Academic literature on the topic 'Animated film text'

Abstract Esoteric symbolism of various kinds is dispersed in media for mass communication, and from the semiotic perspective, films, historically the primary medium for motion pictures, are the most powerful weapons for worldwide attraction. In this paper, two famous cartoon animated movies by Disney, Moana and Zootopia, are under analysis. For one thing, they use profound symbols in conveying a message to the audience, especially to children, and for another, their impact on society is wide due to the breadth and diversity of Disney-branded products. Thus, the present paper discusses these two movies using semiotic theories of signs, codes, and symbols, weaving them together to trace the system of communication between the text (here referring to the cinematic texts) and its audience, and especially how a heroine frame is built in the adventure genre. Interpreting the hidden meaning or occult symbolism requires a special kind of knowledge if we aim to convey the essence of the story to our children beyond merely knowing the plot of the film. The films Moana and Zootopia feature a number of interior or hidden elements such as metaphors and allegories, and illuminati or esoteric symbolism, even though they are animated ones.

Who registers in academic year 2014/2015. This research involved 40 students at class X. The instrument of this study was writing task in narrative genre. And the criteria of students‟ writing were assessed from five aspects of writing, namely content, organization, vocabulary, language use, and mechanic. The data were obtained by using two essay writing tests. They were pre-test and post-test. The pre-test was given before the treatment and the post-test was given after the treatment finished. The data of the pre-test and post-test were analyzed by means of descriptive and inferential statistics. After the data were tested and found to be normal, the hypothesis was tested using the analysis of paired sample test. The result showed that there was significant effect of students‟ writing ability after teaching by using audio visual media (animated film). It can be seen on the result of the hypothesis testing using paired sample test. The mean score of pre-test was 61.92 and mean score post-test was 75.63. Morever, as a result the probability value of .000 (p value) was less than the level of significant (p < .05). Therefore, it can be said that using audio visual media (animated film) gives significant effect to increase students‟ ability to write narrative text at class X Mia 5 of SMAN 9 Kendari. Keywords: Writing, Animated Film, Narrative Text

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.

This article explores the ways in which Waltz with Bashir (2008), Ari Folman’s animated war memoir, combines a commentary on memory with a moral stance on war. The authors argue that the film exemplifies the capacity of animated documentaries not only to show what is otherwise difficult or impossible to represent in non-animated documentaries, but to serve as a vehicle for fostering new relationships between the viewer and the documentary text. In this vein, the authors argue that Waltz with Bashir synthetically produces a rich, consistent, and thus trustworthy sense of reality for its viewers not despite but because of its unique aesthetic choices – its innovative animation techniques and mixing of reality with fantasy. Accordingly, the authors weave together analyses of the film’s content and form with accounts of their reception, discuss how the film evokes certain somatic responses with individuals, and consider the political significance these responses may engender.

With the invention of moving pictures, the creators sought to supplement them with sound. Even before the invention of cinemat, E. Reynaud in the optical theatre gave performances in which moving images were combined with sound. It was pre-cinema experience, which represented the theatre model of audiovisual show. The attempts to synchronize the dynamic images and sound were taken by T. Edison, S. Meshes, L. Gaumont, O. Kellum, E.Tigerstedt, J. Engel, G. Phocht and J. Massol. However, the systems suggested by these inventors were not perfect. An important step towards creation of a sound film was the appearance of the optical sound recording system Phonofilm designed by Lee de Forest. In 1923, he became acquainted with Brothers Fleischer, outstanding American animators. Together with H. Riesenfeld and E. Fadiman they organized Red Seal Pictures Corporation and began to shoot Ko-Ko Song Car-Tunes, which consisted of a series of animated shots Sing-alongs (featuring the famous bouncing ball). It was a kind of multimedia shots, as there was no plot, no character and no narrative structure. They were created basing on popular songs, but did not illustrate them. The Sing-alongs shots were produced for the audience to sing their favorite songs before the session, while reading the text of the songs from the screen. The animated ball bouncing on the syllables helped them to follow the rhythm of the melody. These films became the prototype of the modern karaoke and music animated shows. The series were released from May 1924 till September 1927. The Fleshers created more than 45 shots, more than 19 of which using the Phonofilm. The first sound animated shots where the images were synchronized with the sound and recorded on the same media, were released in 1925. The film Come to Travel on My Airship was the first where the speech was heard, and in the shot My Old House in Kentucky the Fleischers managed to synchronize the speech with the facial expressions of cartoon characters as they were speaking. When the animating and shooting technology changed, the film structure underwent changes too. Detailed animation parts with the story content appeared. The text animation became variable as well. Since the 1930s, the shots have included scenes with singers and jazz-bands. The animated film series Ko-Ko Song Car-Tunes shot by the Brothers Fleischer established the principle of movement and sound synchronism in the animation. They not only out paced the sound films by P. Terry and W. Disney, which were considered to be the first sound animation films for a long time, but also proved that the sound animation had been possible and the thirty-year era of the silent animation came to an end.

