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Journal articles on the topic 'Animated film industry'
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Wong, Oscar Gordon, and Imelda Ann Achin. "The Hero’s Journey: 12 Stages in The Narrative of Animation Boboiboy Movie 2." Mudra Jurnal Seni Budaya 36, no. 3 (2021): 316–25. http://dx.doi.org/10.31091/mudra.v36i3.1580.
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2019 is a phenomenal year for the development of the Malaysian animated film industry as it has successfully produced two superheroes animated films in total. However, the animated film industry in Malaysia is still not competitive at the international level. This can be seen from the 17 animated films that have been produced from 1998 to 2019, only two superheroes animated films managed to get the attention of the audience. This is due to the lack of knowledge of the concept and function of the hero character in animated films. Therefore, the main objective of this paper aims to demonstrate how the Hero’s Journey narrative structure can be applied in BoBoiBoy Movie 2 (2019). This research method involves the use of video analysis tools namely Kinovea and Motion Picture Analysis Worksheet to explain on how the Hero’s Journey of this film conveys the storytelling. The results of this study found that each semicircle Hero’s narrative structure has an important meaning across from one half-circle to the other half-circle. As a result, it explains the concept of peace and chaos as well as stasis and changes in the narrative structure of superhero animated films. This paper will provide information to researchers on the importance and use of the Hero’s Journey approach to analyze superhero animated films.
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Jiang, Weiyi. "Analyzing the Future of Pixar Based on the Current Status." Advances in Economics, Management and Political Sciences 102, no. 1 (2024): 159–64. http://dx.doi.org/10.54254/2754-1169/102/2024ed0061.
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Pixar Animation Studios is currently facing a challenging situation due to the intense competition in the animated film market. As a result, the study's purpose is to investigate how Pixar should develop in the future to get out of this predicament. To solve the research question, this article will discuss Pixar's achievements in animated films as a case study. The first reason for the problem is technological innovation. The suggestion is to develop the use of artificial intelligence (AI) and virtual reality (VR) in animated film production and formats. The second reason for the problem is connected innovation; the suggestion is insisting on original IP and extending the industry chain. The third reason for the problem is not proactively catering to market needs; the suggestion is meeting diversified needs and strengthening international outreach cooperation. The value of this paper is to provide some reference suggestions for the development of animated films and fill the research gap in the future development of Pixar.
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Qiu, Tianyue. "An Analysis of Chinese Animation Marketing Strategies from the Perspective of 4P Theory in the Era of ChatGPT." Advances in Economics, Management and Political Sciences 22, no. 1 (2023): 233–40. http://dx.doi.org/10.54254/2754-1169/22/20230316.
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Despite the negative impact of the epidemic on the film industry, the domestic animation film market has developed significantly in recent years. From Monkey King: Hero is Back to Nezha: Birth of the Demon Child, to Boonie Bears: Guardian Code, which ranked among the top three films in the Spring Festival this year, more and more local original animated films have gained popularity. Combined with the classic 4P theory of marketing, this paper has insight and analysis of the differentiation characteristics of the booming animation film market from four dimensions and concluded that Chinese animation films should put IP marketing in the first place, and further expand the influence of film IP through new media channels. At the same time, through the analysis of the correlation between animated films and information technology, this paper concluded that in the contemporary era of rapid development of information technology, animated films should embrace information technology more actively and use information technology to achieve personalized promotion.
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Guangyuan Cao, Guangyuan Cao. "The Development Strategy of Nationalistic Derivatives in the Chinese Animated Film Industry." Northeast Asian Arts and Cultural Management Association 1, no. 1 (2024): 59–67. http://dx.doi.org/10.69887/jnaacm.2024.1.1.59.
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Purpose – This study explores the utilization of Chinese traditional culture in animation, with a focus on film derivatives. The study analyzes recent growth and challenges in the Chinese animation industry and aims to effectively utilize Chinese culture in developing animation derivatives. Drawing insights from US and Japanese models, the initiative aims to develop a unique Chinese animation industry, with the goal of improving global competitiveness, cultural impact, and market expansion. Design/Methodology/Approach – This study adopts a research methodology primarily focused on deeply mining the rich resources of Chinese traditional culture, coupled with referencing the mature animation industry chains of the United States and Japan, to develop a more ethnically distinctive animation film industry chain in China. The main research methods involve literature review and case analysis, aiming to explore key issues and solutions in the development of ethnic-oriented animation film derivatives in the Chinese animation film industry. Findings – China’s animation industry is progressing, yet it faces challenges in derivative development, which hinders sustained growth. Leveraging its abundant traditional culture can provide a unique competitive advantage. Integrating insights from established US and Japanese animation industries with Chinese culture is crucial for fostering a more ethnically distinctive animation industry in China, which holds significant promise for future development. Research Implications – The proposal innovatively leverages China’s traditional culture for animation growth, providing insights for sustainable development. It highlights the significance of animation derivatives, guiding commercial exploration. By promoting Chinese culture, it enhances the global competitiveness of animation, facilitating international cultural exchange.
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Wang, Yue, and Xiaowen Ji. "A Study of Translation Strategies of Animated Film Titles from the Perspective of Eco-translatology." Journal of Language Teaching and Research 12, no. 1 (2021): 88. http://dx.doi.org/10.17507/jltr.1201.09.
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In recent years, the animated film industry is booming and attracting more and more attention. This study, under the guidance of Eco-translatology, revolves around both E-C and C-E animated film title translation, analyzing its translational eco-environment and three-dimensional transformations. Use of main translation strategies of animated film titles, which are transliteration, literal translation, free translation and creative translation, is analyzed. It is found that free translation is the mainstream in both C-E and E-C translation of animated film titles while that creative translation is the least frequently used method.
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Pravitha, Cattleya Wahyu, Irene Evi Krismawati, and Ali Mustofa. "Representasi Ideologi Feminisme dalam Film Animasi Encanto: Sebuah Kajian Semiotika." Jurnal Bahasa dan Sastra 11, no. 3 (2023): 147. http://dx.doi.org/10.24036/jbs.v11i3.126190.
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The animated film Encanto, which told the narrative of a magical Colombian family, introduced a new paradigm in the representation of women in the film industry. The unconventional female characters in this Disney-produced picture drew public notice and helped it win Academy Awards. The multiple feminisms represented by these female figures are investigated descriptively and qualitatively. Data were gathered by watching the sequences of Encanto's film and paying attention to how feminism is depicted; taking pictures of each scene that depicts feminism; and then inventorying the acquired data. The data was evaluated and classified according to the feminism depicted in the scenes and discussions using John Fiske's semiotic theory. Existentialist Feminism, Postmodern Feminism, Psychoanalytic Feminism, and Ecofeminism Feminism were discovered to be the feminism streams portrayed in Encanto's animated films. These diverse streams of feminism are a breath of fresh air, breaking the preconceptions of female protagonists in prior Disney animated films.
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Mulyani, Neni. "PERANCANGAN PROSES PRA PRODUKSI FILM ANIMASI 3D LEGENDA PUTRI MERAK JINGGA." JURTEKSI (Jurnal Teknologi dan Sistem Informasi) 5, no. 2 (2019): 183–92. http://dx.doi.org/10.33330/jurteksi.v5i2.361.
