Academic literature on the topic 'Animated film, animation, adaptation, Kafka'
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Journal articles on the topic "Animated film, animation, adaptation, Kafka"
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Tengku Mohd Ali, Tengku Intan Marlina, Hashim Awang, Madiawati Mamat @ Mustaffa, and Nur Hamizah Hashim. "From Text to Animation: Adaptation of Bawang Putih Bawang Merah." Malay Literature 27, no. 2 (2014): 310–31. http://dx.doi.org/10.37052/ml.27(2)no6.
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The adaptation of literary texts into drama, film and animation is increasingly popular in today’s era of advances in science and technology. Bawang Putih Bawang Merah (Garlic and Shallot) is one of the works which has been adapted into the form of film and animation. One of the animations adapted from text to film that received overwhelming response from the audience in 2001 was Putih directed by Rashid Sibir, produced by Fine Animation Sdn. Bhd. In animation, several changes are made, including changes to the title, characters and characters, setting and events to suit the target audience, and the times. In relation to this, the objective of this article is to analyse the adaptation from different Bawang Putih Bawang Merah texts into the animated form to ascertain the modifications made when certain works are converted into animation, and to investigate how far literary values are adapted into multimedia forms. This study will use the work of Rubaidin Siwar published by Dewan Bahasa dan Pustaka (1990) because it is a more complete text as compared to others. In discussing adaptations, Engelstad (2009) explains how there are four stages involved in the process of adaptation, the first being the narrative, the second the transformation of the verbal to visual, with the third stage being “enunciation”, and the fourth being the comprehensive stage. All four stages are applied in the analysis of BPBM in its adaptation from text to animation. The adaptation process involved in converting the BPBM texts into the multimedia form retains the literary elements through the use of various story-telling techniques, to produce a captivating animated film. Although BPBM is a traditional Malay tale, the story is adapted with various interesting elements befitting the needs of today’s generation. Keywords: animation, Bawang Putih Bawang Merah, adaptation, text, multimedia
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Walsh, Thomas. "Animating Joyce: Tim Booth’s Ulys." Animation 7, no. 1 (2012): 83–99. http://dx.doi.org/10.1177/1746847711428855.
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According to Paul Wells, the lengthy and intimate relationship of the animation auteur to the animated text is similar to the writing process, and the animated form’s sense of its own artifice highlights the transformative aspects of adapting literary sources for the cinema. It is this expression of interiority, translation and textual process that makes the animated film a perfect vehicle for an adaptation of James Joyce’s Ulysses (1922), which utilizes multiple narrators to construct and deconstruct representations of urban, Dublin society in the early 20th century. It is the purpose of this article to consider Tim Booth’s animated short Ulys (1998), which is in part a commentary on Joyce’s writing authorship, and also an adaptation of Joyce’s novel. The author considers Booth’s use of animation to recover the ‘image-schemas’ that underpin Ulysses, and the ‘small spatial stories’ that inform human cognition of both the literary and animated text.
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Barbour, Sophie. "Into the Spider-Verse and a New Age of Comic Realism." Film Matters 12, no. 3 (2021): 21–33. http://dx.doi.org/10.1386/fm_00174_1.
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This article examines Spider-Man: Into the Spider-Verse through an analysis of realism in animated film. The plot of the film is concerned with the collision of multiple universes, and thus the narrative brings together different realities, each of which subscribe to a different animation style. Defining ‘reality’ in an animated film challenges the traditional divide between realism and formalism in film theory, which relies on photorealism as the benchmark of reproducing reality. Newer media theories introduce a transmedia approach to realism that are concerned with the fidelity of an adaptation to its source material. With these tools, we can see how Spider-Verse’s aesthetics heighten the narrative impact.
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Hibatullah, Muhamad Hadi, Tanto Harthoko, and Agnes Karina Pritha Atmani. "Penciptaan Film Animasi 2D Diadaptasi Dari Puisi “Engkau”." Journal of Animation & Games Studies 3, no. 1 (2017): 83. http://dx.doi.org/10.24821/jags.v3i1.1718.
