To see the other types of publications on this topic, follow the link: Animated film.
Dissertations / Theses on the topic 'Animated film'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Animated film.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Thornton, Andrew. "Ces't la vie : an animated film /." Online version of thesis, 1993. http://hdl.handle.net/1850/11773.
Full text
2
Whybray, Adam Gerald. "Animate dissent : the political objects of Czech stop-motion and animated film (1946-2012)." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/17936.
Full textAbstract:
Czech animated allegories of the period of 1946 to 2012 encode their political ideas in objects and things, rather than through conventional narrative techniques such as voice-over or dialogue. The existence of these objects in cinematic time and space is integral to this process of political encoding, which is achieved through the selection of objects, cinematography and editing. In some of these films, time and space themselves are politically encoded. Materialist critical approaches to the film texts can help illuminate these latent political meanings. 'Thing theory', which puts a critical emphasis upon reading objects and things, exposes the politically resistant role of simple, domestic objects in the films of Jiří Trnka and Hermína Týrlová. Trnka's cinema in particular defends traditional, pastoral modes of being in which the individual is rooted within their environment. 'Actor-network-theory', a means of interrogating the relationship between actors in networks, resonates with the political ideas present in the cinema of Surrealist artist Jan Švankmajer. Švankmajer's central political project is an interrogation of anthropocentrism and attempts by humans to exert systems of control and order upon non-human actors. Rather than celebrating functional, domestic objects like Trnka or Týrlová, Švankmajer's cinema is radically anti-utilitarian. Objects are depicted as things that resist categorisation. 'Rhythmanalysis' – a mode of poetic-scientific investigation developed by philosopher Henri Lefebvre – can be used to unpick the rhythms in the animations of Jirí Barta. Barta's films critique rational clock time and the design of urban spaces through the use of editing patterns and repetition. Finally, all three materialist approaches in combination help illustrate the political content of animated films (and live-action films with significant passages of animation) produced in the wake of the Velvet Revolution. Such films often question the relationship between the individual Czech citizen and the Czech capital city of Prague. The animated films of the aforementioned directors and historical periods, tend to give precedence to the material world of objects over the semiotic world of humans, though these two realms are often shown to be inter-dependent. To this end, the political messages of the films are conveyed not through language, but through images and things.
3
Kochan, Elizaveta. "Creating a Short Animated Film with Cloth Characters." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/526.
Full textAbstract:
This creative thesis involved making an animated short film from scratch, dubbed “Laundry Day” for the time being. The film follows two sentient clothing characters, a hoodie and a pair of pants, who need to get out of their owner’s room to get to the laundry room after accidentally being left behind. Please watch the short here and use the password “goodiehoodie”:
https://vimeo.com/415387205
This was a time consuming, challenging, and multifaceted project, but provided an accurate glimpse into how feature animation is made. The process of making any project like this is commonly called a pipeline, and can be simplified to seven categories: Story, Character, Environment, Animation, Effects, and Rendering. This paper will go into each of these and explain the technical and creative challenges I had to overcome to reach the final product.
4
Edgren, Justin. "ANIMATING DYSTOPIA: AN ANALYSIS OF MY ANIMATED FILM, P19." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/theses/1099.
Full textAbstract:
In this paper, I discuss the modern socio-technological state of global social control and its representation in my stop motion animated film P19. I will compare the ways in which social control has changed and remained the same from September 11, 2001 to the present. I will discuss the surveillance and control grids permeating all communication networks and how humans are interacting with them. I will conclude with an analysis of some of my techniques and processes in stop motion animation.
5
Carter-Hansen, Jill, University of Western Sydney, and of Performance Fine Arts and Design Faculty. "Travelling light - with a case for discovery : the making of the film Songs of the Immigrant Bride." THESIS_FVPA_XXX_CarterHansen_J.xml, 1997. http://handle.uws.edu.au:8081/1959.7/680.
Full textAbstract:
This paper examines the background, development and production of the film ‘Songs of the immigrant bride’ and explains the general decisions made throughout the creation of the film. It proposes the idea that visuals, combined in an abstract narrative with music/sound, can create a language outside that generally accepted in real-time film (generally) and animation (specifically) to create a communicating ‘mythopoetic’ film-style from combined, selected elements, of both genres. Some of the issues presented and examined are: how relevant background experiences and influences directed the image-making in the production of the film; the experimental use of symbols and metaphor for an ‘evocative’ narrative in both visuals and sound, and the use of these within the film; the relevance of the theme of journey to viewers of the film; the part played by ‘Chance’ as an accepted phenomenon in shaping the direction of the film; production considerations, other than those of image and sound, to enhance audience perception and understanding of the film; ‘understanding’, as a physical as well as an intellectual phenomenonMaster of Arts (Hons)
6
Lemon, Nicole E. "Previsualization in Computer Animated Filmmaking." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345569188.
Full text
7
Tronerud, Nathanael D. ""Maly Trebacz"| An original score for a short animated film." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1524171.
Full textAbstract:
This project report will provide a description and analysis of the original musical score, as composed and arranged by the author, for the short animated film Mały Tre¸bacz, which was produced in collaboration with the film's director, Monica Kozlowski. It will detail the process of the music's composition, including those decisions which were made whilst scoring the picture, the reasons and justifications for so doing, a scene-by-scene analysis of the film and accompanying music, background information concerning the film's origins and influences (including the historical origins of the narrative), the role of the film's score in communicating the story of the film to the audience, how certain choices in scoring impacted the direction of the film's narrative, and a short discussion of the major themes and musical motifs heard within the score (including its incorporation of the Hejnal mariacki).
8
Reichl, Veronika Anna. "Meaning matches meaning : animated film as metaphor for philosophical texts." Thesis, University of Portsmouth, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.478932.
Full text
9
Mee, Laura. "Re-animated : the contemporary American horror film remake, 2003-2013." Thesis, De Montfort University, 2014. http://hdl.handle.net/2086/10596.