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Abstrack:To produce a 3D animated film requires a long process flow so that the processing time of manufacture is also prolonged. This is a constraint in the development of the local animation film in Indonesia for a long time will lead to high production costs making it difficult to compete commercially with animated films from abroad who have abundant funds and the support of various parties in the country. Therefore, efforts to improve the competitiveness of local animated film and one of these efforts is by analyzing the stages of the manufacturing process and apply it to the process of making the actual 3D animated film.In general there are three stages of the filmmaking process, namely the 3D animation pre-production, production and post-production. Although this time the animation industry in Indonesia has not been detailed separates each of these stages, but still be important for designing detail the activities of these stages, in order to see the strengths and weaknesses of each process that existed at that stage. Therefore, this study was conducted with the hope to provide recommendations to improve the local animation industry. Keywords: 3D Animation, Animation Film Pre-Production Stage, Princess Peacock Orange Abstak: Untuk menghasilkan sebuah film animasi 3D membutuhkan alur proses yang panjang sehingga waktu pembuatannya juga berlangsung lama. Ini yang menjadi kendala dalam perkembangan film animasi lokal di Indonesia karena waktu yang yang panjang akan mengakibatkan tingginya cost production sehingga sulit untuk bersaing secara komersial dengan film animasi dari luar negeri yang memiliki dana berlimpah dan dukungan dari berbagai pihak di negaranya. Untuk itu diperlukan upaya untuk meningkatkan daya saing film animasi lokal dan salah satu upaya tersebut adalah dengan menganalisa tahapan-tahapan proses pembuatan dan menerapkannya pada proses pembuatan film animasi 3D yang sebenarnya.Secara umum ada 3 tahapan proses pembuatan film animasi 3D yaitu pra produksi, produksi dan paska produksi. Meskipun saat ini industri animasi di Indonesia belum secara detail memisahkan setiap tahapan tersebut, namun tetap menjadi penting untuk merancang detail aktifitas dari tahapan tersebut, dengan tujuan untuk melihat kekuatan dan kelemahan dari setiap proses yang ada pada tahapan tersebut. Kata Kunci: Animasi 3D, Tahap Pra Produksi Film Animasi, Putri Merak Jingga
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Desrianti, Dewi Immaniar, Ahmad Nur Firdaus, and Deny Pangestu Gunawan. "ANIMASI DENGAN GAMBAR BERGERAK MENINGKATKAN DAYA TARIK PROGRAM PROMOSI." CCIT Journal 10, no. 1 (2017): 114–26. http://dx.doi.org/10.33050/ccit.v10i1.526.
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The development of creative industries is growing, as evidenced by the many industry-emerging creative industry. The media campaign is currently very helpful in supporting the information and communication All of that is because of the many interests of the creative industry services. Many competitors require companies to do promotions to attract customers. Penyajiaan media ads interesting and entertaining will encourage the general public to find out more detail and have an interest to join a company or institute of technology is so rapid in PT.Movio Screen as a company engaged in the creative industry. Have a good portfolio will make promotion and enhance the corporate image. 3D animation movie series is a very good portfolio and attractive for media promotion for a company in the field of creative industries, in addition to the 3D animated film can enhance a company's image. In the 3D animation movie of the series can also be a support to increase the creation of the nation of the 3D animated film, to be more creative again in making animated films in 3D and can inspire people to work in the creative industries in order to generate industry local animation, based on a story in this animation.
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Kalmakurki, Maarit, and Marley Healy. "‘Who wants the pressure of being super all the time?’: Mid-century modern fashions and their influence on costume development in The Incredibles and Incredibles 2." Film, Fashion & Consumption 11, no. 1 (2022): 91–108. http://dx.doi.org/10.1386/ffc_00041_1.
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In this article, we examine period fashions in character costumes in the two Pixar/Disney computer-animated films, The Incredibles and Incredibles 2. These films have a strong mid-century modern design influence interwoven into the films’ narratives and aesthetic designs. The films have previously raised interest in fashion studies, due to their superhero concept. However, an analysis of the characters’ everyday dress is also valuable for understanding the influence of fashion and pop culture references on contemporary animated film costuming and how those elements embed within the technological development of digital characters’ clothing. We employ historical and visual analysis to highlight the integration of design elements of period-appropriate fashions into character costumes. Additionally, we examine the relationship between animation software development and the films’ design aesthetics to inspect how technological advancements support the behaviour of cloth, narrative progression and characters’ personal emotional arcs by reviewing industry articles as well as animator and designer interviews from the making of the films. This is a unique case study that explores the influences and inspiration of period-specific fashion in constructing costumes for computer-animated films, which are ostensibly set in an environment also inspired by the period and specific cultural zeitgeist.
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Eli suryani, Bedjo Riyanto, and Sarwono. "Analysis of Design Elements on Secret Magic Control Agency Movie Poster." TAMA: Journal of Visual Arts 1, no. 1 (2023): 29–37. http://dx.doi.org/10.61405/tama.v1i1.684.
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In a film industry, advertising media is needed to promote or introduce films to be shown. One of the advertisements that is often used in cinema is posters. Posters are closely related to visual communication design, with visuals depicted can convey the important point of a film. Movie posters contain information and have design elements, namely visual elements and verbal elements contained in the design of Secret Magic Control Agency animated film posters. In the animated film, Secret Magic Control Agency is a family comedy film made in England and Russia based on popular fairy tales by brothers Gimm who are reliable storytellers who write many famous legendary fairy tales. The purpose of this study is to describe the elements of poster design and poster design styles used in Secret Magic Control Agency movie posters. The research method used is a qualitative descriptive method with data collection techniques, literature studies, and observations on Secret Magic Control Agency animated film posters. The design style of this poster is 3D, fun and secret agent adventure where the illustrations of the poster related to the magical world are depicted like real life objects that are colorful and contain fantasy which is very suitable for children. The Secret Magic Control Agency animated movie poster is made in accordance with the principles of layout, namely sequence and asymmetrical balance.
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Kong, Li. "Research on National Cultural Consciousness Construction and Strategy of Chinese New Mythological Animated Films--Taking Nezha: Birth of the Demon Child as an Example." Communications in Humanities Research 11, no. 1 (2023): 165–72. http://dx.doi.org/10.54254/2753-7064/11/20231409.
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Chinese neo-mythological films are emerging as a new genre of cinema, attracting more and more creators and audiences. Taking Nezha: Birth of the Demon Child, a representative of the new mythology animated films, as an example, this paper analyses the national cultural awareness embodied in the characterisation and social identity of Chinese new mythology animated films through a documentary research method, and points out that Chinese new mythology animated films can only be better developed if they take into account the nation-al culture and the characteristics of the times. That is, on the basis of preserving the tradi-tional group memory of the nation, creative adaptations are made using a modern vision to gain contemporary popular recognition. The author believes that valuing the uniqueness and value of China's new mythological films in the construction of national cultural awareness will lead to more masterpieces in the future, contributing to the development of the Chinese film industry and even the world's animated films.
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Chen, Cheng, Bin Xu, Jong-Hoon Yang, and Mi Liu. "Sentiment Analysis of Animated Film Reviews Using Intelligent Machine Learning." Computational Intelligence and Neuroscience 2022 (July 20, 2022): 1–8. http://dx.doi.org/10.1155/2022/8517205.
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Film is an essential expression of a country’s cultural soft power in terms of cross-cultural exchange. In addition, film is also the most direct and favourable means of communication. Along with the expansion and development of the Chinese film market, outstanding animation films have emerged in recent years. Animated films have both artistic and commercial properties and can not only have a cultural impact but can also contribute to economic growth. For this reason, our country is now paying more and more attention to the development of animated films. Specifically, animated films not only represent a country’s cultural soft power and national image, but they are also a symbol of the strength of a country’s cultural industry. As a reflection and extension of China’s culture and ideology, animated films play an important role in enhancing cultural confidence and cultural export. In recent years, China’s economy has shown a steady and sustained growth trend. At the same time, with the rapid development of internet technology, social networking has gradually penetrated into all aspects of people’s lives. Various social networking forums, websites, and sites have emerged. While satisfying a wide range of needs, they also provide information on product reviews, social reviews, and service reviews. These reviews contain feedback from the reviewer about the subject of the review. Tapping into the emotions in these reviews can provide consumers with shopping references and help businesses to optimise their products and improve their business strategies. With the help of modern internet technology and information technology, the modern movie industry, such as Cat’s Eye Movies and other internet entertainment service platforms, has developed a model of online ticketing, offline movie viewing, and online reviews and feedback. The content of the reviews on these movie websites fully reflects the attitudinal views of the movie-going community. These reviews play a decisive role in the box office and the further spread of culture. As a result, in order to better understand the audience’s emotional tendencies and needs, it is necessary to carry out sentiment analysis and deep semantic mining of animated film reviews. As the evaluation of film works considers many factors and is complex and variable, the choice of model is crucial in the process of sentiment analysis. Machine learning models represented by deep neural networks are more tolerant of sentence noise and have strong information discrimination and feature self-learning capabilities. As a result, intelligent machine learning is more advantageous for sentiment classification tasks. This study is a combination of textual data mining and statistical analysis from the perspective of viewers’ comments to study the online reviews of animation films from different countries. At the same time, this research hopes to uncover meaningful information from the film reviews and the gap between Chinese and other countries’ animation films, in order to provide a little help for the rise of domestic animation films.