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

In this study, the researcher wanted to find out how the influence of the use of animated film media on exposition text learning. A quantitative approach with experimental and survey research strategies that require statistical data is used in this study. The research technique used in this research is experimental research using a form of experimental design, namely quasi-experimental design. The population of this study were all students of class X SMAN 6 Kediri totaling 432 students, while the sample was taken from 15% of the total population, namely 66 students consisting of the experimental class with a total of 33 students in class X IPS 3 and the control class with a total of 33 students in class X. Social Studies 5. The data analysis technique is descriptive analysis and inferential statistics. T-test or t-test is used for hypothesis testing in this study. This proves that (Ha) is accepted and (Ho) is rejected. Therefore, it can be concluded that there is a significant influence in the use of animated film media on the skills of writing exposition texts in online learning for class X students of SMAN 6 Kediri in the 2020-2021 school year.

<p align="center"><strong>Abstrak</strong></p><p> Film Iklan Mandiri Securitas merupakan film iklan mengunakan strategi retorika komunikasi visual empu keris sebagai pendekatan kreatifnya. Tema sebagai ide dasar penciptaaan film iklan Mandiri Securitas berusaha memahamkan tentang usaha kerja keras untuk menghasilkan detil dari kerja empu untuk menghasilkan bilah keris, dikreasikan dengan retorika metaforis untuk merepresentasikan citra Mandiri Securitas dalam melayani konsumennya mampu bekerja dengan baik atau tidak dengan melihat masing-masing peran dari domain retorika perkerisan dan retorika perbankan dikeduanya. Tujuan penelitian ini adalah untuk mengetahui secara kritis retorika metaforis dua domain itu dengan melihat masing-masing peran dari elemen-elemen pembentuk film iklan Mandiri Securitas. Metode penelitian ini mengggunakan deskriptif kualitatif dekontruksi dengan teknik “apropriasi minus one” melalui pembongkaran domain perbankan dan domain perkerisan untuk melihat posisi retorika metaforis filmis iklan Mandiri Securitas . Film iklan memuat elemen-elemen penyusunnya seperti visual, audio, efek “animated<em>”</em> serta “<em>voice over”</em> yang mendukung terbentuknya metafora iklan. Melalui apropriasi “<em>minus one</em>” dapat ditemukan posisi retorika visual domain “perkerisan” mampu membawakan pesan dari produk yang diinginkan oleh Mandiri Securitas , tetapi jika “<em>animated text</em>” dan “<em>voice over”</em> dihilangkan, maka tidak nampak hubungan retoris di keduanya. </p><p> </p><p>Kata Kunci: retorika, metafora, film iklan, perbankan, perkerisan</p><p> </p><pre><strong>Abstract</strong></pre><pre><strong> </strong></pre><p><br /> <em>Mandiri Securitas Advertising Film is an advertising film using the rhetoric strategy of visual communication of the kris masters as a creative approach. The theme as a basic idea for the creation of the Mandiri Securitas advertisement film seeks to understand the effort of working hard to produce details from the master's work to produce a keris blade, created with metaphorical rhetoric to represent the image of Mandiri Securitas in serving its customers whether they can work well or not by looking at each the role of the political rhetoric domain and banking rhetoric in both.</em><em> </em><em>The purpose of this study was to critically identify the two domain metaphorical rhetoric by looking at each role of the constituent elements of the Mandiri Securitas advertising film. This research method uses descriptive qualitative deconstruction by </em>"appropriation minus one"<em> technique through the dismantling of the banking domain and the domain of perkerisan to see the position of the filmmatic metaphorical rhetoric of the Mandiri Securitas advertisement. Advertising films contain constituent elements such as visual, audio, animated effects and voice over that support the formation of advertising metaphors. Through appropriation </em>"minus one"<em> can be found the position of visual rhetoric of the keris domain is able to deliver messages from products desired by Mandiri Securitas , but if "</em>animated text<em>" and "</em>voice over"<em> are removed, there is no rhetorical relationship in both.</em></p><p> </p><pre><em>Keyword: rhetoric, metaphora, advertising film, banking,</em> kris</pre>