Full textAbstract:
This doctoral thesis is a study of American horror remakes produced in the years 2003-2013, and it represents a significant academic intervention into an understanding of the horror remaking trend. It addresses the remaking process as one of adaptation, examines the remakes as texts in their own right, and situates them within key cultural, industry and reception contexts. It also shows how remakes have contributed to the horror genre’s evolution over the last decade, despite their frequent denigration by critics and scholars. Chapter One introduces the topic, and sets out the context, scope and approach of the work. Chapter Two reviews the key literature which informs this study, considering studies in adaptation, remaking, horror remakes specifically, and the genre more broadly. Chapter Three explores broad theoretical questions surrounding the remake’s position in a wider culture of cinematic recycling and repetition, and issues of fidelity and taxonomy. Chapter Four examines the ‘reboots’ of one key production company, exploring how changes are made across versions even as promotion relies on nostalgic connections with the originals. Chapter Five discusses a diverse range of slasher film remakes to show how they represent variety and contribute to genre development. Chapter Six considers socio-political themes in 1970s horror films and their contemporary post-9/11 remakes, and Chapter Seven focuses on gender representation and recent genre trends in the rape-revenge remake. This thesis concludes with a discussion of the most recent horror remakes, and reiterates the findings from the preceding chapters. Ultimately, genre remakes remain prevalent because they are often profitable and cater for a guaranteed audience. They are commercial products, but also represent some of the more creative entries in horror cinema over the last decade, and their success enables further productions. Rather than being understood as simplistic derivative copies, horror remakes should be considered as intertextual adaptations which both draw from and help to shape the genre.
10
Galpin, Kennedy L. "DuIK Bassel in Usage in After Effects and an Animated Short Film." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/480.
Full textAbstract:
This thesis was made with the goal of creating a 2D short film in the end, with mainly using a program that is not normally used for character animation: Adobe After Effects. With the usage of an originally French plugin called DuIK Bassel (v16.0.9), I was able to create a model in Adobe Photoshop and then put it into After Effects. When the files were imported, the plugin would then assist in the rigging process, wherein I would be able to create the character’s rig and make the 2D model within the program. This document discusses the entire creation of the short film that I progressed through, from the storyboarding, character creation, rigging process, and putting the elements together.
11
Davis, Amy Michele. "Disney's women : changes in depictions of femininity in Walt Disney's animated feature films, 1937-1999." Thesis, University College London (University of London), 2001. http://discovery.ucl.ac.uk/1382007/.
Full textAbstract:
The animated films of Walt Disney have played an important role in American culture. Most Americans, either during childhood or adulthood, have been exposed to at least some of them. The films themselves have, in some respects, reflected American society and culture. They may also, at least to some extent, have influenced them. As academic scholarship on the history of Hollywood film has grown, various aspects of Disney's influence and cultural position have likewise come to be the focus of study. In recent decades, also, there has been a continually greater interest in the role of women in American society and how that role is constructed. Uniting both these scholarly interests, this thesis analyses how Disney films depict femininity, and the ways in which such depictions correspond with those in the larger arena of Hollywood film. To make these issues more comprehensible, it describes the beginnings of animated film in the United States, together with the early career and works of Walt Disney. In order to cast light on the manner in which such portrayals have changed over time, the films examined are analysed in relation to three particular time periods: 193 7-67, 1967-89, and 1989-99. By examining the depictions to be found within individual films, and comparing these depictions both with one another and with selected live-action, mainstream Hollywood films of the same eras, a better understanding of the make-up of the Disney films as a body of work is achieved, and a corrective offered to some of the misconceptions of Disney to be found within American society in general.
12
Carrière, Louise. "Les films d'animation à l'O.N.F. (1950-1984) et la protestation sociale /." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75929.
Full textAbstract:
The animated film in Canada has come of age and may be regarded as a distinct genre in Canadian cinema. Animated films produced in Canada can now be ranked with the works of other artists, including docudrama films. In this study, we show that, during their formative periods, Canadian authors of animated films shared a number of preoccupations with their fellow Quebec literary and pictorial artists, and cinematographers, the most important of which was a commitment to social protest.This study is a detailed analysis of some 250 short animated films produced at the National Film Board between 1950 and 1984. In their choice of themes, frequent didactic stance and experiments with image and sound, almost all animated film creators are seen to be engaged in questioning the status quo and/or calling for social and political change. Their films might be best characterized as exploratory, informative and persuasive. The analysis permits us to further classify the films as contributions made by Canadian men or women, English- or French-speaking animators, and foreign guests.
In this study we have paid particular attention to the historical, esthetic and socio-cultural influences on the development of the contemporary animated film in Quebec during the different stages of its evolution.
13
Holliday, Christopher David. "From the Light of Luxo : the new worlds of the computer-animated film." Thesis, King's College London (University of London), 2014. https://kclpure.kcl.ac.uk/portal/en/theses/from-the-light-of-luxo(b871b59b-e72d-47fc-8053-755313c182c1).html.
Full textAbstract:
Emerging at the intersection of feature-length animated cinema with computer-generated imagery (CGI), and preceded by a cycle of preparatory shorts released during the 1980s, the computer-animated film has become the dominant form of mainstream animation. But while the field of animation studies has expanded dramatically in the last twenty years, reflective of increased levels of academic interest in the subject, the computer-animated film as an example of feature-length narrative cinema remains rarely investigated. This research argues that computer-animated films, including their continued evolution and mutation, can be critically evaluated through the rubric of genre. An approach is developed which elaborates upon their unique visual currencies and formal attributes, reconceptualised and organised as a generic framework that supports the study of computer-animated films as a new genre of contemporary cinema. This thesis is therefore centred on locating where the features of this genre may reside, individuated across three chapters concerned with issues of fictional world creation, performance and animated acting, and comedy. These subjects have been identified for their significant, and often highly problematic, relationship to traditions of animated filmmaking. Each chapter sets out to situate the computer-animated film within these traditions, before pursuing fresh lines of enquiry that target directly it’s determining generic codes, narrative conventions and common aesthetic tropes. Informed throughout by focused textual analysis of individual computer-animated films, the genre is discussed and debated through its relevant connections to a variety of topics. These include cinephilia and intertextuality, anthropomorphism, junk art, puppetry and the Western tradition of performing objects, film sound theory, narrative literary theory, and seventeenth-century Mannerist art. Animatedness is a term that is developed across the thesis, invoked to promote the key specificities of this new digital cinema and the richness, energy and vigour of its film worlds. This thesis is framed by the question of the particular ‘animatedness’ of computer-animated films, and my research reveals the distinct terms and novel perspectives through which this otherwise undiscovered genre of contemporary film can be examined.
14
Cecil, Amber. "Mental Process Narrative Film: Design Techniques for Visualizing Character Psyche in Animated Shorts." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1285009380.