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Abstract Literary works adapted to the film are familiar to the general public. In response to the problem, the animated film "Engkau" is made with the intention to make it easier for a poet to deliver the message of his poems in audiovisual form to the reader in an interesting and unique way through the animated film which is one of the popular media as a medium of delivery. The animated film " Engkau " is a film adapted from a poem entitled "Engkau" in a collection of poems "Aku Ingin Mencumbu Waktu" with 2D animation techniques.The poem entitled " Engkau " from the collection of poems "Aku Ingin Mencumbu Waktu " tells a feeling of someone who admires and loves someone deeply, no matter how long it can prevent and keep him from loving. The poem " Engkau " in each verse will later be adapted into a 2D animated film, making this animation different from the others. Keywords: poetry, adaptation of literary works, poetry animation, poem "engkau"Abstrak Karya sastra yang diadaptasi ke film sudah tidak asing lagi bagi masyarakat umumnya. Menyikapi masalah tersebut, film animasi “Engkau” dibuat dengan maksud untuk mempermudah seorang penyair menyampaikan pesan dari puisinya dalam bentuk audiovisual kepada pembaca secara menarik dan unik melalui film animasi yang merupakan salah satu media yang populer sebagai media penyampaian. Film animasi “Engkau” merupakan film yang diadaptasi dari puisi yang berjudul sama “Engkau” dalam kumpulan puisi “Aku Ingin Mencumbu Waktu” dengan teknik animasi 2D.Puisi yang berjudul “Engkau” dari kumpulan puisi “Aku Ingin Mencumbu Waktu” menceritakan sebuah perasaan seseorang yang mengagumi dan mencintai seseorang secara mendalam, tidak memperdulikan waktu dapat mencegah dan menghambatnya untuk tetap mencintai. Puisi “Engkau” dalam setiap baitnya nanti akan adaptasi menjadi sebuah film animasi 2D, menjadikan animasi ini berbeda dengan yang lain. Kata kunci: puisi, adaptasi karya sastra, animasi puisi, puisi “engkau”
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Tang, Hai, Xiaobin Gong, and Lihong Qi. "Beyond the Context of Cultural Confidence: A Study of Communication Competence of the Chinese School." Advances in Social Sciences Research Journal 9, no. 1 (2022): 385–96. http://dx.doi.org/10.14738/assrj.91.11555.
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Chinese animated films such as Monkey King: Hero is Back in 2015, Big Fish & Begonia in 2016 and Ne Zha: I am the Destiny in 2019 won higher box office and they achieved a similar popularity as the Wolf Warriors (2015 and 2017) in China’s film market. Perhaps partially because these animations bring audience a sense of familiarization such as they reveal popular culture and collective beliefs (i.e., “I’m the Destiny” as a slogan) to promote cultural identity. On the other hand, the making of Chinese animated films has been gradually getting mature in narration, adaptation, and creation. Both the production mode and the industrial scope have been formed to compete with Japanese anime and American cartoons. Though there are still many problems in making Chinese animations, Chinese School has been working on interpretating and deconstructing the essence of Chinese culture in their animated works. This attitude also marks Chinese School’s determination to disseminate Chinese culture so as to rebuild its confidence towards the animation world.
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Anjirbag, Michelle. "Mulan and Moana: Embedded Coloniality and the Search for Authenticity in Disney Animated Film." Social Sciences 7, no. 11 (2018): 230. http://dx.doi.org/10.3390/socsci7110230.
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As the consciousness of coloniality, diversity, and the necessity of not only token depictions of otherness but accurate representations of diversity in literature and film has grown, there has been a shift in the processes of adaptation and appropriation used by major film production companies and how they approach representing the other. One clear example of this is the comparison of the depiction of diverse, cross-cultural womanhood between Walt Disney Animation Studio’s Mulan (1998) and Moana (2016). This paper will use a cross-period approach to explore the ways in which a global media conglomerate has and has not shifted its approach to appropriation of the multicultural as other and the implications for representational diversity in the context of globalization and a projected global culture. In one case, a cultural historical tale was decontextualized and reframed, while in the other, cultural actors had a degree of input in the film representation. By examining culturally specific criticisms and scenes from each film, I will explore how the legacy of coloniality can still be seen embedded in the framing of each film, despite the studio’s stated intentions towards diversity and multiculturalism.
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Wang, Zhuoyi. "From Mulan (1998) to Mulan (2020): Disney Conventions, Cross-Cultural Feminist Intervention, and a Compromised Progress." Arts 11, no. 1 (2021): 5. http://dx.doi.org/10.3390/arts11010005.
