the object of its deliberations; fragmentary, heterogeneous narration by Donica reflects an idea of Frank-enstein’s monster body. Donica builds his narration with quotations, critical essays, historical re-constructions and original illustrative material. The author examines the character of Frankenstein’s monster in cinema and visual culture, which — as Donica accounts — brought about the transform-ation of the monster picture, extremely distant from Shelley’s prototype. The heterogeneity of Don-ica’s book manifests itself in several fields; the form of character appearance (from feature films, through animated films, TV series to commercials), temporal (from the beginnings of the cinema to present day) and territorial range — the author makes an attempt to present an objective, non-Euro-pocentric point of view, including examples of Frankenstein’s monster appearance in Asia or South America. Donica also proves his sensitivity to sociological mechanisms which guides popular cul-ture; he shows how “faces” of famous actors (like Boris Karloff) affected the monster image.
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Widiastomo, Yohanes Merci. "Business Aspect of Intellectual Properties “Si Juki”." IMOVICCON Conference Proceeding 2, no. 1 (2021): 64–72. http://dx.doi.org/10.37312/imoviccon.v2i1.63.
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Si Juki is an example of a thriving local Indonesian IP management. Starting from 2010 with a comic strip uploaded via social media, Facebook has developed into an IP that the Indonesian people love. Si Juki is also an animated feature film with the most significant number of viewers. This phenomenon, of course, has attracted more attention from the Indonesian people. In developing an IP, 2 essential aspects must be considered by the IP maker must consider two essential aspects, namely the creative element and the business aspect. Without thinking about the business aspect, Ip is just an ordinary art that cannot survive in the industry. The Author, on this occasion, will examine the business aspects carried out by the Juki IP development team in Indonesia based on data available online based on business and marketing theories.
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Yazdi, Mohammad Rezaie. "Hollywood Mission: America the New Israel." Asian Journal of Social Science 37, no. 2 (2009): 305–14. http://dx.doi.org/10.1163/156853109x415408.
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AbstractThis article centres on the fact that American politicians tend to introduce America as “the New Israel.” By adherence to the religious beliefs, they identify themselves as the chosen nation. The substantial question is how the movies with so wide a range of popular viewers would reflect the new American religion. One of the ways to answer this question is to overview the movies that take up the parallel between America and Israel. If America is the new Israel, then an American film about Israel is probably a film that is (indirectly) about America as well. This article centres on two movies to go along with its proposal: the Technicolor The Ten Commandments (Demille, 1995) and the animated feature The Prince of Egypt (Chapman et.al., 1998). The two movies compare America and Israel to pose the new American civil religion in the form of the old ones. Moreover, it bears on the historical importance of the equation between America and Israel. The movie — the modern media — has converted these themes to “Californication” values and effects. Hollywood mediates the new religion that, compared with the old religion, is quite individual and does not so much refer to the whole society.
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Shi, ChaoYuan, and Li Gu. "The impact of interdisciplinary dynamic images on public perception." E3S Web of Conferences 236 (2021): 05085. http://dx.doi.org/10.1051/e3sconf/202123605085.
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Dynamic image, usually defined as motion graphics or dynamic graphics, is a kind of image art based on art design and computer science. In a broad sense, dynamic image is a discipline that integrates animation, film, and graphic design. Its expression content is more refined and straightforward than animated movies. It is more comprehensive than graphic design in conveying information. There are more types of dynamic images in the new media era. There are virtual reality technologies that rely on computer science and interactivity, and there are self-media on the Internet. Together with traditional media, they have more and more impact on the public's cognition. The interdisciplinary dynamic image is a visual language based on the dynamic image and interdisciplinary boundaries. It is main feature is to use dynamic images to express the main content of something, event or thought, a moving image made for the purpose of improving the public’s understanding of the corresponding thing, In the interdisciplinary dynamic images, the concreteness and narrative nature of the dynamic images are weakened, and the non-representation and scientific are more emphasized.
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Plomp, Anniek, and Charles Forceville. "Evaluating animentary’s potential as a rhetorical genre." Visual Communication 20, no. 3 (2021): 353–73. http://dx.doi.org/10.1177/14703572211010198.