Full text
15
Kim, Yumi. "Chasing the moon /." Online version of thesis, 2009. http://hdl.handle.net/1850/8691.
Full text
16
Hoffman, Sarah G. "Not Just Entertainment: Hollywood Animation and the Corporate Merchandising Aesthetics and Narratives for a Children’s Audience." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1490966620486322.
Full text
17
Amir, Shahkarami Sayed Najmedin. "The pre-production phase in the making of Iranian full-length animated films 1979-2012." Thesis, University of West London, 2013. https://repository.uwl.ac.uk/id/eprint/611/.
Full textAbstract:
As the pre-production phase is a vital process in feature-length animation filmmaking, this study focuses on the arrangement of this phase in Iranian animation film projects. They are Mouse and Cat, Tak Taz, Namaki & The Giant, The Sun of Egypt, Jamshid & Khorshid, Simorq’s Heart and Tehran 2121. In support of the investigation of these, the research reviews the background of Iranian cinema, television and animation. It looks also at the emergence and evolution of the pre-production phase in Disney and Pixar studios. Moreover, comparisons of pre-production phases implemented by Japanese, British and Pixar filmmakers are complementary contexts highlighting this process. It comprises four key stages: writing stages e.g. script; visualization stages e.g. concept design; scene setting e.g. storyboard, and a rough version of a film in the form of a story reel (Yun Mou et al, 2013). Implementation of these stages needs strategies to be employed by successful filmmakers. Based on such facts, a theoretical comparison analyses the arrangement of the pre-production phase in the seven projects. The findings indicate two types of factors affecting the arrangement of this phase. Indirect factors such as the dependency on management by government and its financial support constitutes issues influencing productions. Direct factors include filmmakers’ abilities and their direct actions on production.
18
Scheuermann, Melina. "Animated Memories : A case study of the animated documentary 'Saydnaya – Inside a Syrian Torture Prison' (2016) and its potential within social memory." Thesis, Stockholms universitet, Filmvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-185061.
Full textAbstract:
Through its ability to create images of non-representable incidents animation expands the range and depth of what documentary can represent and how. This master thesis investigates the potential of animated documentary within social memory exemplified by the interactive animated documentary Saydnaya – Inside a Syrian Torture Prison (Forensic Architecture, 2016). By applying a feminist spatial approach, I aim to contribute to the understanding of the role of animated documentary images within social memory.Embodied and haptic spectatorship as well as haptic materiality are crucial in this case study due to the nature of the virtual screen images and interactive navigation (compared to montage) of the architectural 3D model. Testimonies and evidence presented in documentary film require a discursive establishment of truth. Indexicality is discussed in this regard and eventually a theoretical shift towards movement suggested. I demonstrate that Saydnaya extends the strategies in animated documentary that have been in focus so far, such as representing mental states and subjective experiences, by deploying methods of forensic aesthetics. This opens up novel ways to establish truth claims and persuasion in documentary filmmaking that require future research.
19
Baldwin, Frances Novier. "The Passage of the Comic Book to the Animated Film: The Case of the Smurfs." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84167/.
Full textAbstract:
The purpose of this study is to explore the influence of history and culture on the passage of the comic book to the animated film. Although the comic book has both historical and cultural components, the latter often undergoes a cultural shift in the animation process. Using the Smurfs as a case study, this investigation first reviews existing literature pertaining to the comic book as an art form, the influence of history and culture on Smurf story plots, and the translation of the comic book into a moving picture. This study then utilizes authentic documents and interviews to analyze the perceptions of success and failure in the transformation of the Smurf comic book into animation: concluding that original meaning is often altered in the translation to meet the criteria of cultural relevance for the new audiences.
20
Aguas, Alexandra. "Tesla's Totally True Adventures." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/977.
Full textAbstract:
A half-hour adult animated pilot partially based on eccentric inventor Nikola Tesla.
Logline: Brilliant engineering student Dot must keep her boss, famed eccentric inventor Nikola Tesla, out of trouble as his unhinged contraptions wreak havoc on 1920s New York City while he battles his longtime rival, Thomas Edison.
21
Trowell, Melody Cukor-Avila Patricia. "A test of the effects of linguistic stereotypes in children's animated film a language attitude study /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3605.
Full text
22
Trowell, Melody. "A test of the effects of linguistic stereotypes in children's animated film: A language attitude study." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3605/.
Full textAbstract:
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.
23
Finkelstein, Seth. "Toonmates." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/987.
Full textAbstract:
It's a dream come true when flesh-and-blood fanboy Alex Kepple moves in with cartoon former child star Roy Thompson. Now, he just has to hide that his family are the ones gentrifying the toon town he now calls home.
24
Mercer, Joanne. "Imag(in)ing God in animation : towards a theological understanding of the textuality of the animated film." Thesis, University of Wales Trinity Saint David, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683340.
Full text
25
Staben, Julia L. "The Cartoon Effect: Rethinking Comic Violence in the Animated Children's Cartoon." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1532695541735552.
Full text
26
Harvey, Louise, and n/a. "The Best of Both Worlds: The Application of Traditional Animation Principles in 3D Animation Software." Griffith University. Griffith Film School, 2007. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070810.105026.
Full textAbstract:
This research assesses the skills and knowledge necessary for the creation of animation in the 3D computer medium. It responds to the argument that students of this new form of animation must learn to apply principles and theories of animation that had their genesis in the early years of traditional, hand-drawn animation (Kroyer, 2002). Many industry notables argue for the use of traditional animation principles in 3D computer animation. John Lasseter, executive vice president at Pixar studios in the United States, represents one such example. He states that 'These principles were developed to make animation, especially character animation, more realistic and entertaining. These principles can and should be applied to 3D computer animation' (Lasseter 1987). The importance of animation principles in all animation mediums is stressed by Oscar-winning traditional animator Gene Deitch. He states that 'Every animated film made today uses those same basic principles developed at the Walt Disney studios during the 1930s. They still apply, no matter which technology is used' (2001). This research report examines the validity of this argument and identifies the tools, principles, and procedures that professional 3D animators are using. Central to this research is the dynamic of the contemporary relevance of traditional animation as an aesthetic, craft and economic entity. Most importantly this research considers how that dynamic might translate into the teaching of 3D animation courses. It is claimed that the findings of this research benefits 3D animation teachers, students, and those who employ them. To conduct on-site research with professional animators, this study enlisted the participation of a small number of animation studios in south-east Queensland, Australia by ensuring the protection of their Intellectual Property. Close observation of their working practices was made and numerous secondary sources of information (3D animation tutorials, books, DVDs, software manuals etc.) examined in order to locate the tools, processes, and principles that CG animators engaged. The findings were applied and critically assessed by means of a practical project (a seven-minute 3D-animated film) which was created concurrently with the research. Recommendations were formulated as to the most useful tools, processes, and principles for the student of computer animation by way of a revision of the existing Queensland College of Art syllabus for teaching computing animation. What follows is an account of the development and context of the project, the research methods applied, and critical analyses of the findings. The research concludes that it is necessary and advantageous to apply traditional animation skills to 3D computer work.