The Soviet film director Lev Kuleshov has not been historically associated with animation, and yet his legacy includes: an article on animation published in the Soviet central specialized newspaper Kino Gazeta; a film, a substantial part of which is animated; as well as a text of four lectures preserved in the Russian State Archive of Literature and Art (RGALI). In the lectures that he delivered to animators at the Soviet central animation studio Soiuzmul’tfil’m, he repurposes his theories of montage and acting for the needs of the medium of animation. Analyzing these materials, with the primary focus on the lectures, this article introduces Kuleshov’s contribution to animation theory and production, and suggests that Kuleshov’s legacy not only sheds light on the historically specific situation in animation production characteristic for the Soviet Union in the 1930s, but also facilitates a deeper understanding of the animated image as a phenomenon.

The teaching writing is still in need of interesting teaching media to support its pedagogy as teaching writing is associated with difficult subject to be taught. Prior researches have been conducted on teaching writing area and the result suggested conducting more study on teaching writing effectively. This study attempts to fulfill the gap and takes teaching media as the focus of the research. This article investigated the employment of animated films as a teaching medium in the teaching of narrative writing tests, as well as if they are still effective in supporting the learning process. The sample of the research was taken from the students of a Junior high school in Parepare, Indonesia which was chosen purposively. Online Google Forms was employed as research tools for the study, and the questionnaire and test writing were used to collect data. Quantitative analysis was used in analyzing the data gathered. Regarding the research result, the data revealed that there is difference result between before and after the research. Students respond positively to an animation video utilized in the study as an alternate media in teaching narrative text of writing. They enjoyed the learning process of writing narrative text via animation film as the media as well as improved their positive energy in writing. It can be suggested for the next researcher to study more in another issue of animation film for teaching.

This study examined the claim that animated films influence childrens' opinions of accented-English. Two hundred and eighteen 3rd through 5th graders participated in a web-based survey. They listened to speakers with various accents: Mainstream US English (MUSE), African American Vernacular English (AAVE), French, British, and Arabic. Respondents judged speakers' personality traits (Work Ethic, Wealth, Attitude, Intelligence), assigned jobs/life positions, and provided personal information, movie watching habits, and exposure to foreign languages. Results indicate: (1) MUSE ranks higher and AAVE lower than other speakers, (2) jobs/life positions do not correlate with animated films, (3) movie watching habits correlate with AAVE, French, and British ratings, (4) foreign language exposure correlates with French, British, and Arabic ratings.

The objective of this creative project was the exploration of the new genre of Design Cinema, specifically to use typography and motion graphics to tell a story. Design Cinema is best defined as a hybrid form of moving image that falls between motion graphics and filmmaking. The secondary objective was to design and create three significant pieces of work in Design Cinema, which focuses on utilizing typography and graphics in an abstracted story-based environment.The stories illustrated come from the book of Psalms in the New International Version translation of the Bible. These are some of the oldest texts in the world. This body of work, completed in high-definition video, required a process of pre-production (treatment, storyboarding, and planning), production (shooting, lighting, and directing), and post-production (capturing, editing, compositing, and design). Bill Viola, Jem Cohen, and Michel Gondry have impacted the style and structure of my video work.<br>Department of Art

