Relevant bibliographies by topics / Animated film

Contents

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

Academic literature on the topic 'Animated film'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Animated film"

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Sabri, Sabri, and Vani Dias Adiprabowo. "Nonverbal Communication Through Visual Storytelling of Leaving Home Animated Films." Proceedings Of International Conference On Communication Science 2, no. 1 (November 10, 2022): 181–86. http://dx.doi.org/10.29303/iccsproceeding.v2i1.99.

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This study aims to describe visual storytelling in the animated film Leaving Home as a nonverbal communication medium that provides education to the audience. The power of nonverbal communication as a form of visual storytelling in the animated film Leaving Home is the researcher's motive to examine how a nonverbal animation can be interpreted universally. The nonverbal communication of the animated film Leaving Home embodies writing into moving images. An animator must have the ability to visual storytelling to make the imagination in telling stories (synopsis-text) into scripts (visual-written). An animator, also an animation film creator, must understand the rules of scriptwriting to communicate the message implied in his work. An excellent visual understanding will help an animator visualize the picture's language into an exciting story. The technique of conveying visual storytelling stories in animation sometimes finds obstacles in understanding the story due to improper use of visual language. This research uses qualitative methods to uncover the phenomenon of nonverbal communication through visual storytelling in the animated film Leaving Home to explain in more detail. The results showed that nonverbal communication is omnipresent, including nonverbal aspects of each communicative action. In the interactions seen in the story of the animated film Leaving Home, all its nonverbal channels come into play. This study also represents the imagination visualized in animated films as more hyperbolic. After conducting a study of nonverbal visual storytelling communication in the animated film Leaving Home, it can be concluded that films with animation techniques can be presented with visual storytelling packaged in an artistic visual language. So visual storytelling can be a literacy animation technique in conveying information and opening up opportunities for animation creators to communicate nonverbally to the audience.
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Frølunde, Lisbeth. "Animated war." Convergence: The International Journal of Research into New Media Technologies 18, no. 1 (January 31, 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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Yasa, Gede Pasek Putra Adnyana. "Analisis Unsur Naratif sebagai Pembentuk Film Animasi Bul." Jurnal SASAK : Desain Visual dan Komunikasi 3, no. 2 (January 17, 2022): 48–57. http://dx.doi.org/10.30812/sasak.v3i2.1594.

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Animated films that are interesting and beautiful can be created if an animator or creator, and the audience understand the elements that make up an animated film. Even more so for animators or creators as creators of animated film art. The audience cannot understand the animated film being shown, if the creator himself does not understand the elements that make up the animated film. The animation, entitled Bul, is the best animated film in the 2D animated film category. Therefore, it becomes interesting to be explored or researched. This research was conducted by observing the animated film Bul. This research is a field research designed to study, and reveal how the aesthetics of an animated film Bul is formed by film-forming elements, one of which is the narrative element. The critical paradigm is used as a basis for thinking in the hope of being able to comprehensively reveal and answer the problem of narrative elements in the animated film Bul. This research uses qualitative research methods in the area of ​​art studies, which is a research procedure that produces descriptive data in the form of written words or expressions from a person and studies the behavior of the artist and the object being observed. The results showed that the narrative element which is one of the elements that form a film, especially in this case the animated film entitled Bul, has a very important role. Narrative elements consist of elements of theme, story, story structure, and character/character. Each element is interrelated, supports each other, needs and influences each other so as to create a unity that is able to create a beautiful feeling and the message can be received by the observer or the audience.
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Jonison, Muhammad Adha Fajri, and Anggy Trisnadoli. "Implementation of Rotoscoping Technique in the making of the Hang Tuah Ksatria Melayu 3D Animated Film." Jurnal RESTI (Rekayasa Sistem dan Teknologi Informasi) 4, no. 5 (October 30, 2020): 943–50. http://dx.doi.org/10.29207/resti.v4i5.2404.