27
Harvey, Louise. "The Best of Both Worlds: The Application of Traditional Animation Principles in 3D Animation Software." Thesis, Griffith University, 2007. http://hdl.handle.net/10072/365586.
Full textAbstract:
This research assesses the skills and knowledge necessary for the creation of animation in the 3D computer medium. It responds to the argument that students of this new form of animation must learn to apply principles and theories of animation that had their genesis in the early years of traditional, hand-drawn animation (Kroyer, 2002). Many industry notables argue for the use of traditional animation principles in 3D computer animation. John Lasseter, executive vice president at Pixar studios in the United States, represents one such example. He states that 'These principles were developed to make animation, especially character animation, more realistic and entertaining. These principles can and should be applied to 3D computer animation' (Lasseter 1987). The importance of animation principles in all animation mediums is stressed by Oscar-winning traditional animator Gene Deitch. He states that 'Every animated film made today uses those same basic principles developed at the Walt Disney studios during the 1930s. They still apply, no matter which technology is used' (2001). This research report examines the validity of this argument and identifies the tools, principles, and procedures that professional 3D animators are using. Central to this research is the dynamic of the contemporary relevance of traditional animation as an aesthetic, craft and economic entity. Most importantly this research considers how that dynamic might translate into the teaching of 3D animation courses. It is claimed that the findings of this research benefits 3D animation teachers, students, and those who employ them. To conduct on-site research with professional animators, this study enlisted the participation of a small number of animation studios in south-east Queensland, Australia by ensuring the protection of their Intellectual Property. Close observation of their working practices was made and numerous secondary sources of information (3D animation tutorials, books, DVDs, software manuals etc.) examined in order to locate the tools, processes, and principles that CG animators engaged. The findings were applied and critically assessed by means of a practical project (a seven-minute 3D-animated film) which was created concurrently with the research. Recommendations were formulated as to the most useful tools, processes, and principles for the student of computer animation by way of a revision of the existing Queensland College of Art syllabus for teaching computing animation. What follows is an account of the development and context of the project, the research methods applied, and critical analyses of the findings. The research concludes that it is necessary and advantageous to apply traditional animation skills to 3D computer work.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Griffith Film School
Full Text
28
Hodges, Peter. "Sound & vision : towards a definition of the dialogical interactions between image and sound effect in animated film." Thesis, University of South Wales, 2017. https://pure.southwales.ac.uk/en/studentthesis/sound--vision-towards-a-definition-of-the-dialogical-interactions-between-image-and-sound-effect-in-animated-film(b4175cec-c2c9-4e9c-bb66-048a50b580ec).html.
Full textAbstract:
The introduction of synchronised sound to moving pictures brought the birth of a new form of entertainment, the sound film. As a contemporary moving image medium to the live action film, animated film also successfully adopted synchronised sound. The process of animation is, by its nature, inherently silent so any use of sound involves decisions away from the creation of the image. Thus, there are many opportunities for an inventive audiovisual dialogue to affect an animated film's narrative intention. The marriage of sound to image was initially thought to provide two opportunities of interpretation. The first, that the sound could simply match the expectations of everyday life by working in parallel with the visual action, supporting it in a realistic manner. The second suggested enhancing the narrative by providing sound information that acted in counterpoint to the displayed visual, thus providing a new, different interpretation of meaning to this audiovisual event. In film, a dialogue between sound and image can be created through applying a combination of parallel and counterpoint sound throughout a film's duration. However, after ninety years of the sound film, are there any alternative definitions of audiovisual meaning other than in parallel or counterpoint? To investigate this variation in the interpretation of meaning, this study defined a creative methodological framework that considered sound design choices and their relationship to meaning within animated film, and recognised the influences within animated film production on the sound design decisions made. These formed the hermeneutic categories of sound effect choice, and the physical and meta-influences that inform decisions regarding the chosen sound effects. This framework was developed and applied to case studies using an action research approach. The study concludes that a creative methodological framework for sound effect planning in animated film provides a useful understanding and application of the range of influences in animated film sound production. The research also illustrates that the framework's integral hermeneutic categories provide a valid expansion of the parallel- counterpoint position with regard to informing choice and meaning in sound effect planning. Finally, the study recognises that the framework presents a workable methodology to apply to the sound effect planning process in animated film.
29
Baker, Jeremy Charles. "Observational Animation: An Exploration of Improvisation, Interactivity and Spontaneity in Animated Filmmaking." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1357315576.
Full text
30
Svetoft, Erik. "ÄLGEN." Thesis, Konstfack, Grafisk design & illustration, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6925.
Full textAbstract:
Work process for the production of the short film ÄLGEN (2019); Technical aspects and thematics. Film synopsis: Two animals trying to entertain at a forest zoo get humiliated and decide to run away in search of freedom. At the same time a mysterious shadow haunts the countryside and a national symbol becomes an idol of worship. A short film about national identity, freedom, climate and dancing animals. Graduation project, MFA degree , Konstfack, Stockholm. 2019
31
Hernandez, Nieto Luz Maria [Verfasser]. "What do cartoons tell children about science? A qualitative study of the representation of science and scientists in animated television series / Luz Maria Hernandez Nieto." Bielefeld : Universitätsbibliothek Bielefeld, 2016. http://d-nb.info/1107540615/34.
Full text
32
Björklund, Manne. "The Comet." Thesis, Konstfack, Grafisk design & illustration, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6352.