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Elsawy, Mohamed. "THE ETHICAL CHALLENGES AND CONCERNS FACING THE ANIMATED FILM INDUSTRY." Pharos International Journal of Arts and Design 01, no. 01 (2024): 1–15. http://dx.doi.org/10.21608/pijad.2024.353911.
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Cristhiee Shenna Chin and Imelda Ann Achin. "KONSEP LATAR SET DALAM FILEM ANIMASI UPIN & IPIN KERIS SIAMANG TUNGGAL: SATU ANALISIS INTERPRETASI KOMPOSISI." Jurnal Gendang Alam (GA) 14, no. 1 (2024): 44–51. http://dx.doi.org/10.51200/ga.v14i1.5180.
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Konsep seni yang berkualiti tinggi serta penceritaan yang menarik perhatian penonton telah berjaya membawa filem animasi Upin & Ipin: Keris Siamang Tunggal oleh Les’ Copaque yang dikeluarkan pada tahun 2019, sekaligus disenaraikan dalam Anugerah Oscar. Walaupun tidak disenaraikan dalam pencalonan akhir, kejayaan ini telah mengharumkan nama negara diperingkat antarabangsa kerana ini membuktikan bahawa industri filem animasi negara mampu bersaing dengan negara lain. Namun begitu, idea dan imaginasi yang kreatif adalah penting bagi menghasilkan konsep seni yang berkualiti tetapi ramai artis konsep seni masih mengalami masalah dalam menjana idea. Oleh itu, objektif utama dalam penulisan bertujuan untuk menganalisis konsep latar set filem animasi Upin & Ipin: Keris Siamang Tunggal dengan menggunakan pendekatan interpretasi komposisi yang diperkenalkan oleh Rose (2016). Melalui pendekatan ini, konsep latar set dihuraikan melalui elemen-elemen yang terdapat dalam interpretasi komposisi. Hasil kajian ini mendapati bahawa konsep latar set dalam filem animasi Upin & Ipin: Keris Siamang Tunggal banyak menggunakan ilustrasi konsep seni yang berinspirasikan elemen makanan tempatan. Diharapkan kajian ini dapat membantu artis konsep seni tempatan untuk menghasilkan konsep seni kerana kualiti filem animasi bermula daripada konsep seni yang baik. Kata kunci: konsep seni, latar set, animasi, Upin & Ipin ABSTRACT The high-quality art concept and storytelling that captures the audience's attention have successfully brought the animated film Upin & Ipin: Keris Siamang Tunggal by Les' Copaque, released in 2019, to be listed in the Oscar Awards. Although not listed in the final nomination, this success has made the country's name international because it proves that the country's animation film industry is able to compete with other countries. However, creative ideas and imagination are important to produce quality concept art but many concept art artists still experience problems in generating ideas. Therefore, the main objective in the writing aims to analyze the background concept of the animated film Upin & Ipin: Keris Siamang Tunggal by using the compositional interpretation approach introduced by Rose (2016). Through this approach, the concept of the set background is explained through the elements found in the interpretation of the composition. The results of this study found that the set background concept in the animated film Upin & Ipin: Keris Siamang Tunggal uses a lot of illustrations of art concepts that inspire elements of local food. It is hoped that this study can help local art concept artists to produce art concepts because the quality of animated films starts from a good art concept. Keywords: concept art, setting, background concept, animation, Upin & Ipin
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Isfiaty, Tiara. "Symbolism in the Animation's Visuals : The Role of the Creative Sector in Advancing the Utopian." Waca Cipta Ruang 9, no. 1 (2023): 69–72. http://dx.doi.org/10.34010/wcr.v9i1.9512.
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The purpose of this article is to substantiate the important role of visual creativity in the creative industry sector in meeting the educational needs of the creative economy community. One form of cultural media from the creative sector that has the potential to boost the economy is animated film. When an animated picture is screened, the originality of the imagery takes center stage in order to engage the audience's imagination and foster a sense of personal connection with the entire work. A specific idea is embodied in animated film representation. The primary components that must be prepared in the creative sector are ideas because they are associated with technological innovation and artistic creativity. Utopianism was one of the original concepts that inspired the plot of the Disney animated film Zootopia. Through specific visual representations, the idea of utopia manifests metaphorically. Relational analysis based on Ogden and Richard's triangle of meaning is used to describe how the animated film's visual characters and symbols represent the utopian idea. For the drivers of the creative sectors, the results might be valuable as a way to relate ideas into the form of symbols and visualizations.
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Sayatman, Sayatman, Nugrahardi R, Anjrah H, Rabendra Y, and Kartika Kartika. "DESAIN MODEL KARAKTER CLAY UNTUK MENDUKUNG PROMOSI ANIMASI STOP MOTION." Jurnal Dimensi Seni Rupa dan Desain 11, no. 2 (2014): 197. http://dx.doi.org/10.25105/dim.v11i2.104.
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<p><strong>Abstract</strong><br />The animated film is one of the assets of the national creative industries, which has great potential to be developed into economic creative sectors. Animation products not only featured in the film industry but also widely used for the videography products, advertising and multimedia gaming applications. In<br />addition to the strength of the story, one of the important aspects in the production of the animated film is the character design. The success of delivering the message is heavily influenced by the strength of characters that play the part. This study will discuss the topic of clay based design modelling<br />where it would be useful as an alternate method in designing a clay based animated character and can make a positive contribution to the development of creative industries Indonesia.</p><p> </p><p><strong>Abstrak</strong><br />Film animasi merupakan salah satu aset industri kreatif nasional yang potensial untuk terus dikembangkan menjadi sektor ekonomi kreatif. Produk-produk animasi kini tidak saja digunakan dalam industri film layar lebar, namun juga banyak dimanfaatkan untuk produksi videografi, iklan maupun aplikasi game multimedia. Selain kekuatan cerita, salah satu aspek penting dalam film animasi adalah desain karakter/figur. Karena sebagian besar keberhasilan penyampaian pesan cerita sebuah film termasuk animasi banyak dipengaruhi oleh kekuatan<br />desain karakter/figure yang memerankannya. Penelitian ini akan membahasnya dalam topik rancang bangun karakter modeling berbasis clay. Semoga dapat bermanfaat sebagai alternatif metode dalam desain model karakter animasi berbasis clay dan dapat memberikan kontribusi positif untuk perkembangan industri kreatif di Indonesia.<br /><br /></p>
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Jin, Jiasheng, Sharul Azim Sharudin, and Tingting Wang. "Visual Design of Chinese Animated Films Infused with Oriental Punk Aesthetics." Journal of Theory and Practice of Social Science 4, no. 04 (2024): 1–8. http://dx.doi.org/10.53469/jtpss.2024.04(04).01.
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In recent years, China's movie industry has been advancing, and movies based on ancient myths, which can combine cultural expression with technical expression, have become a hot topic for creation. Especially the ancient mythological novels such as "The Legend of Deification" and "Journey to the West" have become the source of creative ideas for movie adaptations, and Light Chaser Animation, as one of the most important forces in Chinese film production, has been exploring new possibilities for animation movies, inheriting and innovating traditional Chinese cultural elements. Light Chaser Animation, as one of the most important forces in Chinese film production, has been exploring new possibilities for animation films, inheriting and innovating traditional Chinese cultural elements, and has produced the famous "New Gods" series of films, which combines oriental elements and cultural characteristics, blends modernity and tradition, and forms an Oriental Punk style with Chinese characteristics. Oriental Punk not only shows the construction of modernity of Chinese traditional culture, but also the embodiment of cultural self-confidence, and at the same time presents the unique style and aesthetic value of Chinese culture to the world. This article analyzes the visual symbols, color design and action vocabulary of the film New Gods: Yang Jian, and points out a new direction for Chinese films to integrate traditional cultural elements and modern art technology in the creation of new mythological themes.