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Multimodality scholarship has hitherto mainly focused on the combination of static visuals and written language (see Bateman et al., Multimodality: Foundations, Research and Analysis -- A Problem-Oriented Introduction, 2017; Tseronis and Forceville, Multimodal Argumentation and Rhetoric in Media Genres, 2017; and Forceville, ‘Multimodality’, in press, for discussion and bibliographies). However, drawing on visuals, written language, spoken language, music and sound, film is a multimodal medium par excellence. In this article, the authors specifically focus on documentary film. Documentary can be considered to be the cinematic equivalent of audiovisual rhetorical discourse, aiming to persuade its envisaged audience of something. Obviously, it is crucial for the credibility of documentaries that they are seen as indexically rooted in reality. But, recently, documentary film has witnessed the flourishing of a subgenre that may seem to challenge this indexicality: the ‘animentary’ – a documentary that consists to a considerable extent of animated images. While the completely constructed nature of animation means that animentaries’ indexical relation between audiovisual representation and represented world is loosened, or even absent, animentaries also – and importantly – enable perspectives on reality that live-action documentary cannot. This article analyses how the visual, verbal, sonic and musical modes function rhetorically in four feature-length animentaries that share the theme of ‘war’: Waltz with Bashir (dir. Ari Folman, 2008), 25 April (dir. Leanne Pooley, 2015), Chris the Swiss (dir. Anja Kofmel, 2018) and Another Day of Life (dir. Raúl de la Fuente and Damian Nenow, 2019). The authors conclude that the written and spoken verbal modes play a crucial role in safeguarding animentaries’ referential relation to reality.
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López, Daniel Ares. "Imagined continuities: The story of El Cid as a post-9/11 War on Terror narrative in Filmax/José Pozo’s animated feature film El Cid. La Leyenda." Studies in Spanish & Latin-American Cinemas 11, no. 1 (2014): 43–59. http://dx.doi.org/10.1386/slac.11.1.43_1.
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Belozerova, Anna, and Elena Kotova. "Cinematographic Living Room as a Means of Forming Linguocultural Consciousness in The Context of Online Learning." E3S Web of Conferences 258 (2021): 07060. http://dx.doi.org/10.1051/e3sconf/202125807060.
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The article presents the experience of working on the formation of linguistic and cultural consciousness in the lessons of Russian as a foreign language in the framework of the cinematographic living room in the context of online learning. The study uses a competence-based approach that forms the speech competencies of students, which are necessary for their active inclusion in the process of communication with native Russian language speakers. The authors describe the methodology for working with a feature / documentary / animated film. The choice of principles that forms linguocultural consciousness (the principle of anthropocentrism, the principle of communicativeness, the principle of interrelated learning, the principle of visibility, the principle of co-learning of language and culture) is substantiated. A set of exercises is presented that contribute to the effective construction of the learning process: from preview exercises in order to expand and consolidate lexical-grammatical and structural-semantic skills - through conditional speech exercises at the stage devoted to working with key episodes - to an independently issued statement after linguocultural analysis of the film text. Summarizing the experience of working in the format of a cinematographic living room, the authors come to the conclusion that the use of texts from Soviet and Russian cinema contributes to the formation of the linguocultural consciousness of foreign students, expanding their knowledge of the country of the target language, enriching vocabulary and cultural fund. The presented material will be useful for teachers of Russian as a foreign language and students of philological specialties.
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Rahayu, Mundi, Irwan Abdullah, and Wening Udasmoro. "“ALADDIN” FROM ARABIAN NIGHTS TO DISNEY: THE CHANGE OF DISCOURSE AND IDEOLOGY." LiNGUA: Jurnal Ilmu Bahasa dan Sastra 10, no. 1 (2015): 24. http://dx.doi.org/10.18860/ling.v10i1.3030.