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Directed by the feminist filmmaker Niki Caro, Disney’s 2020 live-action remake of Mulan (1998) strove to be a more gender progressive, culturally appropriate, and internationally successful adaptation of the Chinese legend of Mulan than the animated original. Contrary to the film’s intended effect, however, it was a critical and financial letdown. The film was criticized for a wide range of issues, including making unpopular changes to the animated original, misrepresenting Chinese culture and history, perpetuating Orientalist stereotypes, and demonizing Inner Asian steppe nomads. In addition, the film also faced boycott calls amid political controversies surrounding China. It received exceptionally low audience ratings in both the US and China, grossing a total well under its estimated budget. This article argues that Mulan (2020) is not, as many believe, just another Disney film suffering from simple artistic inability, cultural insensitivity, or political injustice, but a window into the tension-ridden intersectionality of the gender, sexual, racial, cultural, and political issues that shape the production and reception of today’s cross-cultural films. It discusses three major problems, the Disney problem, the gender problem, and the cultural problem, that Mulan (2020) tackled with respectful efforts in Caro’s feminist filmmaking pattern. The film made significant compromises between its goals of cultural appropriateness, progressive feminism, and monetary success. Although it eventually failed to satisfactorily resolve these at times conflicting missions, it still achieved important progress in addressing some serious gender and cultural problems in Mulan’s contemporary intertextual metamorphosis, especially those introduced by the Disney animation. By revealing Mulan (2020)’s value and defects, this article intends to flesh out some real-world challenges that feminist movements must overcome to effectively transmit messages and bring about changes at the transcultural level in the arts.
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"Isao Takahata : Inspiring Visual Styles of Japanese Film & Anime Aesthetics." International Journal of Innovative Technology and Exploring Engineering 8, no. 11S2 (2019): 198–209. http://dx.doi.org/10.35940/ijitee.k1032.09811s219.
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The Tale of Princess Kaguya is an adaptation from The Tale of the Bamboo Cutter, a classical Japanese folktale, directed by Isao Takahata in Studio Ghibli productions. Isao Takahata is a director who has long been overlook by his longtime colleague and Studio Ghibli co-founder Hayao Miyazaki. The purpose of research about cinematography techniques or style of Isao Takahata animated film in The Tale of Princess Kaguya. The Princess Kaguya animated film is like an old Japanese painting that is similar to traditional sumi-e. The focus of this research will look into several aspects such as impressionistic style and the character design in Princess Kaguya animated film. Impressionistic art is an art style when an artist looks into situation or things with a short glimpse and paint it back using bright and vibrant colors. Most of the pictures are outdoor scenes. The concept character of Princess Kaguya created with amazing work of art using hand-drawn animation to new heights of fluidness.
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Kumar, Dharmendra, and Aman Vats. "Game Changing Role of Animation and VFX in Indian Cinema." IMS Manthan (The Journal of Innovations) 12, no. 01 (2017). http://dx.doi.org/10.18701/imsmanthan.v12i01.10345.
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Indian cinema has come a long way from silent era to sound, colour, masala movies and animated movies. In 1896, Lumiere Brothers screened their short films at Watson Hotel of Bombay. It was the first time when Indian audience watched the movie. Since then Indian cinema has gone through several changes and adopted latest technology.This holds more true for the last century were huge technological advancement has taken place. Today, production process of a film is completely changed. Films are produced at rapid speed with the use of latest film making technology. Indian films producedwith low budget and older technology are competing with their expensive and technologically advanced foreign counterparts. Indian cinema has continuously evolved in over last 100 years and reinvented itself to meet the latest challenges. This has given hope to the budding film makers. The study focuses on adaptation of animation and visual effects contributing to Indian Cinema narrative combininglive motion picture with computer generated imagery.
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Мир-Багирзаде, Ф. "Literary works in Azerbaijani animation: symbolism and semantics." Al`manah «Etnodialogi», no. 3(61) (July 31, 2020). http://dx.doi.org/10.37492/etno.2020.61.3.009.