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Pikkov, Ülo. "On the Topics and Style of Soviet Animated Films." Baltic Screen Media Review 4, no. 1 (2016): 16–37. http://dx.doi.org/10.1515/bsmr-2017-0002.
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Abstract This article provides a survey of Soviet animation and analyses the thematic and stylistic course of its development. Soviet animated film emerged and materialised in synch with the fluctuations of the region’s political climate and was directly shaped by it. A number of trends and currents of Soviet animation also pertain to other Eastern European countries. After all, Eastern Europe constituted an integrated cultural space that functioned as a single market for the films produced across it by filmmakers who interacted in a professional regional network of film education, events, festivals, publications etc. Initially experimental, post-revolutionary Russian animation soon fell under the sway of the Socialist Realist discourse, along with the rest of Soviet art, and quickly crystallised as a didactic genre for children. Disney’s paradigm became its major source of inspiration both in terms of visual style and thematic scope, despite the fact that Soviet Union was regarded as the ideological opposite of the Western way of life and mindset. The Soviet animation industry was spread across different studios and republics that adopted slightly varied production practices and tolerated different degrees of artistic freedom. Studios in the smaller republics, such as Estonia, Latvia and Lithuania in particular, stood out for making films that were more ideologically complicated than those produced in Moscow.
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Li, Panpan. "The Development of 3D Movie Animation Industry in the New Media Art Era." Journal of Education, Humanities and Social Sciences 18 (August 11, 2023): 217–22. http://dx.doi.org/10.54097/ehss.v18i.10996.
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With the continuous progress of technology and the increasing diversification of supporting tools, the penetration and application of 3D film and television special effects technology in the animation industry is also deeper, thus playing an irreplaceable role. By studying the development of 3D film and television animation industry in the era of new media art, new media art has become the new mainstream of world art at this stage. The use of network media to achieve information dissemination has greatly improved the speed and coverage of communication, and the application of Internet communication platform has also provided conditions for the interactive exchange of works. Not only has great commercial value, but also has potential value that can be tapped. The new media art is greatly different from the traditional art form in both its internal characteristics and its external manifestations. However, 3D film and television special effects technology is an important technology to promote the development of animation film and television, which makes the production of animated films more sophisticated, can bring the audience an immersive feeling, and enables the audience to get a better sense of experience. Better promote the deep integration of technology and film, and bring more rich experiences and enjoyment to the public.
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Zainal, Rizuan, and Mohd Asyiek Mat Desa. "Agent Ali: Exploring Emotional Elements in Story Development with Artificial Intelligence." PaperASIA 40, no. 2b (2024): 72–82. http://dx.doi.org/10.59953/paperasia.v40i2b.53.
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Emotional research in film and animation has long been implemented in the West. This is because Elements of emotion are essential in an animated film to generate an affective impression and emotions in the audience. Malaysia's animation industry has increased recently, and Malaysian animators have produced many animation products. However, previous studies stated that the current situation of local animated films needed a more potent storytelling technique. There is a West scholar who argues that good storytelling can evoke the emotions of the audience. Applying emotions in animation through computer technology is complicated compared to live-action films that can control emotions through the actors' acting techniques. Thus, this study identified the elements of emotion in developing the case study of storytelling Agent Ali in the movie. The mixed method was used to identify aspects of emotion in Agent Ali the Movie, such as Freytag's Pyramid model and Hume AI. As a result, this study found that aspects of emotion exist in the story development process in Agent Ali the Movie, such as happiness, sadness, and anger in every three acts of structure (exposition, conflict, and resolution). The existence of emotion has proved that animated films in Malaysia need to be focused to overcome the weak storytelling technique. At the end of the discussion, this study also found that Artificial intelligence (AI) technology like Hume AI could speed up the animation production process, especially in identifying the facial expressions and body language of characters in the process of storytelling development.
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Wang, Kai, and Guojun Li. "The Impact of Big Data Technology on the Scale Management of China’s Animation Film Industry." Mathematical Problems in Engineering 2022 (April 13, 2022): 1–14. http://dx.doi.org/10.1155/2022/1060943.
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With the development of science and technology, social networking and digital media technology are also constantly developing. Handheld mobile smart terminals have been continuously promoted and popularized. The promotion and popularization of network and digital media technology bring convenience to people’s life and work. People can use their leisure time to shop online and watch related videos. The advent of the Internet era has promoted the development of China’s industry. The era of big data is coming. Big data analysis brings enormous value to all occupations. At the same time, it has brought new developments to Chinese animation films, realizing the marketing and development design of animated films. At the same time, big data has also brought opportunities for the development of the Chinese animation film industry. The application of big data brings a foundation for China’s animation film industry. From investment and financing, topic development and design, marketing promotion, and distribution and development of derivative products, big data brings huge value to the entire industry chain. However, big data is not omnipotent, and there are certain problems in the use of big data in Chinese animation films. At present, the application of big data in China’s animation film industry also has limitations and practical difficulties. Based on this, this paper focuses on discussing and analyzing the historical status of China’s animation industry. Moreover, it analyzes the future development prospects of the animation industry and other related contents. It is hoped that the brief analysis in this article provides some reference and inspiration for relevant practitioners.
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Rosyid, Dzulfiqar Fickri, and Kankan Kasmana. "A Comparison of the 1940 Animated Pinocchio Movie and Walt Disney Studios' 2022 Live-action Version of Pinocchio Movie." ARTic 6, no. 1 (2023): 581–89. http://dx.doi.org/10.34010/artic.v6i1.10953.
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Pinocchio is one of the popular classics of the Walt Disney animation industry released in 1940, the popularity of the Pinocchio series also prompted the animated film Pinocchio to be adapted into a live-action version in 2022. The movie is based on the classic novel by Carlo Collodi that tells the story of a wooden puppet named Pinocchio who wants to become a human child. There are different scenes from the 1940 version of Pinocchio and the 2022 version of Pinocchio. This adaptation process does bring changes in the meaning content when the story is adapted from animation to live-action. Based on this, this study aims to analyze changes in meaning in the 1940 animated version of Pinocchio and the 2022 live-action version of Pinocchio with a comparative method, data obtained from observation. The results of the study are that there are significant differences, in the 1940 animated version of Pinocchio scenes prioritize Pinocchio's self-transformation into a real boy through moral struggle and sacrifice, while the 2022 live-action version of Pinocchio adaptation emphasizes the emotional relationship between Pinocchio and Gepetto. The results of this research are expected to provide additional knowledge and new knowledge about film adaptation and the importance of considering changes that occur in both films and their impact on the content of meaning.
 Keywords: Animation, Live-action, Movie, Pinocchio Scene
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Momin, Fareen, Vail Reese, and Richard F. Wagner Jr. "Dermatological Findings in Children’s Films." SKIN The Journal of Cutaneous Medicine 7, no. 3 (2023): 807–10. http://dx.doi.org/10.25251/skin.7.3.8.
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Introduction: Filmmakers use dermatologic findings to help the audiences decipher between ‘good’ and ‘bad’ characters by portraying villains with recognizable skin findings. The objective of this study was to analyze 18 Disney live-action movies in relation to their earlier animated releases to determine whether there were changes or correlation about how the industry portrayed certain characters based on their roles as heroes or villains. Methods: To better understand how the use of dermatological findings are changing in the film industry, eighteen Disney live-action movies in relation to their earlier animated releases were compared for changes or correlation on how the industry portrays certain characters based on their roles as heroes or villains. Results: Film antagonists were depicted with significantly more dermatologic findings than protagonists (p<0.0001). In addition, the frequency of periorbital hyperpigmentation (p=0.02) and nasolabial folds (p=0.05) were significantly higher in antagonists verses protagonists. Conclusion: These findings have important implications about the dermatological content of movies directed toward children. Findings of this study suggest filmmakers are continuing to use common dermatological findings to indirectly portray characters as ‘good’ or ‘bad.’