"Studies and a career of Czech animator in terms of market economy" answers all basic, practical questions that Czech animation student asks about his future career. It is an information link between school and practice. It delivers facts about current situation on Czech animation scene and presents practical skills which are necessary for setting up an animation career. The goal of a writer was to deliver undistorted information which might be surprisingly realistic or skeptic. Understanding these facts is fundamental, because readers should come up with their own solutions for their future jobs in animation. A broad topic contains information about film or artistic animation, commercial and comissioned jobs, internet animation, basics about animation studios, animation industry and economic aspects of a freelance work. It summaries a purpose of animation schools, including 10 commandments of a student aimed on practical skills to gain during studies.

Мирошниченко М. С. Лінгвостилістичні особливості сучасного англомовного анімаційного телесеріалу та їх відтворення у перекладі (на матеріалі мультсеріалу “Gravity Falls”) : кваліфікаційна робота магістра спеціальності 035 «Філологія» / наук. керівник І. О. Андрєєва. Запоріжжя : ЗНУ, 2021. 60 с.<br>EN : The object of the study – language innovations in the animated series “Gravity Falls”. The aim of the study: to outline the structural and semantic features of language innovations in the animated text and ways to reproduce them in translation on the material of the series "Gravity Falls" The method of research – a continuous sample when collecting language innovations for research; contrastive method when comparing English-language occasionalisms and their Ukrainian-language translations; the transformative method allowed to analyze translations of innovations; the method of quantitative calculations helped to compare the quantitative calculations of occasionalisms according to different criteria and with the help of the descriptive method the analysis of the explanation of translation difficulties was carried out. The results obtained: the study revealed the features of film text and animated text, in particular. The following models were found in relation to parts of languages: noun + noun, adjective + adjective, verb + noun, verb + adjective, verb + verb. Productive ways of word formation for occasionalisms are affixation, basic composition, telescopy, conversion, reduplication, analogy, metaphor, onomatopoeia. According to the semantic principle of classification, it was found that the largest group of occasionalisms were those that give names to characters (anthroponyms, mythonyms), places (mythos), animals (zoonyms) and objects or phenomena (occasional nouns). Examining the translation of proper names and names in the cartoon series, it was concluded that their reproduction in the language into which we translate, is through transcription and transcription. Regarding the translation of occasional phenomena, objects, actions, etc., the most productive methods of translation are tracing, search for a functional replacement, omission of the occasional word or descriptive translation.<br>UA : Дипломна робота – 60 стор., 62 джерел. Об’єкт дослідження: мовні інновації в мультиплікаційному серіалі “Gravity Falls”. Мета роботи: окреслення структурно-семантичних особливостей мовних інновацій в анімаційному тексті та шляхів їх відтворення в перекладі на матеріалі серіалу “Gravity Falls” Теоретико-методологічні засади: суцільна вибірка при зборі мовних інновацій для дослідження; контрастивний метод при зіставленні англомовних оказіоналізмів та їх україномовних перекладів; трансформативний метод дозволив проаналізувати переклади інновацій; метод кількісних підрахунків допоміг зіставити кількісні підрахунки оказіоналізмів за різними критеріями та за допомогою описового методу було здійснено аналіз пояснення труднощів перекладу. Отримані результати: у дослідженні було виявлено особливості кінотексту та анімаційного тексту. Продуктивними способами словотворення для оказіоналізмів є афіксація, основоскладання, телескопія, конверсія, редуплікація, аналогія, метафора, ономатопея. За семантичним принципом класифікування, було виявлено, що найбільшою групою оказіоналізмів стали антропоніми та міфоніми. Дослідивши переклад власних назв та імен у мультсеріалі, було зроблено висновок, що їх відтворення у мові, на яку перекладаємо, відбувається за допомогою транскрибування та транскрипції. Найпродуктивнішими способами в перекладі є калькування.