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При помощи сравнительно-исторического анализа автор исследует азербайджанские мультипликационные фильмы, экранизирующие произведения как отечественной, так и зарубежной литературы. В процессе создания каждого рисованного мультфильма советской эпохи принимали участие профессиональные режиссеры, сценаристы, художники-постановщики, снимавшие анимационные фильмы по произведениям азербайджанских писателей-классиков, среди которых – Низами Гянджеви, Мухаммед Физули, Сеид Азим Ширвани, Мирза Алекпер Сабир, Джалил Мамедкулизаде, Абдулла Шаиг, Сулейман Сами Ахундов, Али Керим, Расул Рза. К числу азербайджанских мультфильмов, снятых по произведениям зарубежной литературы, относится экранизация «Звездных дневников Ийона Тихого» и анимационный фильм по мотивам японских хайку. Азербайджанские мультфильмы по мотивам литературных произведений, вошедшие в золотой фонд киноискусства Азербайджана, отличаются специфическим творческим методом. Using a comparative historical analysis, the author explores Azerbaijani cartoon films that screen works of both domestic and foreign literature. In the process of creating each Soviet-era drawn cartoon, professional directors, screenwriters, and production designers took part in making animated films based on the works of Azerbaijani classic writers, such as Nizami Ganjavi, Mohammad Fuzuli, Seyid Azim Shirvani, Mirza Alakbar Sabir, Jalil Mammadguluzadeh, Abdulla Shaig, Suleyman Sani Akhundov, Ali Kerim, Rasul Rza. Azerbaijani cartoons based on works of foreign literature include the adaptation of «Ijon Tichy’s Star Diaries» and an animated film based on Japanese haiku. Azerbaijani cartoons based on literary works included in the Golden Fund of cinema art of Azerbaijan are distinguished by a specific creative method.
Dissertations / Theses on the topic "Animated film, animation, adaptation, Kafka"
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Lin, Chieh Chun, and 林玠均. "From Manga to Animation — A Narrative Adaptation of Animated Film “AKIRA”." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/4e25ps.
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碩士<br>國立臺灣藝術大學<br>多媒體動畫藝術學系動畫藝術碩士班<br>101<br>This thesis analyzes the adaptation process from manga to animation in the animated film Akira, adopting a qualitative method. The purpose of this study is to provide a reference for whom intent to adapt manga into animated film. Based on the concept of cinema adaptation, Akira transforms the pre-text manga to animated film. The narration approaches of the two forms, the manga and the animation film, are investigated, focusing on the presentation of time and space. The concept of time in the pre-text manga is presented through the space on pages, whereas that in the animated film is presented through actual time. Although that manga (as known as comic) and animated film also has a layout process to draw an instant of story, but the layout principle was quite different between these two forms. This study discovered in the adaptation process that the adapter of Akira, Otomo Katsuhiro, who is also the author of the pre-text manga, not only took the manga Akira as a source but also mixed extra material to set up the adaptation film. Therefore, this study considers that the animated film Akira and the pre-text manga Akira are individual works but in a related relationship. This study discovered that the adaptation process of Akira was correspond to Peter Wollen -the film theorist’s concept, the adapter considered the pre-text as a resource of his own work, the adapter is a creator.
Books on the topic "Animated film, animation, adaptation, Kafka"
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Anime and the art of adaptation: Eight famous works from page to screen. McFarland & Company, Inc., Publishers, 2010.
Find full textBook chapters on the topic "Animated film, animation, adaptation, Kafka"
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Park, Giryung. "The “Spiritual” Role of the Media? Heidi, Girl of the Alps in Japan and Korea." In Animating the Spirited. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826268.003.0012.
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This essay focuses on the TV animation Heidi, Girl of the Alps (1974). Made in Japan, it is the most famous international adaptation of the original novel Heidi by the Swiss writer Johanna Spyri. The novel has been translated into many languages and adapted into various media forms—including as a movie, play, animation feature film, television series, cartoon, and picture book. The author surveys the different characteristics and adaptations of the Japan-produced TV animation and its original book publication and argues that progressively, the animated version and its spirited contents have elevated the visual image of Heidi and its original publication. Through studying the audiences in Japan and Korea, the essay speculates on the “spiritual role of the media” in transcending cultural boundaries and discusses the resulting cultural energy that inspires audiences to seek the “spiritual” in connection with their attraction to the animated story.