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Sitkiewicz, Paweł. "Animated Film and Socialist Realism in Poland, 1949–1955." Animation 17, no. 2 (2022): 209–25. http://dx.doi.org/10.1177/17468477221102501.
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When the doctrine of socialist realism was proclaimed in Polish cinema in November 1949, the production of animated films was only taking its first steps after World War Two. The industry lacked human resources, equipment, buildings, celluloid sheets, distribution system and success. Animators were forced to achieve new goals that were often both ambitious and contradictory. In this new reality, cartoons and puppet films had to be realistic and subordinated to the dominant political doctrine. Addressed to children exclusively, they presented educational and didactic features and were focused on several contemporary topics such as the construction of communism or official propaganda. At the same time, they were supposed to be artistic, technically perfect, addressed to the millions and compatible with Soviet animation practice from Soyuzmultfilm (which was the most important animation studio in the Soviet Union). This article identifies how Polish filmmakers strived to achieve these goals, and discusses the problems faced by young and inexperienced animators under Stalinist culture’s political pressure. The author examines the films produced in that period, verifies them against their assigned political tasks, and shows the absurdities of socialist realism in animation that wanted to reconcile contradictions such as entertainment and education, realism and fairy tales, artistic values and propaganda. Finally, the article explains the impact of these films on the future of Polish animation.
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Krivulya, Natalia G. "Development of the Animated Poster in the First Half of the XX century." Journal of Flm Arts and Film Studies 8, no. 3 (2016): 19–33. http://dx.doi.org/10.17816/vgik8319-33.
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The genre of animated posters emerged at the dawn of animation. In 1899, A. Cooper an English director created one of the first movie-posters in the history of world animation. The need for movie-posters with propaganda characteristics arose during the period of the WW1. During that time, the genre of the animated poster had been developed and had even become a stimulus to the development of the animation and film industry. It had achieved its greatest success in the UK due to the advanced level of printed graphics, as well as the fact that the British pioneered the development of systematic promotion approaches. German animators also worked in the genre of animated posters, but they filmed mostly instructional movies which presented technical or military information in a clear and simple form. By the end of the WW1 the structure of movie posters had evolved from transparent to narrative. During the war the genre of the animated poster was not developed in Russia. After the war, propaganda film-posters disappeared from the screens. Their place was taken by mostly political, educational and promotional posters. The time of experimentation with figurative language, technology, and structure of the animated poster was in 1920-1930s. Themes, targets and the form of presentation had changed, but the function remained the same - informational and visual propaganda. As the commercial poster had developed predominantly in European and American animation, the release of political posters initiated the development of Soviet animation. Sentiment changes in global politics and the situation in Europe during the late 1930s which evolved into the WW2, once again stimulated the entertainers interest for the genres of political-propaganda, patriotic, and instructive posters. During the war the production of animated posters formed a considerable portion of all the animation filmed in Soviet as well as American studios. With the cessation of hostilities films in the poster animation genre almost disappeared from the screens.
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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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Litvina, Tatiana V., and Xuebiao Niu. "CHINESE AND RUSSIAN APPROACHES TO UNDERSTANDING THE PROBLEMS OF SCREEN ADAPTATIONS AND ANIMATED ADAPTATIONS." Scientific and analytical journal Burganov House. The space of culture 19, no. 4 (2023): 79–92. http://dx.doi.org/10.36340/2071-6818-2023-19-4-79-92.
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This paper deals with the main problems of screen adaptations of literary works in general and animated adaptations in particular. The authors examine the achievements and gaps in the theoretical study of these topics in Russia and China. Different times, through the voices of scholars, have formed different definitions of the principles of film adaptation. Forms and methods of adaptation evolve, their principles are not permanent and are also subject to change. It is the need of the time to develop a new theory of screen adaptation. After examining a large number of studies dealing with the specificities of screen adaptation per se, animation and animated versions of literary originals, the authors come to the conclusion that it is necessary to develop a detailed comprehensive theory of animatography and its specifics. The authors express some opinions regarding the most promising development directions of the new research paradigm. There are quite a lot of theoretical and practical studies on the adaptation of literature in film and television, yet there has been relatively little research on animated versions of literary sources in general and Journey to the West in particular. The existing discussions and studies have not yet formed a system of academic understanding on these topics. It should be noted, however, that just as there is a trend in the world to increasingly turn to various types of audiovisual adaptations of classical literary works, including animated adaptations, in China, all the successful animated works in the past ten years have been animated adaptations of classical literature, particularly screen adaptations of works related to legends and myths, i. e. of the same category as “Journey to the West”. There is a pressing urgency to deepen research in this area, both for the development of the Chinese animation market, which is in dire need of them, and on the scale of the global film and mass communication media. This topic is further relevant due to the fact that animation is the backbone of the digital cultural industry, which has become the leading field of contemporary culture.
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Xiao, Ewen. "Disneys Reconstruction of the Traditional Chinese Heroine: a Comparative Analysis of the Three Mulan Movies." Communications in Humanities Research 1, no. 1 (2021): 19–27. http://dx.doi.org/10.54254/chr.iceipi.2021174.
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The legend of Mulan has been transmitted and remolded throughout China for hundreds of years. In recent years, this motif has also drawn significant attention from the US film industry. Three films are analyzed in this article: the Chinese Yu opera Hua Mulan [1], Disneys animated version Mulan [2] and the most recent addition, Disneys live-action version Mulan [3]. Under a cross-culture lens, the analysis compares three versions of the film to examine the transculturation and adaption of the narrative in reconstructing a traditional Chinese heroine. This paper concludes that to resist cultural hegemony and to attract a broader audience, Disneys 1998 version transforms a typical Confucian heroine into an individualistic American heroine. Finally, it shall be argued that the 2020 version of Mulan espouses and shapes Mulan into a synthesized Asian-American figure.
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Xiao, Ewen. "Disneys Reconstruction of the Traditional Chinese Heroine: a Comparative Analysis of the Three Mulan Movies." Communications in Humanities Research 1, no. 1 (2021): 19–27. http://dx.doi.org/10.54254/2753-7064/1/iceipi_174.
Full textAbstract:
The legend of Mulan has been transmitted and remolded throughout China for hundreds of years. In recent years, this motif has also drawn significant attention from the US film industry. Three films are analyzed in this article: the Chinese Yu opera Hua Mulan [1], Disneys animated version Mulan [2] and the most recent addition, Disneys live-action version Mulan [3]. Under a cross-culture lens, the analysis compares three versions of the film to examine the transculturation and adaption of the narrative in reconstructing a traditional Chinese heroine. This paper concludes that to resist cultural hegemony and to attract a broader audience, Disneys 1998 version transforms a typical Confucian heroine into an individualistic American heroine. Finally, it shall be argued that the 2020 version of Mulan espouses and shapes Mulan into a synthesized Asian-American figure.
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Han, Yishan. "From Movie to Narrative Universe: Transmedia Storytelling of Zootopia Film IP." SHS Web of Conferences 193 (2024): 04004. http://dx.doi.org/10.1051/shsconf/202419304004.
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In the context of the ongoing development of multimedia convergence, cross-media storytelling has become an indispensable part of the film and television industry. Many film IPs have adopted the production mode of cross-media narrative, which not only significantly enhances their popularity but also greatly strengthens audience participation and loyalty. Disney's animated film Zootopia combines film IP with theme parks, spin-offs, games and other media. The IP has successfully expanded its story world through collaborative narrative across multiple media, providing a richer and more diverse story experience for the audience. Therefore, based on the concept of transmedia narrative, this paper focuses on analyzing the film IP of Crazy Animal City and its characteristics and analyses the strategy of transmedia narrative expansion of this IP in terms of content, audience, and science and technology, intending to explore the practical significance of the transmedia narrative of the film IP. This analysis contributes to understanding the use of transmedia narratives in today's film and television industry. It emphasizes the importance of exploring new narrative approaches and media integration strategies. In addition, it provides valuable insights and references for future film intellectual property.