Full textAbstract:
Mitt examensarbete bestod av både en gestaltande och en skriftlig del. Mitt arbete handlade om att göra en animerad kortfilm. Under 10 veckor animerade jag en film som kom att heta The Comet. En film om längtan, saknad och känslan av ensamhet. Till detta skrev jag också en rapport där jag redogjorde min process, inspiration, referenser, resultat och tankar kring min utställning i samband med arbetet.My degree project consisted of both a creative and a written part. My work was about making an animated short film. For 10 weeks, I animated a movie called The Comet. A film about longing, missing and the feeling of loneliness. In addition, I also wrote a report describing my process, inspiration, references, results and thoughts about my exhibition in connection with the work.
33
Kauklija, Natalie. "Masculinity in Children's Film : The Academy Award Winners." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-74858.
Full textAbstract:
This study analyzes the evolution of how the male gender is portrayed in five Academy Award winning animated films, starting in the year 2002 when the category was created. Because there have been seventeen award winning films in the animated film category, and there is a limitation regarding the scope for this paper, the winner from every fourth year have been analyzed; resulting in five films. These films are: Shrek (2001), Wallace and Gromit (2005), Up (2009), Frozen (2013) and Coco (2017). The films selected by the Academy of Motion Picture Arts and Sciences in the Animated Feature film category tend to be both critically and financially successful, and watched by children, young adults, and adults worldwide. How male heroes are portrayed are generally believed to affect not only young boys who are forming their identities (especially ages 6-14), but also views on gender behavioral expectations in girls.
34
Berman, Aaron. "Memento Mori." Pitzer College, 2007. http://ccdl.libraries.claremont.edu/u?/stc,13.
Full textAbstract:
Animated color film with images of water, birds, winged humans, a man in a hooded sweatshirt, doors, the sea, a woman on a stool wearing a red scarf, marching soldiers, a gun, a knife, blood on hands, a dancing couple, a crowd of dancers, a seed, plants growing, clouds, a flying winged person, a figure playing an instrument. The images transform into each other in ever-changing sequences.
35
Cox, Rachel E. "Plasticity in Animated Children’s Cartoons: The Neoliberal Transforming Bodies and Static Worlds of OK KO and Gumball." Scholar Commons, 2019. https://scholarcommons.usf.edu/etd/7769.
Full textAbstract:
Through the study of OK KO! Let’s Be Heroes! and The Amazing World of Gumball, I argue that children’s cartoons represent and recreate anxieties toward money’s plasticity in the plasticity of the cartoon bodies and worlds. I closely examine the ambivalence towards abstraction’s plasticity in contemporary children’s cartoons to trace the neoliberal ambivalence towards money’s plasticity. While much scholarship has grappled with what can be understood as animatic plasticity, very little of it takes on the questions raised about neoliberal culture by televised children’s cartoons. Cartoons are important to study in this respect because their form allows for unbridled plasticity. Cartoons provide the artists with the freedom to create characters and worlds that are as bound or unbound to our world’s norms and natural laws, unlike in other live action moving media. It combines this with the dynamic, temporal component of moving image media. Unlike a surreal painting, cartoons are capable of dynamic movement and transformation, even in their non-moving image form as comics. However, this plastic dynamism is most fully realized in the animated form, as the characters are capable of movement and change regardless of the viewers’ presence. Contemporary cartoons like OK KO and Gumball asymmetrically mobilize this plasticity by rendering the characters’ bodies as highly plastic while presenting their worlds as comparatively static. This aesthetic practice suggests that the world cannot be reshaped for a variety of reasons, so the only thing that individuals can do is try to change themselves as necessary to accommodate it. Thus, what at first blush looks like a celebration of plasticity is in reality a celebration of mere flexibility, which enables and perpetuates neoliberal power structures. Yet these same shows simultaneously challenge the neoliberal aesthetic project in their hyper-mobilization of non-diegetic plasticity. When the shows mobilize their plasticity in a way that is not narratively impactful, such as through cutaways, inserts, or other asides, the plasticity is instead framed as comedic and thus enjoyable. This suggests that while presenting character and world plasticity as equally valid would be natural next step for animated aesthetics, the major limitation contemporary animation faces is in reality the uneven treatment of diegetic and non-diegetic plasticity.
36
Melberg, Alexandra, and Tilde Gustafson. ""And the World has Somehow Shifted." : En kvantitativ studie av genuskonstruktioner i Walt Disney Pictures animerade långfilmer." Thesis, Linnéuniversitetet, Institutionen för medier och journalistik (MJ), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-36176.
Full textAbstract:
The Disney princess line includes nine films, in our study we have extended this line to include the latest three films from Walt Disney Pictures that follow the same pattern. These films are Tangled (2010), Brave (2012) and Frozen (2013). We have conducted our study using the same method used by England, Descartes and Collier-Meeks (2011) in their study of the first nine films, starting with Snow White and the Seven Dwarfs produced in 1937 to Princess and the Frog from 2009. A quantitative study was executed where we focused on gender role portrayal, the main characters behavioral characteristics and performed rescues. We applied the following theories to our result; the Social Constructivism, Laura Mulvey’s theory of the Male Gaze, Michel Foucault’s theory of power and discourse, intersectionality and Claude E. Shannon and Warren Weaver’s model of communication. Our result of the content coding shows a more nuanced depiction of both male and female main characters where the roles have shifted. The female main characters have been asigned a more traditionally masculine role in the films. The story in all of our three films revolves around the female main characters efforts to achieve their goals. The male main characters have abandoned their shiny armour and white horse and persued a role as the one who leads the female to her goal. A one-way analysis of variance was implemented to see differences over time in gender role portrayal of men and women. The result suggest that the male and female roles have changed over time, altough the men are those who have changed the most.
37
Hallén, Mattias, and Oskar Lööf. "”Everybody was kung fu fighting” : En studie om hur den kinesiska kulturen representeras i tecknad film." Thesis, Linnéuniversitetet, Institutionen för medier och journalistik (MJ), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-45433.
Full textAbstract:
Animated movies have had a big impact in the film business all over the world. A lot of these films are mainly produced for a younger audience, which leads to a greater responsibility to show a legitimate worldview. Children do not have the same ability of critical thinking as an adult, and that is why it is vital in such movies. In this study, we have examined the movies Kung Fu Panda and Mulan to see how the Chinese culture is represented, having in mind that the relation between East and West have been, and in some ways still are strained. We have examined whether there have been any postcolonial elements such as cultural myths, orientalism, ethnocentrism and stereotypes, originated from the field of cultural studies. Based on a three dimensional analysis, we have looked at the films’ structure, the context and the socio-historical context. The study concluded that the Chinese culture is often represented in a somewhat stereotypical way and with symbols associated with Asia and its culture but the movies also includes certain Western elements.