The Invention of Martial Arts examines the media history of what we now call ‘martial arts’ and argues that martial arts is a cultural construction that was born in film, TV, and other media. It argues that ‘martial arts’ exploded into popular consciousness entirely thanks to the work of media. Of course, the book does not deny the existence of real, material histories and non-media dimensions in martial arts practices. But it thoroughly recasts the status of such histories, combining recent myth-busting findings in historical martial arts research with important insights into the discontinuous character of history, the widespread ‘invention of tradition’, the orientalism and imagined geographies that animate many ideas about history, and the frequent manipulation of history for reasons of status, cultural capital, private or public power, politics, and/or financial gain. In doing so, the book argues for the primacy of media representation as key player in the emergence and spread of martial arts, and overturns the dominant belief that ‘real practices’ are primary while representations are secondary. The book makes its case via historical analysis of the British media history of such Eastern and Western martial arts as Bartitsu, jujutsu, judo, karate, taiji, and mixed martial arts (MMA) across a range of media, from newspapers, comics, and books to cartoons, films, and TV series, as well as television adverts and music videos, focusing on often overlooked texts such as adverts for ‘Hai Karate’, the 1970s hit ‘Kung Fu Fighting’, and other mainstream and marginal media texts.

Screening the Golden Ages of the Classical Tradition explores how films and television programs have engaged with one of the most powerful myths in the Western classical tradition: that humans once lived under ideal conditions, as defined by proximity to the divine. We feel nostalgia for this imagined origin, regret at being born too late to enjoy it, and worry over why we lost it. We seek to recover that “golden age” by religious piety—or, by technological innovation, try to create our own utopia. The breach between this imagined world and lived reality renders these mythical constructs as powerful political tools. For the “golden age” concept influences how participants in the Western classical tradition view our own times by comparison, as an “iron age” whose degradation we lament and wish to escape. This “golden age” complex has manifested in the world-building activities of ancient Greek and Roman texts, from Hesiod to Suetonius, and in modernity’s hagiographic memory of certain historical societies: Periclean Athens, Thermopylae-era Sparta, and Augustan Rome. These fourteen collected essays discuss how golden age themes animate screen texts ranging from prestige projects like Gladiator and HBO’s Rome, to cult classics like Xanadu and Hercules: The Legendary Journeys, to films made by auteurs including Jules Dassin’s Phaedra and the Coen Brothers’ O Brother, Where Art Thou? Essays also examine the classical “golden age” tradition in fantasy (Game of Thrones), science fiction (Serenity), horror (The Walking Dead), war/combat (the 300 franchise, Centurion, The Eagle), and the American Western.

This chapter is concerned with the narrative structure of Ari Folman's Waltz with Bashir. It reflects on the differences between Waltz with Bashir's story and plot, as defined by David Bordwell and Kristin Thompson in their seminal text Film Art: An Introduction and looks at how information is revealed to the audience. It also looks at the ten animated interview scenes ordered around in Waltz with Bashir, which allegedly took place in 2006 and are carried out as part of an investigation to help the film's narrator-protagonist to overcome his amnesia about his role during the First Lebanon War. The chapter analyzes Waltz with Bashir's final scene that uses live news footage of the Sabra and Shatila camps and appears to mark the moment when the protagonist is hit by the full emotional force of his memories. It talks about the juxtaposition of live footage with total recall that suggests that Waltz with Bashir moves from unreliable or 'false' memory to 'real' truth.

South African Artist William Kentridge’s Drawings for Projection films animate his charcoal drawings. This chapter analyses Kendridge’s animated film Felix in Exile (1994), for which forty charcoal drawings were amended and filmed during each step of the work’s stop-motion animation process. Felix in Exile addresses the traumatic history of South Africa during apartheid and provides a good meta-level insight into the process of drawing. This chapter explores how Kentridge’s drawing mechanisms and the representation of history, time and memory are interrelated. Questions examined include: How are mechanisms of drawing and animation related to history? How does Felix in Exile mediate time and memory? What is it exactly that causes this film’s affect? This chapter reflects on these questions by using Walter Benjamin’s philosophical texts, On the Concept of History (1942) and On the Mimetic Faculty (1933) in conjunction with theoretical literature on drawing in order to analyse Kentridge’s work.