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The development of information technology in the multimedia field is growing very rapidly today. Multimedia development is often found in making animated films. Animation is an image that moves and is arranged so that it makes inanimate objects appear to be moving. Animation initially has a problem, where it is difficult for an animator to create animation with complex movements to imagine directly and sometimes the results will look stiff. Max Fleischer also saw it as a problem, so he invented rotoscoping. Rotoscoping is a technique for making animation by tracing the movements of an actor. This technique is used to create movements that are complex to imagine directly so that the animation movement is realistic. In implementing rotoscoping techniques in an animated film, a folk tale entitled Hang Tuah Ksatria Melayu was adopted. This folktale will be packaged into a 3D animated film using rotoscoping techniques. With the creation of a 3D animated film, the folklore of Hang Tuah Ksatria Melayu, an animated film was created with realistic character movements and people get moral messages of Hang Tuah Ksatria Melayu.
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VEREȘ, SANDA, and IOANA MAGDAȘ. "The Use of the Educational Animated Film in Primary Education in Romania." Romanian Review of Geographical Education 9, no. 2 (November 14, 2020): 67–86. http://dx.doi.org/10.23741/rrge220204.

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This study aims to review, analyse and synthesize the literature, which refers to the use of educational film in education in Romania and which deepens aspects related to the use of animated film in primary education. The aim was to review the literature on: classification of animated films in the category of educational means; the functions of animated films; types and sources of animated films; teacher preparation for the use of film for educational purposes; integrating the film into the lesson; how to use animated films in primary education and the results of their use. Existing information in papers in the field of education sciences from the last three decades was analysed. Regarding the use of animation films in primary education, five studies were analysed in depth
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Agustin, Nurul, Ivo Yuliana, and Miftakhul Hidayah. "MEMAHAMI NILAI MORAL DALAM FILM ANIMASI NUSSA DAN RARA SEBAGAI TAYANGAN YANG LAYAK DITONTON ANAK SEKOLAH DASAR." Jurnal Muassis Pendidikan Dasar 1, no. 1 (January 25, 2022): 77–87. http://dx.doi.org/10.55732/jmpd.v1i1.7.

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Animated films are moving images that contain messages in each scene. Animated film, played by 2 children's characters named Nussa and Rara. The animated films Nussa and Rara are watched by all people, from children to adults. The animated films Nussa and Rara are very interesting for children to watch, so adults can also watch it in order to choose films that are suitable for children to watch. This research was conducted to understand the moral values ​​and the presence or absence of moral values ​​in the animated film Nussa and Rara for children. The moral values ​​contained in the animated film Nussa and Rara are categorized into various relationships. From the relationship between humans and God, human relationships with others, human relationships with the surrounding environment and human relationships with oneself. This research method uses qualitative descriptive research which is a descriptive method, namely by describing a real event. The results of this study are: 1) Of the four selected animated films contain moral values. 2) Of the four animated films, Nussa and Rara, which were selected, contained moral values ​​with different kinds of relationships. 3) The animated film Nussa and Rara deserves to be watched among elementary school children.
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Zhang, Xijin, and Gaofeng Mi. "A Narrative Comparison Between the Animated Films Frozen and White Snake." Arts Studies and Criticism 3, no. 2 (July 6, 2022): 192. http://dx.doi.org/10.32629/asc.v3i2.915.

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Although the theme of the American animated film Frozen series and the Chinese animated film White Snake series are the same, they present completely different narrative structures. This paper makes a comparison between the two series of animated films from three aspects: narrative strategy, emotional clues and characters' personalities, and finds out some common narrative features of female-themed animated films under cultural differences, to further explore how animated films depict female images in the new era.
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Šošková, Eva. "The Reincarnation of Animated Film." Slovenske divadlo /The Slovak Theatre 65, no. 4 (December 1, 2017): 331–44. http://dx.doi.org/10.1515/sd-2017-0019.

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Abstract Throughout its entire history, Slovak animated film has had the form of figurative narrative art or craft. For this reason, the author of this study examines its post-1989 development through the prism of the body. Since the most visible change that has affected contemporary film aesthetics is the feminization of animated film in terms of authorship, the study primarily focuses on the ability of an animated body to represent gender and gender roles. It attempts to capture the most significant changes in the depiction of the body in authorial animated film before and after 1989, in more detail record the post-revolution changes in the body, and relate this to the changes in the institutional background of animated film. Animated bodies have developed from “ordinary people” from a dominant male point of view in socio-critical socialist production through female characters in interaction with clearly distinguished male characters in the films of female authors from the Academy of Performing Arts, the crisis of stereotypical masculinity in the production of male authors to independent women looking for their own identity inside themselves, without relating themselves to their male counterparts.
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Apriliyanti, Desy, Juniardi Nur Fadila, and Fresy Nugroho. "3D ANIMATION DESIGN "SCIENCE, LANTERNS TO HEAVEN" USING THE POSE-TO-POSE METHOD." JITK (Jurnal Ilmu Pengetahuan dan Teknologi Komputer) 8, no. 1 (January 9, 2023): 46–55. http://dx.doi.org/10.33480/jitk.v8i1.2231.