38
Ramadan, Hadeel M. "Jan. 25 ( Story of a Girl )." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/71871.
Full textAbstract:
The work presented in this thesis explores the possibility to integrate two dimensional drawings with three dimensional animated characters in 3D computer graphics. The goal was to preserve the effects of the cartoonish artistic style and produce a strong emotional and moving story without realistic animation feel.
Inspiration of the storyboard was based on a true story from the Arab Spring events that occurred in several Arab countries, I focused my work on the context of Egypt.Master of Fine Arts
39
Nilsson, Anders, and Fredrik Pilo. "Animerad film som undervisning : En analys av tre tidstypiska animerade undervisningsfilmer." Thesis, University West, Department of Economics and IT, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-2536.
Full textAbstract:
Syftet med arbetet är att identifiera och lyfta fram ett antal riktlinjer för den visuella designen av animerad bild som används i utbildningssammanhang. Vi ämnar också att identifiera vilka stilelement inom animerad undervisningsfilm som står sig över tid och olika medium. Att belysa de nya kvaliteter och möjligheter som framkommer i och med det digitala mediet. Vi kommer också att titta på hur målgrupp och mottagarkontext påverkar formens uttryck och innehåll.
Vi har med en gemensam analysmodell gjort en kvalitativ analys av tre tidstypiska animerade undervisningsfilmer, Camouflage (1943), Den Vidunderliga Världshistorien (1993) och Gutten og Torsken (2007) som alla använder sig av humor som en förstärkning av lärandet.
Genom analysen har vi kunnat identifiera stilelement så som användandet av stereotyper och metaforer, konstaterat hur innehåll och uttryck till stor del påverkats av målgrupp och mottagarkontext men även av gällande distribution och tekniska möjligheter.
The purpose of this work is to identify and highlight a couple of guidelines for the visual design of an animated film to be used in an educational context. We also seek to identify style elements in animated educational film that persist through time and different medium. Also to highlight new qualities and opportunities that come with the digital medium. Finally we will also look at how the audience and reception context effects and shape the expression and content of an educational movie.
With a fixed analytical model we have made a comparative qualitative analysis of three period-characteristic animated educational films, Camouflage (1943), Den Vidunderliga Världshistorien (1993) and Gutten og Torsken (2007) which all use humor to enhance the learning.
Through this analysis we have been able to identify style elements such as the use of stereotypes and metaphors, noted how the content and expression is largely influenced by the audience and receiver context but also of the distribution and technical capabilities.
40
Hermansson, Marleen. "Metaphor and Metonymy Related to the Concept of Anger in the Television Series Teenage Mutant Ninja Turtles." Thesis, Umeå universitet, Institutionen för språkstudier, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-149228.
Full textAbstract:
This study explores uses of metaphor and metonymy related to the concept of anger in the American television series Teenage Mutant Ninja Turtles from 2012. The theoretical framework of the study is Conceptual Metaphor Theory. The data consists of metaphors and metonymies in the verbal and the pictorial mode. The pictorial data are visual expressions of the type called pictorial runes. In both modes, the underlying conceptual metaphors are identified, and the results are then compared between modes. The main finding is that the verbal mode contains a greater variety of metaphorical expressions. Explanations suggested for differences found between modes are: different technical possibilities of the two modes; universality in the pictorial mode and language specific metaphors as well as universal ones in the verbal mode; a connection of pictorial and verbal data respectively to different genres within the series; and the different narrator roles between the two modes.
41
Claesson, Nils. "Spökmaskinen : Sju förändringar och förflyttningar – gestaltningsprocesser i animerad film." Doctoral thesis, Stockholms konstnärliga högskola, Institutionen för film och media, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-270.
Full textAbstract:
The Ghost Machine is a practice-based research project that explores the process of embodiment in animated film. It describes the process of transfiguration from the artist’s/auteur’s point of view and not from an outside position. The dissertation follows the embodiment of a dramatic text, the Ghost Sonata by August Strindberg (1907), into an animated film. The starting point is my experience of the drama, at the age of thirteen, when staged by Ingmar Bergman at the Royal Dramatic Theatre. As a teenager, the world of the grown-ups seemed to be corrupt, twisted and ruled by violent power plays and economic sanctions, and this play confirmed my world view. Was I right, as a thirteen-year-old boy? What kind of world emerges in my version of the Ghost Sonata? In this thesis work, the films and the experimental research process meet the practice and art of writing. Using text, not as “theory” separated from “practice” but as a bodily art practice, creates a shifting border between the results and intentions of art and filmmaking, and the results of writing. At the same time a unity emerges where the results of the research process can be seen and experienced in the interaction between the texts and the artwork. The Ghost Machine is a totality where the text, films and artworks included in the project are equally important and must be seen as a unity. The Ghost Machine is a work journey where travelling, animated film practice, networking with colleagues and collecting data are mixed with experiments using methods from contemporary arts practice, performance, reenactment, appropriation and transfiguration, blended with traditional puppet animation in classic Czech style. In collaboration with actors, mime artists, puppet makers, musicians and a minimal film crew, century old stop-motion animation is combined with computer animation. The textual part of the work falls into two categories: life stories and work stories. The work stories traces the forming of an artwork in all aspects. The life stories are related to the subject of ghosts. Suddenly, dead friends and dear family members claimed their space. The understanding of the Ghost Sonata came to be a process of sorting out and following lines of memory using an inverted version of the Orpheus myth as a guide. Instead of never turning around, when walking the dead out of oblivion, I chose to look back, again and again, until I hit something and could not write anymore.https://www.uniartsplay.se/slin
42
van, Dam Bianca. "Disney's Fashionable Girls : Signs and symbols in the costume dress of Disney's female characters." Thesis, Stockholms universitet, Centrum för modevetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-105532.
Full textAbstract:
Disney’s princesses and heroines have long captured the minds and hearts of young girls with their magical dress. This thesis researches the fashion symbols in a chosen set of animated movies and relate this to children’s reception, sexuality and gender issues and narrative identities. A semiotic analysis of the movies and relating them to read literature will shine a new light on this subject.
43
Barbosa, Ana Luiza Pereira. "A relação som-imagem nos filmes de animação norte-americanos no final da década de 1920: do silencioso ao sonoro." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-17032010-175658/.