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Safagi, Ardian Yuligar, Kusrini Kusrini, and Hanif Al Fatta. "Analisis dan Pengembangan Pipeline Cloth Simulation Pada Produksi Animasi 3D di MSV Studio." Creative Information Technology Journal 7, no. 2 (2021): 107. http://dx.doi.org/10.24076/citec.2020v7i2.255.
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Pengaruh penerapan pipeline dalam sebuah industry animasi 3d sangat mempengaruhi produksi animasi agar maksimal. Dalam masing-masing divisi juga terdapat pipeline yang digunakan contohnya pipeline pada divisi cloth simulation. Pada MSV Studio pipeline simulasi yang diterapkan di divisi cloth simulation masih terdapat beberapa kendala pada saat produksi. Cara kerja pipeline yang sudah ada yaitu pada saat proses pengecekan data asset yang masih manual antara Sceneres dan Renderes yang diperlukan untuk simulasi cloth masih sering terjadi kesalahan seperti human error dan set up cloth masih dilakukan disetiap shot. Dari masalah tersebut diusulkan untuk dilakukan pengembangan pipeline cloth simulation agar bisa meminimalisir kesalahan dan menghemat waktu pengerjaan. Hasil dari produksi film animasi sangat dipengaruhi oleh pipeline yang digunakan dalam produksi tersebut. Studi ini memberikan gambaran bagaimana sebuah pipeline ikut andil besar dalam sebuah hasil dari produksi film animasi 3D terutama dalam masalah waktu. Pada akhirnya studi ini dapat menjadi acuan dalam pembuatan sebuah pipeline film animasi khususnya pada divisi cloth simulation.Kata Kunci — pipeline, cloth simulation, animasi 3DThe effect of pipeline application in a 3D animation industry greatly influences the production of animation for maximizing. In each division. there is also a pipeline that is used for example the pipeline in the cloth simulation division. In the MSV studio pipeline simulation applied in the cloth simulation division there were still some obstacles during production. The work of the existing pipeline during the process of checking asset data which is still manual between Sceneres and Renderes needed for cloth simulation is still often had an error such as human error and set up cloth still done in every shot. From this problem it is proposed to develop a pipeline cloth simulation in order to minimize errors and saving time processing. The results of the production of animated films are strongly influenced by the pipeline used in the production. This studyprovides an illustration of how a pipeline contributes greatly to the results of the production of 3D animated films, especially in the matter of time. In the end, this study can be a reference in making an animation film pipeline, especially in the cloth simulation division.Keywords — pipeline, cloth simulation, 3D animation
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Warman, Rahmat Aditya. "Mengubah Gambar Sketsa Menjadi Visual yang Menakjubkan : Membangun Dunia Animasi dengan Kecerdasan Buatan." Journal of Animation and Games Studies 10, no. 1 (2024): 45–60. http://dx.doi.org/10.24821/jags.v10i1.12434.
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The rapid development of technology in the current era has brought changes to the industry of animation. The utilization of artificial intelligence technology in the field of animation helps accelerate the creative process of creating animated films, one of which is the search for visual concepts to be used. The search for visual concepts can now be made using only sketch images through the assistance of artificial intelligence. The research method employed is exploration, and this study will explore the utilization of Control Trait on the artificial intelligence platform used, namely Playground AI. The sketch images used consist of 10 images, comprising 5 character sketch images and 5 environmental sketch images. The results of the research reveal that the recommended Control Trait values for sketch images fall within the range of 0.4 – 0.6. The conclusion of this study is that black and white sketch images can be quickly transformed into stunning visuals with the assistance of artificial intelligence. The generated images are sufficiently good to be used as visual concepts for an animated film.
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Yu, Tien Kuei. "Optimize the Study of the Dynamic Film Selection." Applied Mechanics and Materials 320 (May 2013): 768–73. http://dx.doi.org/10.4028/www.scientific.net/amm.320.768.
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A technical computer animation for dynamic film, animated short film production to Taiwan by customers to move to the development of the continent, a shrinking market worries. Visible the Taiwan in animation foundry (low-cost, high-quality, high-efficiency) industry, no longer is an advantage. The other hand, the industry has also been realized to cartoons of the United States and Japan and therefore positive efforts (toward the direction of home-made animation Fanmei Jun, 2004). Secondly, the computer animation at this stage of the development of animation industry in Taiwan is the weakest that is, the ability of the financial, legal, and international marketing. Due to the creation of the marketing practices of the finished product is difficult to both creators oriented (Hongfeng Yi, 2004). The research basis the Tsou-Hsiang Ju (2008) using conjoint analysis, analysis of four different preference cluster analysis, five kinds of film properties and their rights, grey relational analysis of dynamic video library field to be named; understand the Hall field the eyes of the average consumer selection situation, it is recommended to design products to meet consumer preferences, and to continue to innovate and reform, driven by the digital content industry to flourish in the international market and to keep pace with foreign manufacturers.
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Zhu, Fan. "The Interweaving of Film Media and Cultural Inheritance: A Case Study of Chang An." Communications in Humanities Research 34, no. 1 (2024): 60–64. http://dx.doi.org/10.54254/2753-7064/34/20240101.
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The explosion of the new cultural animated film series Chang An has opened a new prelude to the interweaving of traditional culture and modern media, and has become a new focus of research on cultural heritage. With the advent and challenges of the new media era, Chang An, as a film that presents the profound heritage of Chinese culture, cleverly uses unique narrative techniques and visual presentation. Based on the focus of telling good Chinese stories, modern media plays a powerful role in communication, driving the prosperity and development of the cultural industry. This paper aims to explore the communication strategies and effects of film media on cultural heritage. By using content analysis method to analyze the film Chang An in detail, it strives to reveal how the film not only inherits Chinese culture but also successfully attracts the attention of modern audiences. The research results show that the communication effect of the film is very significant, realizing creative communication and cross-cultural dialogue, improving the audience's identity with traditional culture, and showing the potential and value of film media in cultural heritage.
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Szita, Kata, Paul Taberham, and Grant Tavinor. "Book Reviews." Projections 14, no. 2 (2020): 102–23. http://dx.doi.org/10.3167/proj.2020.140210.
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Bernard Perron and Felix Schröter, eds., Video Games and the Mind: Essays on Cognition, Affect and Emotion (Jefferson, NC: McFarland, 2016), 224 pp., $39.95 (softcover), ISBN: 9780786499090.Christopher Holliday, The Computer-Animated Film: Industry, Style and Genre (Edinburgh: Edinburgh University Press, 2018), 272 pp., $39.95 (paperback), ISBN: 9781474427890.Aubrey Anable, Playing with Feelings: Video Games and Affect (Minneapolis: Minnesota University Press, 2018), 200 pp., $25.00 (paperback), ISBN: 9781517900250. and Christopher Hanson, Game Time: Understanding Temporality in Video Games (Bloomington: Indiana University Press, 2018), 296 pp., $38.00 (paperback), ISBN: 9780253032867.
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Ding, Wanqing. "The development trend of China's animation ip development-taking the ip development of Shanghai Art Film Studio as an example." BCP Business & Management 38 (March 2, 2023): 3076–81. http://dx.doi.org/10.54691/bcpbm.v38i.4238.
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In recent years, Chinese animation has developed rapidly. At present, domestic animation has developed in the market. The box office of domestic animated films has generally risen, with box-office hits such as "Nezha" and "The Return of the Great Sage". Shanghai Fine Arts Film Studio is a very important part in the development history of Chinese animation. In the rapid development of "Internet +", relying on new communication technologies and methods, changes have taken place in various fields of film and animation creation, distribution and publication. In this way, the concept of IP was born, and now Shanghai Mei is constantly transforming from the traditional to the IP-oriented trend in its own way, and innovating the operation mode of the cultural industry in the new social and cultural environment. This paper aims to analyze the development trend of IP-based animation in China, rationally discuss the problems and challenges encountered in the development of IP-based animation in China, and attempt to describe the promotion methods and methods of “IP+”-based animation in China. future trends.