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In today's era, technology and communication have experienced very rapid development. Islamic values ​​raised through the media are an effort in people's lives today. Including through the media of 3D animated films that rely on entertaining audio-visuals and messages conveyed through animated films can also be easily captured by the audience. In addition, the selection of animated films is based on the number of animated films circulating on social media such as YouTube and other electronic media, and this film can affect the attention of many people. Animated film designed by the author with the theme of the importance of studying can lead to Allah SWT's heaven. Making this animated film will use Blender software version 2.80. The method used is "Pose-to-Pose" by determining each key pose movement to produce a good movement. Using this method makes the work more effective or faster; if there is an error in the pose, it can be easily corrected. The design of the 3D animated film entitled "Science, Lantern Towards Heaven" is expected to be useful for the audience and take the moral message in it, which is to increase enthusiasm for learning or studying
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Stroganov, Mikhail V. "Animated story of Kolobok. 1936–2020." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 1 (2022): 131–55. http://dx.doi.org/10.35852/2588-0144-2022-1-131-155.

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The fairy tale Kolobok [The Gingerbread Man] belongs to the group of archaic cumulative fairy tales. Their entire content was reduced to recounting the phenomena of reality, living beings or objects. This type of thinking continues to be relevant for any person during early childhood. But in the modern world, such worldview does not exist and cannot be represented in figurative forms. Meanwhile, the cartoon interpretations of the Kolobok plot claim to be adequate in the transfer of folk pedagogy and morality. It considered to be their high dignity. However, not a single film adaptation conveys the content of the fairy tale in its natural environment. Thus the assessment of the film adaptation should not depend on its compliance with the original work. The fairy tale Kolobok is one of the most popular fairy tales; a large number of animated films have been created on this plot for both children and adults. But since the idea of cumulation is incomprehensible to a modern person, the directors fill the plot of the tale with new solutions and meanings. Children’s film adaptations teach to be careful and not trust the first person they meet, obey their parents and not run away from home. Adult film adaptations deal with the tragedy of human life, the complex relationship between man and power, ironically mention social turmoils. It does not matter whether the positive or destructive nature the new film has, but the most important thing is artistically convincing solution to the problem.
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Dissertations / Theses on the topic "Animated film"

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Thornton, Andrew. "Ces't la vie : an animated film /." Online version of thesis, 1993. http://hdl.handle.net/1850/11773.

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Whybray, Adam Gerald. "Animate dissent : the political objects of Czech stop-motion and animated film (1946-2012)." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/17936.

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Czech animated allegories of the period of 1946 to 2012 encode their political ideas in objects and things, rather than through conventional narrative techniques such as voice-over or dialogue. The existence of these objects in cinematic time and space is integral to this process of political encoding, which is achieved through the selection of objects, cinematography and editing. In some of these films, time and space themselves are politically encoded. Materialist critical approaches to the film texts can help illuminate these latent political meanings. 'Thing theory', which puts a critical emphasis upon reading objects and things, exposes the politically resistant role of simple, domestic objects in the films of Jiří Trnka and Hermína Týrlová. Trnka's cinema in particular defends traditional, pastoral modes of being in which the individual is rooted within their environment. 'Actor-network-theory', a means of interrogating the relationship between actors in networks, resonates with the political ideas present in the cinema of Surrealist artist Jan Švankmajer. Švankmajer's central political project is an interrogation of anthropocentrism and attempts by humans to exert systems of control and order upon non-human actors. Rather than celebrating functional, domestic objects like Trnka or Týrlová, Švankmajer's cinema is radically anti-utilitarian. Objects are depicted as things that resist categorisation. 'Rhythmanalysis' – a mode of poetic-scientific investigation developed by philosopher Henri Lefebvre – can be used to unpick the rhythms in the animations of Jirí Barta. Barta's films critique rational clock time and the design of urban spaces through the use of editing patterns and repetition. Finally, all three materialist approaches in combination help illustrate the political content of animated films (and live-action films with significant passages of animation) produced in the wake of the Velvet Revolution. Such films often question the relationship between the individual Czech citizen and the Czech capital city of Prague. The animated films of the aforementioned directors and historical periods, tend to give precedence to the material world of objects over the semiotic world of humans, though these two realms are often shown to be inter-dependent. To this end, the political messages of the films are conveyed not through language, but through images and things.
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Kochan, Elizaveta. "Creating a Short Animated Film with Cloth Characters." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/526.