Full textAbstract:
Esta dissertação tem por objetivo estudar a relação som-imagem nos filmes de animação norte-americanos realizados no período final do cinema silencioso e no início do cinema sonoro. Foram feitos levantamentos históricos sobre o processo de produção do cinema de animação e sobre o processo de criação de suas trilhas sonoras antes e após o advento do som sincrônico. A partir desses levantamentos e da análise de curtas-metragens do final da década de 1920, identificou-se características próprias do cinema de animação tanto em relação ao uso de soluções visuais para sugestões sonoras nos filmes silenciosos quanto à criação de uma relação única entre som e imagem nos filmes sonoros, especialmente nos filmes produzidos por Walt Disney.The present work aims at studying the sound-image relationship in North American animated films made at the end of the silent era and in the beginning of the sound film era. Historical surveys have been developed about the production process of animated films and about the creative process of their soundtrack before and after the advent of synchronized sound. From these surveys and analysis of short films made at the end of the 1920s, specific traits of animated film have been identified in regard to visual solutions for sound suggestion in silent cartoons as well as the creation of a unique relationship between image and sound in the sound films, especially in Walt Disney\'s films.
44
Tung, Yu-Ching, and 董宇卿. "A Critique Essay on Animated Film " Dreamland "." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/gks298.
Full textAbstract:
碩士國立臺北藝術大學
新媒體藝術學系碩士班
101
This essay presents the creative process and discusses the final outcome of the author’s thesis project – a 3-dimensional digital animated short film entitled "Dreamland." The story of this animation is set in a fictive world, which is situated between the fantasy and the reality. The author tries to present the animation in a style of fairy tale, which is achieved through the use of a digital technique imitating the hue of water color that allows colors to move fluently on screen, thus making the audience feel like reading a children''s picture book. The first chapter of this essay discusses the motivation behind, and the author’s goal of, creating this animated work. The second chapter elaborates on the theme of the animation and reviews the literature of psychoanalysis, in which several scholars theorized how people deal with inner conflicts when compromising one’s own goal in order to conform to the demand from a group into which (s)he tries to integrate. The author also discusses in this chapter how characters in several feature and animated films resolve such conflicts and/or achieve a compromise. The third chapter presents the idea and story outline, as well as discusses the design of characters, background setting, and the reference materials of the animation. The forth chapter describes the production process of the thesis animation and the difficulties the author had encountered, as well as the adjustment she made in order to complete the work. Finally, the author made a self-critique in the fifth chapter, hoping to avoid making the similar mistakes in the future works.
45
Wang, Chun-Ling, and 王君玲. "Research On Value Structures of Animated Film." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/19126476820445034656.
Full textAbstract:
碩士國立成功大學
企業管理學系碩博士班
93
Animated film is not only a kind of entertainment media, but an artistic expression. Today, it is popular among people of all ages. Now, it is developing rapidly of a cultural and creative industries type everywhere. In order to explore the consumers love to view animated film that difference of value structures between adult and children. In this study, means-end theory and laddering methodology were employed in interviews with 40 consumers (20 adult and 20 children) who love to view animated film. The results of interviews categorized by content analysis were drawn into Hierarchical Value Maps. By choosing recently popularity animated film which produce by “Disney”, “Dream Work” and “Ghibli studio”. According to our results of this study, we find out that children would focus on what vision presented in the animation. Namely, in the perspective of personal value, they tend to achieve the needs for the fun and enjoyment in life and sense of belonging. However, adults tend to emphasize on the inner meanings of the content and for the attitude toward personal value, they tend to achieve the needs for the fun and enjoyment in life and sense of accomplishment. Finally, this study proposes some suggestions for animation studio and related industries. To child, (1) enhance the “visual effects”, (2) add “humorous” plots, (3) increasing the “excitement and horror” context, (5) enhance the “deeply thinking” context, (5) strengthen the “sense of belonging” link. About adult, (1) “music and context” must connect, (2) highlight “creativity and inspiring”; (3) create the “virtual room” of escape reality, (4) promotion strategy suggestion.
46
Margolis, Hanna. "Filmy animowane kobiet w (męskich) strukturach kinematografii w Polsce w perspektywie komparatystycznej." Doctoral thesis, 2021. https://depotuw.ceon.pl/handle/item/4089.
Full textAbstract:
Przedmiotem dysertacji są autorskie filmy animowane realizowane przez kobiety w strukturach polskiej kinematografii. Są one badane jako odrębne w całości polskiej filmowej produkcji w technice animacji (autorka nie bada filmów dla dzieci, propagandowych, reklamowych, oświatowych), stąd w istocie przedmiot badań stanowi niewielki procent filmów animowanych realizowanych w Polsce. Badania prowadzone są dwutorowo, łącząc analizę filmów z analizą instytucji kinematograficznej i kultury produkcji autorskiego filmu animowanego w Polsce.
Dysertacja składa się z czterech rozdziałów. Rozdział I, pt. Rozpoznanie problematyki pracy wprowadza w podstawowe problemy związane z przyjętą w tekście terminologią, wprowadza także w ogólny kontekst genderowy specyficznych dla filmu animowanego problemów związanych z jego produkcją, projektowaniem i dystrybucją.
Zasadniczy korpus pracy stanowią rozdziały, które w porządku chronologicznym analizują ewolucję strategii wchodzenia polskich twórczyń na pozycje samodzielnych reżyserek animacji autorskiej. Proces ten pokazany jest jako element ewolucji pola polskiego filmu animowanego (w znaczeniu jakie polu kulturowemu nadał Pierre Bourdieu) – przy założeniu, że autorskie filmy animowane w swoich strategiach artystycznych nie różniły się diametralne od tych realizowanych w rozwiniętych kinematografiach. Analizowane jest także miejsce animacji w instytucji kinematograficznej, problematyka genologii i separacji/odrębności filmu animowanego w Polsce i na świecie. W historii polskiej animacji wyróżniono trzy okresy, każdemu z nich odpowiada rozdział dysertacji. Są to: czasy Polski Ludowej (1944-89), czasy kryzysu i transformacji (1989-2005), oraz współczesność (od 2005). Taką periodyzację można uznać za typową dla analiz dotyczących historii polskiego filmu (cezury dwóch pierwszych okresów stanowią wydarzenia polityczno-ustrojowe, w trzecim przypadku cezura ma charakter instytucjonalny – powołanie Polskiego Instytutu Sztuki Filmowej). Dla tematu dysertacji i przedmiotu jej badań periodyzacja ta ma znaczenie przede wszystkim ze względu na to, iż w historii filmu animowanego każdy z wymienionych okresów oznacza inną technologię (okres 1944-1989 to technologia analogowa, 1989-2005 to okres łączenia technologii analogowej z początkami cyfrowej, od roku 2005 branża przechodzi na zaawansowaną technologię cyfrową). A konkretnie – w okresie, którego dotyczy każdy z trzech rozdziałów inaczej przebiegały procesy i procedury developmentu, produkcji i dystrybucji filmów. Autorka analizuje, jak w każdym z tych okresów technologia wpływała na obraz genderowy branży – nie tylko poprzez stosunki pracy tworzące zawodowe hierarchie, ale także poprzez ewolucje procesów produkcji kapitału symbolicznego.