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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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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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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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Banerjee, Sikata, and Rina Verma Williams. "Making the nation manly: The case of Bhaag Milkha Bhaag (2013) and India's search for regional dominance in an era of neo-liberal globalization." Studies in South Asian Film & Media 10, no. 2 (2019): 179–93. http://dx.doi.org/10.1386/safm_00013_1.
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Abstract This article unpacks a particular gendered vision of nation that we term muscular nationalism. Briefly put, muscular nationalism is an intersection of a specific vision of masculinity with the political doctrine of nationalism. This idea of nation is animated by an idea of manhood associated with martial prowess, muscular strength and toughness. A particular interpretation of muscular nationalism has unfolded in India within a cultural milieu shaped by an assertive self-confidence fuelled by 'liberalization', a process by which India has been integrated into the global political economy, coupled with the prominence of Hindu nationalist politics. India's prolific commercial film industry centred in Mumbai has used images of manhood to express and valorize these cultural changes. We use the popular and critically acclaimed film Bhaag Milkha Bhaag (2013), directed by Rakesh Omprakash Mehra, to illustrate how athleticism and India's desire for regional dominance in South Asia shape muscular nationalism.
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Zhao, Shuai. "The Phenomenon of Chinese Animation Art through the Prism of Neorealism (On the Example of the Animated Film “The Lion Boy”)." Общество: философия, история, культура, no. 10 (October 18, 2023): 2070–208. http://dx.doi.org/10.24158/fik.2023.10.28.
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In the era of globalization and rapidly developing technology, China’s animation industry in its development faces a certain anxiety about the preservation of traditional national identity. This article describes the influence of neorealism on contemporary Chinese animation art. The study is an attempt to explore and analyze the fea-tures of neorealism as a current in contemporary Chinese animation through the example of the animated film “Lion Boy”. The appearance of the film (2021) has broken the dominant pattern of contemporary Chinese ani-mated films with “mythological” themes and marked a new direction for the development of contemporary Chi-nese animation. The movie is based on a classical plot, but the characters are adapted to the norms of modern morality and ideas about aesthetics. From a certain angle, the movie is filled with modern pictures, the images of the characters are better depicted, they are more real, and the plot develops more dynamically. The protago-nist is a character with a peculiar morality, who does not believe in prejudice. He meets the main values of mo-dernity, which attracts the viewer. By analyzing the storyline, metaphors and analogies of the film, the author made an attempt to identify the problems of the development of Chinese animation and determine the features brought by neorealism to contemporary Chinese animation cinema. Neorealism filled animation with the con-sideration of the true relationship between ordinary people and society as a whole system, shifting the empha-sis from mythological heroes, leaders to ordinary people. One of the results of the content analysis has become the characterization of a new direction of Chinese animation art in which human dreams and reality can coex-ist. The new animation resolves the contradiction between ideal and reality, the conflict between modern and traditional culture. Conclusions dwells upon the fact that it is possible to bridge the gap and conflict between “tradition” and “modernity”, “individual” and “society” that modern people face in their life world.
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Posada, Tim. "THE COMPUTER-ANIMATED FILM: INDUSTRY, STYLE, AND GENRE By Christopher Holliday. Edinburgh: Edinburgh UP, 2018. 272 pp. $84.53. paper." Journal of Popular Film and Television 47, no. 3 (2019): 180. http://dx.doi.org/10.1080/01956051.2019.1642719.
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Demina, Olga V. "Linguistic and Stylistic Means of Satire Construction in the Animated Series." RUDN Journal of Language Studies, Semiotics and Semantics 12, no. 4 (2021): 1124–46. http://dx.doi.org/10.22363/2313-2299-2021-12-4-1124-1146.
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The study is devoted to the description of linguistic and stylistic means of satire construction in modern American animated series. The article deals with a detailed analysis of the linguistic and stylistic means that actualize the satiric and ironic meanings for a satire creation based on the examples of American series. Cartoonists often resort to satire as a unique genre of art to express direct or indirect criticism of the structure of modern society. Modern satirical cartoons contain vivid elements of parody and caricature. An obligatory consequence of satirical creativity is exposure and laughter. The methods of socio-political satire of modern animated serials are enhanced by the interplay of irony and sarcasm, hyperbole and grotesque, allegory and allusion, paraphrase and play on words. American animated series mirror modern reality, they reflect numerous facts of daily life and current environment touching their most critical sides: economics, politics, education, religion, ethnic issues, international ties and relations, interpersonal dealings. Socio-political satire is peculiar in that it does not spare not only the ruling branch of power, but also an ordinary, ordinary, gray person. In this dullness and ignorance of his, the average man in the street is ready to blindly obey the most ridiculous and absurd orders. Of course, an animated series cannot solve acute social or political problems facing society. But the fact that these questions are raised means that the problems are urgent. The purpose of such satire is to reflect on mistakes and not repeat them in the future. For example, South Park, Rick and Morty, Family Guy, F is for Family parody the modern family, social order, exaggerate social issues to the extreme. The relevance of this study is due to several reasons: first, the abundance of cartoon products on the modern film industry market. Secondly, the role that cartoons and serials play in the life of a modern person and in the culture of postmodernity. It is common knowledge that over the past few years, the TV series and animated series industry has changed a lot: streaming services (Netflix, Hulu and Amazon) appear, new formats are released, and more and more cartoon characters are voiced by famous actors. Thirdly, it is confirmed by the idea of the existence of the phenomenon of the "Big Serial Bang", expressed by Doctor of Philosophy, Professor of the Higher School of Economics V.A. Kurenniy. The fact that modern TV series are a cultural product that accurately reflects the spirit of the times remains an indisputable fact. Such a visual narrative fits perfectly into the framework of modern society.
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Yali, Cheng, and Chen Kaiju. "Appropriation, Rewriting and Alienation: A Postcolonial Critique of Mulan." International Journal of Social Science Studies 9, no. 3 (2021): 82. http://dx.doi.org/10.11114/ijsss.v9i3.5226.
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Released in September, 2020, Mulan, a live-action film starring Liu Yifei, was adapted by Disney from the Ballad of Mulan[1]. The film was produced from its animated version Mulan (1998) which hit global box office amounting to 304 million with marvelous reputation. However, the live-action movie Mulan did not continue the brilliant results of the previous work. Instead, Mulan (2020) disappointed most Chinese audience[2] because historical facts and cultural values about Mulan were excessively appropriated, rewritten and alienated. Applying theories of Postcolonialism, this essay analyzes the live-action movie Mulan revealing the ethnocentric abuse of the target culture as the “other”: arbitrary appropriation, rewriting and distortion of its historical events and traditional values. Also, theories of popular culture will be used to analyze the cultural industry strategies applied in this unsuccessful film.[1]the Ballad of Mulan (Chinese: 木兰辞; pinyin: Mù lán cí), a famous folk song of the Northern Dynasty in China.[2]The investment in the live-action film Mulan is as high as US$200 million (about 1.4 billion RMB). As a result, the global box office is less than US$70 million. Also, the score in Douban is only 5.0 points. (the full mark is 10.)Sources:https://new.qq.com/rain/a/20201102A0J6EO00,https://movie.douban.com/subject/26357307/
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Euodia Grace Maranatha, Endang Sulistya Rini, and Syafrizal Helmi Situmorang. "ANALYSIS OF THE INFLUENCE OF BRAND IMAGE, SERVICE QUALITY AND STORE ATMOSPHERE ON CUSTOMER SATISFACTION CAFE RUANG SARCA MEDAN." International Journal of Economic, Business, Accounting, Agriculture Management and Sharia Administration (IJEBAS) 3, no. 4 (2023): 1165–82. http://dx.doi.org/10.54443/ijebas.v3i4.1001.