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This creative thesis involved making an animated short film from scratch, dubbed “Laundry Day” for the time being. The film follows two sentient clothing characters, a hoodie and a pair of pants, who need to get out of their owner’s room to get to the laundry room after accidentally being left behind. Please watch the short here and use the password “goodiehoodie”: https://vimeo.com/415387205 This was a time consuming, challenging, and multifaceted project, but provided an accurate glimpse into how feature animation is made. The process of making any project like this is commonly called a pipeline, and can be simplified to seven categories: Story, Character, Environment, Animation, Effects, and Rendering. This paper will go into each of these and explain the technical and creative challenges I had to overcome to reach the final product.
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Edgren, Justin. "ANIMATING DYSTOPIA: AN ANALYSIS OF MY ANIMATED FILM, P19." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/theses/1099.

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In this paper, I discuss the modern socio-technological state of global social control and its representation in my stop motion animated film P19. I will compare the ways in which social control has changed and remained the same from September 11, 2001 to the present. I will discuss the surveillance and control grids permeating all communication networks and how humans are interacting with them. I will conclude with an analysis of some of my techniques and processes in stop motion animation.
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Carter-Hansen, Jill, University of Western Sydney, and of Performance Fine Arts and Design Faculty. "Travelling light - with a case for discovery : the making of the film Songs of the Immigrant Bride." THESIS_FVPA_XXX_CarterHansen_J.xml, 1997. http://handle.uws.edu.au:8081/1959.7/680.

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This paper examines the background, development and production of the film ‘Songs of the immigrant bride’ and explains the general decisions made throughout the creation of the film. It proposes the idea that visuals, combined in an abstract narrative with music/sound, can create a language outside that generally accepted in real-time film (generally) and animation (specifically) to create a communicating ‘mythopoetic’ film-style from combined, selected elements, of both genres. Some of the issues presented and examined are: how relevant background experiences and influences directed the image-making in the production of the film; the experimental use of symbols and metaphor for an ‘evocative’ narrative in both visuals and sound, and the use of these within the film; the relevance of the theme of journey to viewers of the film; the part played by ‘Chance’ as an accepted phenomenon in shaping the direction of the film; production considerations, other than those of image and sound, to enhance audience perception and understanding of the film; ‘understanding’, as a physical as well as an intellectual phenomenon
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Lemon, Nicole E. "Previsualization in Computer Animated Filmmaking." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345569188.

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Tronerud, Nathanael D. ""Maly Trebacz"| An original score for a short animated film." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1524171.

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This project report will provide a description and analysis of the original musical score, as composed and arranged by the author, for the short animated film Mały Tre¸bacz, which was produced in collaboration with the film's director, Monica Kozlowski. It will detail the process of the music's composition, including those decisions which were made whilst scoring the picture, the reasons and justifications for so doing, a scene-by-scene analysis of the film and accompanying music, background information concerning the film's origins and influences (including the historical origins of the narrative), the role of the film's score in communicating the story of the film to the audience, how certain choices in scoring impacted the direction of the film's narrative, and a short discussion of the major themes and musical motifs heard within the score (including its incorporation of the Hejnal mariacki).

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Reichl, Veronika Anna. "Meaning matches meaning : animated film as metaphor for philosophical texts." Thesis, University of Portsmouth, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.478932.

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Mee, Laura. "Re-animated : the contemporary American horror film remake, 2003-2013." Thesis, De Montfort University, 2014. http://hdl.handle.net/2086/10596.