This chapter presents the framework for a system that enhances the subtitles of a video file by detecting affective audio content. A model for the visualization of general and emotional information that is typically included in the audio material of a video file (TV/movies) is implemented. Depending on its nature, the content is visualized as an animated cartoon (sound assistant) and/or in the corresponding subtitle text channel, thereby supporting the monitoring of the above material in cases of hearing-impaired viewers, or in general cases that perception of sound during playback is problematic. An animated cartoon is proposed as a way of representing the emotional content of an audio event (speech) and the general content of an audio event (type of sound) in video, while color scales on the subtitles' fonts are used to represent basic emotions.

Mihaela Mihailova examines the role and functions of the drawn image within early-twentieth-century scientific and educational media texts (in this case, a range of 1920s educational animated short films). Exploring seminal names from animation history, such as Bray Productions and the Fleischer brothers, Mihailova demonstrates the contemporary resonances and applications of these works. The chapter examines a range of foundational trends, methods and approaches that subsequently shaped animated documentary during the nine decades since the advent of sound. Examining the functions which the drawn image fulfils, animation is seen as a metacommentary on its own expressive limitations, as well as those of nonfiction, foregrounding the challenges of conveying reality by means of a single representational mode. At once liberated from the concreteness of the photographic record and limited in their abstraction by the requirements of scientific content, these films occupy a position between mechanical recording and pure artistic creation.

This chapter discusses adult-child relations in two Japanese animated fantasy films that are based on English children’s literature, When Marnie Was There and Howl’s Moving Castle, both by Studio Ghibli. Both films draw strongly on the age-bending elements of their source texts, with Marnie transforming from the heroine Anna’s grandmother into her young friend and, in reverse, Sophie transforming from an 18-year-old into an older lady. Through the affordances of animation as a medium, and fantasy as a mode, the chapter argues these two films challenge the separation of adult and child into distinct realms and envision the mutual support that can come from bringing adults and children together into conversation, as equals: for Marnie, this supports both characters through childhood trauma and, for Howl, Sophie’s age-defying identity speaks to an intergenerational push for pacifism.

This chapter examines the rewriting of the Pacific War in Japanese films and animation. Films such as Men of the Yamato (2005) and Admiral Yamamoto (2011) evince an uneasy balance between lamentation for the destruction of the Pacific War, evasion of Japanese responsibility for the conflict, and celebration of self-sacrifice in the creation of Japan’s future peace and prosperity. The vexed status of Japan’s history renders the past a contestable and re-interpretable space. Where putatively historical films proffer problematic depictions of the conflict, Japanese science fiction films (like Space Battleship Yamato) and animated series such as Zipang engage in active re-writings of history to posit alternative visions of the Pacific War. In contrast to the equivocation of mainstream cinema, these texts contain controversial re-imaginings of the country’s past, reflecting continuing controversies in the interpretations of Japan’s war.

This chapter looks at the ways technologized bodies are designed and engineered, and especially how these processes are gendered. It argues that it is vital to understand the logic and techniques of design and engineering given that many disability experiences are produced through the intersection between body and technology, and the chapter analyses science and speculative fiction and film in which artificial, robotic and cyborg bodies are designed and produced, outlining how this production needs to be understood through a disability lens. The chapter will focus on texts where women are engineered, but also where they undertake the engineering; it also asserts that a disability-inflected conception of female engineering animates contemporary cultural production, highlighting the ideas of subject and community this produces.

This work addresses the development of a simulation software for the analysis of four-bar planar mechanisms, ADM4BSoftware V1.0, used for teaching in the Department of Mechanical Engineering at the Universidad Pontificia Bolivariana. The software is developed in order to optimize the students’ analysis tasks in the mechanisms’ Lab. The software solves the set of equations that represents the direct kinematics, and the direct dynamics. The software is an interactive application performed in Matlab™. The simulation environment allows the students to change the analysis option, the visualization mode, animate the mechanism, show different graphics and export theoretical data as a plain text file (.prn) or as a Excel™ spreadsheet (.xls). Therefore, students can compare and contrast experimental and theoretical data faster. Consequently, they can dedicate their time to analyze physical phenomena present in mechanisms. The ADM4BSoftware V1.0 has become a useful tool for instructors in teaching subjects related to the mechanics of machines.

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