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Based on data from the Ministry of Tourism and Creative Economy, in 2021, the creative industry will contribute quite a lot to the GDP of the national economy, up to 6.98 percent, almost 7 percent with a value of no less than Rp. 1.134 trillion (Ghofar, 2022). The Ministry of Tourism and Creative Economy explained that there are 17 sub-sectors of the creative economy in Indonesia, namely: game developer, architecture, interior design, music, fine arts, product design, fashion, culinary, (animated film and video photography), visual communication design, television and radio, craft, advertising, performing arts, publishing, and applications (Kemenparekraf, 2022), based on 17 (seventeen) sub-sectors of the creative economy in Indonesia, culinary is the largest contributor (30%) from the tourism and creative economy sectors. The culinary industry has a very strong potential for development, so that the culinary industry receives great attention from the government so that this sector can progress by providing facilitation such as business training, access to capital, and business start-up assistance. In addition, the Ministry of Tourism and Creative Economy also participates in promoting this very diverse Indonesian cuisine in domestic and foreign markets (Kemenparekraf, 2022).
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Fei, Lingfeng, Senmeng Gao, Rui Zhou, and Rui Chen. "Peppa Pig: Experience Evolution and User Migration in Multi-industry Creative Consumption." Lecture Notes in Education Psychology and Public Media 47, no. 1 (2024): 202–8. http://dx.doi.org/10.54254/2753-7048/47/20240935.
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The core IP image of the British animated film Peppa Pig, "Peppa", has seen an all-media explosion and multi-industry IP consumption since 2018, while transforming from a "child Peppa" to a "social person" symbol, becoming a youth subculture phenomenon worthy of attention. By combing through the rewriting or hype of Peppa as a cultural symbol in various media communication, we analyze the experience flow of cultural symbols behind Peppa culture in the communication process, as well as the phenomenon of user migration in multiple industries, and reflect on the creative consumption under the development trend of "new culture and creativity". Using Peppa Pig as a typical case of digital creativity, we propose the logic of user experience construction under two perspectives: product business line and user emotional engagement line. The cultural interpretation of Peppa by different user groups in different industries also inevitably leads to the alienation of Peppa, and Peppa with many different roles is typical. This also demonstrates the trend and crisis of creative IP in the development process: the synergistic evolution of digital creativity in multiple industries and the over-emphasis on experience consumption after the combination of the experience economy and the characteristics of the digital age may lead to creative misconception.
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ZHANG, YI RAN, and Tae Hoon Lee. "Analysis and Study of Animation Expression Techniques in Oriental Aesthetic Style: Focusing on <The Tale of Princess Kaguya> Directed by Isao Takahata." Institute of Art & Design Research 26, no. 1 (2023): 13–20. http://dx.doi.org/10.59386/jadr.2023.26.1.13.
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Isao Takahata is a notable Japanese animation director and founder of Ghibli Animation Studio. His works have a distinctive oriental aesthetic, and The Tale of Princess Kaguya is considered one of his most famous works. The purpose of this research is to provide a deeper insight into Isao Takahata's unique animation style and the cultural background behind it.
 The main objective of this research is to analyze the animation expression techniques in depth, focusing on Isao Takahata's The Tale of Princess Kaguya, and to draw future implications for the development of the animated film industry. The results of the study show that director Isao Tagahata's work reflects his deep cultural background along with his unique personal aesthetic. In particular, it was found that his animations emphasize ethnic identity along with personal style identity. These findings provide animation directors and producers with deeper insights into the importance of a director's personal style and ethnic culture, and can serve as important indicators for the future development of the animation industry.
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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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Nancy Jeane Tuturoong and Jimmy Reagen Robot. "3D Animation: Cultivation and Processing of Aren Juice Content in North Sulawesi." International Journal of Scientific Multidisciplinary Research 3, no. 2 (2024): 127–36. http://dx.doi.org/10.55927/ijsmr.v3i2.8065.
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Aren trees are able to produce raw materials for the craft industry. Almost all parts of the date palm can be used or have a sale value. Aren cultivation is still rarely done due to a lack of attention to the development of Aren plants by various parties. This study aims to make an animated film introducing Aren cultivation which can introduce the process of Aren cultivation. Animations are made in Blender 3D, which is software for creating 3D objects and animations. The method of making animation consist of making storyboards, modelling and texturing, rigging, forming sets, animation and rendering, as well as editing and final rendering. The resulting 3d animation of cultivating Aren is loaded sequentially in the animation starting from geo-content of aren areas, cultivation and processing of the Aren juice until it is ready to be packaged
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Hermindo, Canniago, and Suryono Herlambang. "PENERAPAN DESAIN THERAPEUTIC PADA WADAH KREATIF PEKERJA FILM ANIMASI PENGIDAP INSOMNIA." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 5, no. 2 (2023): 659–72. http://dx.doi.org/10.24912/stupa.v5i2.24214.
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The creative industry plays an important role in driving Indonesia's overall economic growth. Data released by the Central Bureau of Statistics (2018) shows that the creative economy sub-sector makes a significant contribution to the national economy by contributing 7.44% to the Gross Domestic Product (GDP). One of them comes from the film, animation, and video sub-sector. Based on the Creative Economy Agency (2020), the growth of this industry reaches 10% annually. However, this cannot be separated from the creative workers who often get insomnia due to work. Insomnia is a disorder in the form of difficulty getting to sleep, difficulty maintaining sleep, and sleep dissatisfaction. Based on the US Census Bureau, International Data Base in 2004 as many as 28.035 million people in Indonesia (11.7%) suffer from insomnia. This shows that insomnia has become a problem faced by the majority of Indonesian people. Rehabilitation for people with insomnia is needed because it can interfere with health and reduce productivity. Therefore, a creative workspace for animated film workers with insomnia is needed which aims to facilitate them in the work process as well as fill their time when experiencing the insomnia phase to support recovery so they can return to their productive activities. The research uses qualitative methods with library research followed by data collection through surveys of similar buildings and interviews with users regarding space requirements that support creative work processes and insomnia. Then the use of the healing therapeutic concept as a design criteria related to connectedness with nature, culture, privacy, physical comfort, multifunctional activities, relaxation rooms, interactive, flexible, and beautiful that aim to comfort users in assisting their work and recovery processes. Keywords: Creative; Insomnia; Therapeutic Abstrak Industri kreatif memainkan peran penting dalam mendorong pertumbuhan ekonomi Indonesia secara keseluruhan. Data yang dikeluarkan oleh Badan Pusat Statistik (2018) menunjukkan bahwa subsektor ekonomi kreatif berkontribusi signifikan terhadap perekonomian nasional dengan menyumbangkan sebesar 7,44% terhadap Produk Domestik Bruto (PDB). Salah satunya berasal dari sub sektor film, animasi, dan video. Berdasarkan Badan Ekonomi Kreatif (2020), pertumbuhan industri tersebut mencapai 10% tiap tahunnya. Namun hal tersebut tidak lepas dari pekerja kreatif tersebut yang sering terkena insomnia akibat pekerjaan. Insomnia merupakan gangguan berupa kesulitan untuk memulai tidur, kesulitan mempertahankan tidur, dan ketidakpuasan tidur. Berdasarkan US Census Bureau, International Data Base tahun 2004 sebanyak 28,035 juta jiwa penduduk Indonesia (11,7%) terjangkit insomnia. Hal tersebut menunjukan bahwa insomnia sudah menjadi masalah yang dihadapi mayoritas masyarakat Indonesia. Rehabilitasi bagi pengidap insomnia diperlukan karena dapat menggangu kesehatan dan menurunkan produktivitas. Oleh karena itu, diperlukan sebuah wadah kerja kreatif pekerja film animasi pengidap insomnia yang bertujuan memudahkan mereka dalam proses bekerja sekaligus mengisi waktu mereka ketika mengalami fase insomnia untuk menunjang pemulihan sehingga bisa kembali beraktivitas secara produktif. Penelitian menggunakan metode kualitatif dengan riset kepustakaan dilanjutkan dengan pengumpulan data melalui survei bangunan sejenis dan wawancara dengan user terkait kebutuhan ruang yang menunjang proses kerja kreatif dan insomnia. Kemudian penggunaan konsep healing therapeutic sebagai kriteria desain yang terkait keterhubungannya dengan alam, budaya, privasi, kenyamanan fisik, kegiatan multifungsional, ruang relaksasi, interaktif, fleksibel, dan indah yang bertujuan untuk kenyamanan pengguna dalam membantu proses kerja dan pemulihan mereka.