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This study compares the folktale “The Story of Aladdin and the Wonderful Lamp” from the Arabian Nights, and the animated film produced by Walt Disney Feature Animation under the title “Aladdin” (1992). The differences of those two stories in two different medias shows the shifts of ideology and discourse. The study applies Fairclough’s Critical Discourse Analysis, by applying the three stages of analysis. The first level is micro level, on the language practice. In the second level, mezo level, discusses the discourse practice that covers the intertextuality of ideas, concept as the reference in delivering the ideas. In the third level, macro level, it interprets the social context of particular events, especially the social practice in exercising their power. The finding shows that the Disney’s Aladdin campaigns ideology that refers to the American values such as freedom and American heroism. Besides, the discourse of Arab barbarism is developed in line with the practice of stereotyping such as labeling the Arab people as barbaric, bad, silly and wicked as well as dangerous Arabs. These imply to the removals of the Islamic messages and values that exists in the original tales of Arabian Nights. The Disney’s Aladdin completely removes the Islamic messages and values, and changes them into ‘American values’.
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Chinita, Fátima. "Tapping into the senses: Corporeality and immanence in The Piano Tuner of EarthQuakes (Quay Brothers, 2005)." Empedocles: European Journal for the Philosophy of Communication 10, no. 2 (2019): 151–66. http://dx.doi.org/10.1386/ejpc_00004_1.
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Abstract In The Piano Tuner of EarthQuakes (2006), the Quay Brothers' second feature, the sensual form and the meta-artistic content are truly interweaved, and the siblings' staple animated materials become part of the theme itself. Using Michel Serres's argument in Les cinq sens (2014, whose subtitle in English is A Philosophy of Mingled Bodies), I address the relationship between the Quays intermedial animation and the way the art forms of music, painting, theatre and sculpture are used to captivate the film viewer's sensorium in the same way that some of the characters are fascinated by the evil Droz, a scientist and failed composer who manipulates machines and people alike, among them Felisberto, a meek piano tuner with the ability to stir the natural elements. I further proceed to posit the entire film as an intended allegory of animation on the Quays part. Their haptic construction of a three-dimensional world which they control artistically is replicated in the film in Droz's and Felisberto's activities vis-à-vis Malvina van Stille, an abducted opera diva who is kept in a suspended animation state (just like a marionette) and several hydraulic automata with musical resounding properties, some of them made up of an uncanny assortment of body parts. The artificial life of these creatures is contrasted, in two ways, with their physical reality as beings that exist in the world: first, via Serres's sensorial strategy to transform a body into a conscious entity (i.e., endowed with a soul), an embodiment I call 'Corpo-Reality', and second, by resorting to Deleuze and Guattari's theory of the body without organs (BwO) in its advocacy of 'hard' nature and the rejection of a rigid assortment of body parts (either biological or social). The paradoxical organic objectivity of the 'marionettized' Malvina is pitted against the seemingly subjective doings of the mechanical automata, especially an android woodcutter. However, just as in the story things are not what they seem, and the automata actually reflect the 'real' world of Felisberto's tuning of them (and vice versa, in a process entitled 'vertical mise en abyme'), so the film itself can be a 'crystal-image' (per Deleuze), offering itself to the senses of the spectator.
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Rafiek, Muhammad. "Equation of Malay vocabulary in the animation film of Upin and Ipin with Banjarese vocabulary in South Kalimantan." Journal of Language and Linguistic Studies 17, no. 1 (2021): 85–114. http://dx.doi.org/10.52462/jlls.6.
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This research is aimed at explaining the equation of the Malay vocabulary in the animated film of Upin and Ipin with Banjarese vocabulary in South Kalimantan. In this research, the researcher used a qualitative method with comparative linguistic research design or equation characteristic method of linguistic features. In collecting the data, the researcher used the technique of listening and direct typing after watching the animated series Upin and Ipin on Youtube. In analyzing the data, the researcher used the equation techniques of forms and meanings of the vocabulary. This technique is called retention and innovation techniques together in methods of equation linguistic features (Mahsun, 2014). Researchers also analyzed and discussed using comparative linguistic theories from Adelaar, Blust, and Nothofer to reinforce the evidence that there are similarities in Malay vocabulary in the animated films Upin and Ipin with Malay vocabulary in South Kalimantan. The results of this research found that there are three groups of the equation of Malay vocabulary in the animated film of Upin and Ipin with Banjarese vocabulary in South Kalimantan, namely (1) Malay vocabulary in the animated film of Upin and Ipin have an equation in the form and differences meaning with the Banjarese vocabulary; (2) Malay vocabulary in the animated film of Upin and Ipin have an equation in form and meaning with the Banjarese vocabulary; and (3) Malay vocabulary in the animated film of Upin and Ipin have a semblance of forms and equation in meaning with Banjarese vocabulary, in South Kalimantan.