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This doctoral thesis is a study of American horror remakes produced in the years 2003-2013, and it represents a significant academic intervention into an understanding of the horror remaking trend. It addresses the remaking process as one of adaptation, examines the remakes as texts in their own right, and situates them within key cultural, industry and reception contexts. It also shows how remakes have contributed to the horror genre’s evolution over the last decade, despite their frequent denigration by critics and scholars. Chapter One introduces the topic, and sets out the context, scope and approach of the work. Chapter Two reviews the key literature which informs this study, considering studies in adaptation, remaking, horror remakes specifically, and the genre more broadly. Chapter Three explores broad theoretical questions surrounding the remake’s position in a wider culture of cinematic recycling and repetition, and issues of fidelity and taxonomy. Chapter Four examines the ‘reboots’ of one key production company, exploring how changes are made across versions even as promotion relies on nostalgic connections with the originals. Chapter Five discusses a diverse range of slasher film remakes to show how they represent variety and contribute to genre development. Chapter Six considers socio-political themes in 1970s horror films and their contemporary post-9/11 remakes, and Chapter Seven focuses on gender representation and recent genre trends in the rape-revenge remake. This thesis concludes with a discussion of the most recent horror remakes, and reiterates the findings from the preceding chapters. Ultimately, genre remakes remain prevalent because they are often profitable and cater for a guaranteed audience. They are commercial products, but also represent some of the more creative entries in horror cinema over the last decade, and their success enables further productions. Rather than being understood as simplistic derivative copies, horror remakes should be considered as intertextual adaptations which both draw from and help to shape the genre.
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Galpin, Kennedy L. "DuIK Bassel in Usage in After Effects and an Animated Short Film." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/480.

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This thesis was made with the goal of creating a 2D short film in the end, with mainly using a program that is not normally used for character animation: Adobe After Effects. With the usage of an originally French plugin called DuIK Bassel (v16.0.9), I was able to create a model in Adobe Photoshop and then put it into After Effects. When the files were imported, the plugin would then assist in the rigging process, wherein I would be able to create the character’s rig and make the 2D model within the program. This document discusses the entire creation of the short film that I progressed through, from the storyboarding, character creation, rigging process, and putting the elements together.
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Books on the topic "Animated film"

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Český animovaný film: Czech animated film. Praha: Národní Filmový Archiv, 2012.

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Marianna, Forrayová, Vraštiak Štefan, Urc Rudolf, Slovenský filmový ústav, and Národné kinematografické centrum (Slovakia), eds. Slovenský animovaný film =: The Slovak animated film. Bratislava: Slovenský filmový ústav-Národné kinematografické centrum, 1996.

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Nagata, Daisuke, and Shintarō Matsunaga. Anime no shakaigaku: Anime fan to anime seisakushatachi no bunka sangyōron = Sociology of anime. Kyōto-shi: Nakanishiya Shuppan, 2020.

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Stoffman, Daniel. The Nelvana Story: Thirty Animated Years. Toronto: Nelvana Publishing, 2001.

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1958-, Wedge Chris, ed. Bunny: Adapted from the animated film. New York, NY: ipicturebooks, 2002.

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1958-, Wedge Chris, ed. Bunny: Adapted from the animated film. New York, NY: ipicturebooks, 2002.

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Prassel, Igor. Filmografija slovenskega animiranega filma 1952-2012: Filmography of Slovenian animated film 1952-2012. Ljubljana: Slovenska kinoteka, 2012.

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Giovanni, Ricci, and Vanelli Marco, eds. Animazione in cento film. Recco, Genova: Le mani, 2013.

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Giulietta, Fara, and Cosulich Oscar, eds. Future Film Festival, 2006: Www.futurefilmfestival.org. Bologna: Pendragon, 2006.

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Future, Film Festival (9th 2007 Bologna Italy). Future Film Festival, 2007: Www.futurefilmfestival.org. Bologna: Pendragon, 2007.

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Book chapters on the topic "Animated film"

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Sawadogo, Boukary. "The African Animated Film." In African Film Studies, 59–73. 2nd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003246763-8.

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Boukary, Sawadogo. "The African animated film." In African Film Studies, 72–88. Abingdon, Oxon; New York, NY: Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9780429508066-6.

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Plympton, Bill. "Making an Animated Film." In Make Toons That Sell Without Selling Out, 23–46. 10th ed. Boca Raton: CRC Press, 2021. http://dx.doi.org/10.1201/9781003205098-3.

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Madej, Krystina, and Newton Lee. "Capturing Life in Animated Film." In Disney Stories, 53–62. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42738-2_6.

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Lee, Newton, and Krystina Madej. "Capturing Life in Animated Film." In Disney Stories, 55–64. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-2101-6_7.

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Glynne, Andy. "Drawn From Life: The Animated Documentary." In The Documentary Film Book, 73–75. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_7.

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Tang, Rui, and David Whitley. "From Dogpower to Ratropolis: London in Animated Film." In London on Film, 163–76. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64979-5_12.

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Bendazzi, Giannalberto. "The First Feature Length Animated Film in History." In Twice the First, 33–37. Boca Raton : Taylor & Francis, CRC Press, 2018. | Translation of: Due volte l’oceano.: CRC Press, 2017. http://dx.doi.org/10.1201/9781315149004-6.

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Bobrowska, Olga. "“Bombard the Headquarters”." In Chinese Animated Film and Ideology, 1940s–1970s, 127–58. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/9781003241607-7.

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Bobrowska, Olga. "“To Live is to Serve the People”." In Chinese Animated Film and Ideology, 1940s–1970s, 105–26. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/9781003241607-6.

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Conference papers on the topic "Animated film"

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Kusumawardhani, Mega Iranti, and Muhammad Cahy Daulay. "Indonesian Traditional Story Content in Animated Short Film: Case Study Students’ Animated Short Film Final Project." In International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imov-18.

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KUSUMAWARDHANI, MEGA IRANTI, and MUHAMMAD CAHYA DAULAY. "Indonesian Traditional Story Content in Animated Short Film: Case Study Students’ Animated Short Film Final Project." In International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imoviccon-18.

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Krklec, Ana, Andrej Iskra, and Tanja Nuša Kočevar. "Creating a 2D animated short film with sound and image synchronisation." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p24.

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Animation is a method, in which still images create the illusion of movement on the screen. We manipulate the viewer with fast-moving pictures to make them look as if they can move. This article intends to make a 2D animated film based on a screenplay template with synchronized sound. In the article, we had to provide different Software: Adobe Illustrator, Adobe Animate, Adobe After Effects, Adobe Premier Pro, Reaper (Digital Audio Workstation), and Sketchbook. In addition to the software and, of course, the computer, we also used a graphics tablet, a microphone, and a sound card During writing the article, we get to know the workflow of the creation of animation, from the design to the final product. We tested ourselves in the role of all important members of production houses to get the most realistic insight into the creation of such a project. The final product of the article is a short cartoon with a synchronization of speech and sound.
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Neuman, Robert. "Concurrent monoscopic and stereoscopic animated film production." In SIGGRAPH 2009: Talks. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1597990.1598028.

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XU, XIN. "THE CURRENT SITUATION AND DEVELOPMENT OF CHINESE MYTHOLOGICAL ANIMATED FILMS IN THE CONTEXT OF NATIONAL CULTURAL REVIVAL." In 2021 INTERNATIONAL CONFERENCE ON ADVANCED EDUCATION AND INFORMATION MANAGEMENT. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/aeim2021/35957.

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Abstract. In the context of national cultural confidence mythological animated films have become an important issue in animated film types. Put the three films “Monkey King Hero is Back”, “White Snake”, and “Ne Zha: I am destiny “into the status and development of domestic animated mythology films. It is necessary to deal with IP images in artistic films, innovative mythological subjects, constructing new stories, and audiences of all ages. Therefore, we must start with tell good stories, enlightening values, expanding overseas communication, and so on, so as to improve animation creation and domestic and foreign influence.
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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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Wang, Cong, Dale Mayeda, Jacob Rice, Thom Whicks, and Benjamin Huang. "Cooking Southeast Asia-inspired Soup in Animated film." In SIGGRAPH '21: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3450623.3464651.

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Liu, Yan. "Narrative Strategy of Death Theme in Animated Films Under Children’s Cognitive Perspective: A Case Study of Pixar Animated Film COCO." In 4th International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200316.069.

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Qin, Jianbo. "The Music Aesthetic Analysis of the Animated Film “Coco”." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.76.

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Wang, Hongwei. "Analysis of the Anti War Thought from Animated Film." In 2014 International Conference on Education, Management and Computing Technology (ICEMCT-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icemct-14.2014.90.

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Reports on the topic "Animated film"

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Бережна, Маргарита Василівна. Psycholinguistic Image of Joy (in the Computer-Animated Film Inside Out). Psycholinguistics in a Modern World, 2021. http://dx.doi.org/10.31812/123456789/5827.