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Mason, Derritt. "Resurrecting ParaNorman: Ghosts and gays in the New Queer Cartoon." Queer Studies in Media & Popular Culture 6, no. 3 (2021): 285–303. http://dx.doi.org/10.1386/qsmpc_00062_1.
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When the Oscar-nominated, stop-motion animated film ParaNorman was released in August 2012, critics made much ado about the supporting character named Mitch: a dopey, beefy jock perceived to be the first openly gay character in a mainstream American children’s animated movie. As queer representation in children’s animated media continues to expand ‐ as seen, for example, in Netflix’s 2021 film The Mitchells vs. the Machines, which features an openly queer protagonist ‐ this article argues that Mitch’s now decade-old legacy is worth revisiting. Drawing on Noreen Giffney’s concept of the ‘New Queer Cartoon’, ParaNorman, I claim, marks a crucial turning point in children’s animated media. The film represents a collision between the latently and openly queer ‐ it nods to the coded queer signifiers of past films while simultaneously making possible the gradual increase in visible queer representation that has taken place since its release.
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Tai, Peng-yi. "The Animator as Inventor: Labour and the New Animated Machine Comedy of the 2010s." Animation 13, no. 3 (2018): 238–51. http://dx.doi.org/10.1177/1746847718805163.
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Around 2010, the inventor character started to populate animated blockbusters. Computer 3D animated films and their sequels such as Robots (Chris Wedge and Carlos Saldanha, 2005), Cloudy with a Chance of Meatballs (Phil Lord and Christopher Miller, 2009), Despicable Me (Pierre Coffin and Chris Renaud, 2010) and Big Hero 6 (Don Hall and Chris Williams, 2014) all feature inventors and their extravagant machines. In this article, the author explores the inventive artisan character as a self-reflexive trope of the animator. She expands Crafton’s thesis of the animator’s self-figuration and Tom Gunning’s work on machine comedy and operational aesthetics to further discussions on the animator and thereby the labour of animation. The article seeks to reveal the political agenda in the new animated machine comedy of the 2010s, which not only reflects the modes of production of contemporary animation studios, but also the larger concerns in the post-Fordist mode of production.
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Waldburger, Adia. "Sport on the Screen: A Look at Sport Films Featured at Sundance 2011." International Journal of Sport Communication 4, no. 2 (2011): 253–58. http://dx.doi.org/10.1123/ijsc.4.2.253.
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Audiences had the opportunity to applaud for sport films at the 2011 Sundance Film Festival in Park City, UT. Two sport-themed documentary films won audience awards. The U.S. winner, Buck, follows the life of horse trainer Buck Brannaman, and Senna, a look at the life of Formula One hero Ayrton Senna, won in the international category. Other sport films screened this year included Win Win, in which Paul Giamatti stars as a volunteer high school wrestling coach; Benevides Born, about a teen female wrestler trying win a scholarship; and two short movie entries, Bike Race, an animated film about a race and a love triangle, and Skateistan: To Live and Skate Kabul, a documentary about skaters in war-torn Afghanistan. This review provides an examination of the sport films at this year’s festival and discusses the impact that this form of sport communication has on the entertainment industry.
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Turkmen, Mustafa. "Violence in Animated Feature Films: Implications for Children." Educational Process: International Journal 5, no. 1 (2016): 22–37. http://dx.doi.org/10.12973/edupij.2016.51.2.
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Haydarova, Nigora Tohirjonovna. "Problems of Character Creation in Animation Films of Uzbekistan." Webology 19, no. 1 (2022): 1587–92. http://dx.doi.org/10.14704/web/v19i1/web19106.
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The article analyzes characters and features of their creation in Uzbek animated films of the times of independence. It also lists the reasons for referring to the characters of the past in modern Uzbek animated films in recent years. And also provided suggestions for creating an image that meets the requirements of the time in today's modern process.