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The paper is focused on the correlation between the psychological archetype of a film character and the linguistic elements composing their speech. The Nurturer archetype is represented in the film Inside Out by the personalized emotion Joy. Joy is depicted as an antropomorphous female character, whose purpose is to keep her host, a young girl Riley, happy. As the Nurturer, Joy is completely focused on Riley’s happiness, which is expressed by lexico-semantic group ‘happy’, positive evaluative tokens, exclamatory sentences, promissive speech acts, and repetitions. She needs the feeling of connectedness with other members of her family, which is revealed by lexico-semantic groups ‘support’ and ‘help’. She is ready to sacrifice everything to save the girl in her care, which is demonstrated by modal verbs, frequent word-combination ‘for Riley’, and directives.
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AKHADOVA, R. A., and M. L. SHTUKKERT. ‘THE DREAM OF A RIDICULOUS MAN’ F.M. DOSTOEVSKY AND A. PETROV: POETICS OF THE FEAR. Science and Innovation Center Publishing House, 2021. http://dx.doi.org/10.12731/978-0-615-67323-3-8-21.

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The purpose of the study is to determine the features of the structure and functioning of the fear motive in F.M. Dostoevsky’s “fantastic story” “The Dream of a Ridiculous Man” and in A. Petrov’s cartoon of the same name. The report first examines the images, details, etc., with which the fear motive is created in the story, and then analyzes the ways of embodying this motive and transmitting a certain frightening atmosphere in the cinema. There is revealed and determined the ontological significance and the main character of fear in the “The Dream of a Ridiculous Man”, which, in our opinion, manifests itself in the fundamental nature and primacy of this feeling in human nature. It can be observed in the transition from the dream world, not defiled by the fall, to the terrible reality of St. Petersburg, described in the story. The scientific novelty lies in the fact that a comprehensive analysis of the fear motive in the story of F. M. Dostoevsky and the peculiarities of the interpretation of this motive in the animated film by A. Petrov has not been carried out before. The study revealed, firstly, a number of repetitive means by which the fear motive is formed in both works (and their functions were determined), and secondly, there was noted the originality of the representation of the analyzed motive in the cinema.
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Caldwell, Michael. The Occurrences, References and Projected Attitudes About LGBT Lifestyles in Children's Media: A Content Analysis of Animated Films. Portland State University Library, January 2014. http://dx.doi.org/10.15760/honors.107.

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Galili, Naftali, Roger P. Rohrbach, Itzhak Shmulevich, Yoram Fuchs, and Giora Zauberman. Non-Destructive Quality Sensing of High-Value Agricultural Commodities Through Response Analysis. United States Department of Agriculture, October 1994. http://dx.doi.org/10.32747/1994.7570549.bard.

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The objectives of this project were to develop nondestructive methods for detection of internal properties and firmness of fruits and vegetables. One method was based on a soft piezoelectric film transducer developed in the Technion, for analysis of fruit response to low-energy excitation. The second method was a dot-matrix piezoelectric transducer of North Carolina State University, developed for contact-pressure analysis of fruit during impact. Two research teams, one in Israel and the other in North Carolina, coordinated their research effort according to the specific objectives of the project, to develop and apply the two complementary methods for quality control of agricultural commodities. In Israel: An improved firmness testing system was developed and tested with tropical fruits. The new system included an instrumented fruit-bed of three flexible piezoelectric sensors and miniature electromagnetic hammers, which served as fruit support and low-energy excitation device, respectively. Resonant frequencies were detected for determination of firmness index. Two new acoustic parameters were developed for evaluation of fruit firmness and maturity: a dumping-ratio and a centeroid of the frequency response. Experiments were performed with avocado and mango fruits. The internal damping ratio, which may indicate fruit ripeness, increased monotonically with time, while resonant frequencies and firmness indices decreased with time. Fruit samples were tested daily by destructive penetration test. A fairy high correlation was found in tropical fruits between the penetration force and the new acoustic parameters; a lower correlation was found between this parameter and the conventional firmness index. Improved table-top firmness testing units, Firmalon, with data-logging system and on-line data analysis capacity have been built. The new device was used for the full-scale experiments in the next two years, ahead of the original program and BARD timetable. Close cooperation was initiated with local industry for development of both off-line and on-line sorting and quality control of more agricultural commodities. Firmalon units were produced and operated in major packaging houses in Israel, Belgium and Washington State, on mango and avocado, apples, pears, tomatoes, melons and some other fruits, to gain field experience with the new method. The accumulated experimental data from all these activities is still analyzed, to improve firmness sorting criteria and shelf-life predicting curves for the different fruits. The test program in commercial CA storage facilities in Washington State included seven apple varieties: Fuji, Braeburn, Gala, Granny Smith, Jonagold, Red Delicious, Golden Delicious, and D'Anjou pear variety. FI master-curves could be developed for the Braeburn, Gala, Granny Smith and Jonagold apples. These fruits showed a steady ripening process during the test period. Yet, more work should be conducted to reduce scattering of the data and to determine the confidence limits of the method. Nearly constant FI in Red Delicious and the fluctuations of FI in the Fuji apples should be re-examined. Three sets of experiment were performed with Flandria tomatoes. Despite the complex structure of the tomatoes, the acoustic method could be used for firmness evaluation and to follow the ripening evolution with time. Close agreement was achieved between the auction expert evaluation and that of the nondestructive acoustic test, where firmness index of 4.0 and more indicated grade-A tomatoes. More work is performed to refine the sorting algorithm and to develop a general ripening scale for automatic grading of tomatoes for the fresh fruit market. Galia melons were tested in Israel, in simulated export conditions. It was concluded that the Firmalon is capable of detecting the ripening of melons nondestructively, and sorted out the defective fruits from the export shipment. The cooperation with local industry resulted in development of automatic on-line prototype of the acoustic sensor, that may be incorporated with the export quality control system for melons. More interesting is the development of the remote firmness sensing method for sealed CA cool-rooms, where most of the full-year fruit yield in stored for off-season consumption. Hundreds of ripening monitor systems have been installed in major fruit storage facilities, and being evaluated now by the consumers. If successful, the new method may cause a major change in long-term fruit storage technology. More uses of the acoustic test method have been considered, for monitoring fruit maturity and harvest time, testing fruit samples or each individual fruit when entering the storage facilities, packaging house and auction, and in the supermarket. This approach may result in a full line of equipment for nondestructive quality control of fruits and vegetables, from the orchard or the greenhouse, through the entire sorting, grading and storage process, up to the consumer table. The developed technology offers a tool to determine the maturity of the fruits nondestructively by monitoring their acoustic response to mechanical impulse on the tree. A special device was built and preliminary tested in mango fruit. More development is needed to develop a portable, hand operated sensing method for this purpose. In North Carolina: Analysis method based on an Auto-Regressive (AR) model was developed for detecting the first resonance of fruit from their response to mechanical impulse. The algorithm included a routine that detects the first resonant frequency from as many sensors as possible. Experiments on Red Delicious apples were performed and their firmness was determined. The AR method allowed the detection of the first resonance. The method could be fast enough to be utilized in a real time sorting machine. Yet, further study is needed to look for improvement of the search algorithm of the methods. An impact contact-pressure measurement system and Neural Network (NN) identification method were developed to investigate the relationships between surface pressure distributions on selected fruits and their respective internal textural qualities. A piezoelectric dot-matrix pressure transducer was developed for the purpose of acquiring time-sampled pressure profiles during impact. The acquired data was transferred into a personal computer and accurate visualization of animated data were presented. Preliminary test with 10 apples has been performed. Measurement were made by the contact-pressure transducer in two different positions. Complementary measurements were made on the same apples by using the Firmalon and Magness Taylor (MT) testers. Three-layer neural network was designed. 2/3 of the contact-pressure data were used as training input data and corresponding MT data as training target data. The remaining data were used as NN checking data. Six samples randomly chosen from the ten measured samples and their corresponding Firmalon values were used as the NN training and target data, respectively. The remaining four samples' data were input to the NN. The NN results consistent with the Firmness Tester values. So, if more training data would be obtained, the output should be more accurate. In addition, the Firmness Tester values do not consistent with MT firmness tester values. The NN method developed in this study appears to be a useful tool to emulate the MT Firmness test results without destroying the apple samples. To get more accurate estimation of MT firmness a much larger training data set is required. When the larger sensitive area of the pressure sensor being developed in this project becomes available, the entire contact 'shape' will provide additional information and the neural network results would be more accurate. It has been shown that the impact information can be utilized in the determination of internal quality factors of fruit. Until now,
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