Cechą szczególną rozprawy jest poprzedzenie każdego z rozdziałów podrozdziałem wstępnym, zarysowującym międzynarodowe tło, czyli pozycję i osiągnięcia kobiet w filmie animowanym na świecie w okresie, którego dany rozdział dotyczy. Podrozdziały te zawierają pogłębione analizy twórczości i strategii artystycznych kobiet z różnych rejonów geograficznych (zarówno z państwach demokracji ludowej, jak i z Zachodu, z krajów wolnorynkowych), które wówczas w filmie animowanym stały się liderkami, bądź twórczyniami „credited alone”. Zabieg taki jest badawczą protezą, która ma za zadanie ukazanie szerokiego spektrum problemów instytucjonalnych i technologicznych towarzyszących wchodzeniu kobiet na pozycje mistrzowskie w przypadkach, które - w przeciwieństwie do polskich reżyserek - są dobrze udokumentowane, przede wszystkim poprzez rekonstrukcję cyfrową i dostępność ich filmów.The subject of the dissertation are original animated films made by women in the structures of Polish cinematography. They are studied as separate from the whole of Polish film production in the animation technique (the authoress does not study films for children, propaganda, advertising, or educational films), thus in fact the subject of the research constitutes a small percentage of animated films made in Poland. The research is conducted in a bilateral manner, combining the analysis of films with an analysis of the cinematographic institution and the culture of original animated film production in Poland. The dissertation consists of four chapters. Chapter I, Identification of the problematic of the work, introduces basic issues related to the terminology adopted in the text, as well as the general gender context of the specific problems of animated film production, design and distribution. The main body of the work consists of chapters which, in chronological order, analyse the evolution of the strategy of Polish female filmmakers' ascent to the position of independent directors of auteur animation. This process is shown as an element of the evolution of the Polish animated film field (in the sense given to the cultural field by Pierre Bourdieu) - with the assumption that auteur animated films in their artistic strategies were not diametrically different from those produced in developed cinematographies. The place of animation in the cinematographic institution, the issue of genology and the separation/individuality of animated film in Poland and the world are also analysed. In the history of Polish animation, three periods have been distinguished, each of which corresponds to a chapter of the dissertation. These are: the times of People's Poland (1944-89), the times of crisis and transformation (1989-2005), and the present day (from 2005). Such periodisation may be considered as typical for analyses concerning the history of Polish film (the caesuras of the first two periods are political and political events, while in the third case the caesura is of institutional nature - the establishment of the Polish Film Institute). For the topic of the dissertation and the subject of its research, this periodisation is of significance primarily due to the fact that in the history of animated film, each of the periods mentioned signifies a different technology (the period between 1944 and 1989 was analogue technology, 1989-2005 was a period of combining analogue technology with the beginnings of digital technology, and since 2005 the industry has been moving towards advanced digital technology). More specifically, the processes and procedures of film development, production and distribution were different in the period covered by each of the three chapters. The authoress analyses how, in each of these periods, technology influenced the gender image of the industry - not only through labour relations forming professional hierarchies, but also through the evolution of processes of symbolic capital production. The distinctive feature of the dissertation is that each chapter is preceded by an introductory subchapter, outlining the international background, i.e. the position and achievements of women in animated film worldwide during the period to which the chapter relates. These sub-chapters contain in-depth analyses of the work and artistic strategies of women from different geographical regions (both from the countries of popular democracy and from the West, from free-market countries), who became leaders or 'credited alone' creators in animated film at the time. Such a procedure is a research prosthesis, which aims to show the broad spectrum of institutional and technological problems accompanying women's ascension to master positions in cases which, unlike Polish female directors, are well documented, above all through digital reconstruction and the availability of their films.
47
Shih, Ho-Cheng, and 施和成. "Creation Discourse of Animated Short Film ”Dream Arms”." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/8je83a.
Full textAbstract:
碩士國立臺灣藝術大學
多媒體動畫藝術學系動畫藝術碩士班
101
“Dream Arms” is a 3D animated short film in which the main character, an armless young man, tried to fulfill his ambition to become an athlete by acquiring a pair of arms. A cat hinders his attempt by snatching away those arms one step ahead. The young man goes after the cat, and scenes of fighting and stunt ensued in the chase. The study attempts to identify the fundamental elements of action films by examining and analyzing classic films in the genre.
48
Liao, Yun, and 廖芸. "A Critique Essay on Animated Film The Card." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/6xuuw7.
Full textAbstract:
碩士國立臺北藝術大學
新媒體藝術學系碩士班
101
This essay is a critique on the production of the author’s thesis film, The Card, a two-dimensional animation short. The film intends to illustrate that even in a close family, difference in the hierarchical status within members of the family would cause each to react differently to the same thing. In this film, the author tries to simulate the style of celluloid animation in order to transform the reality into a fantasy. In The Card, a conflict erupts between a father and his son due to opposite viewpoints. The conflict is finally resolved after the father changes his perspective toward the event. Chapter one of this essay describes the motivation behind, and the purpose of, the thesis film. Chapter two reviews the related literacy regarding the theme of the film, which is related to the psychology of value system. The author elaborates on the reasons why the characters in her thesis film have diverse points of view toward the same event. She compares her thesis film with other animated works of similar theme. Chapter three discusses the concept behind the production of this work, including the characters design, scene design, and production design. Chapter four introduces the creating processes of this project and discusses the result of the author’s experiment with time and space. Finally, in Chapter five, the author presents a self-criticism of the work and concludes with the lessons she has learnt through the production of this thesis project.
49
Zheng, Rui-Zhe, and 鄭睿哲. "A Critique Essay on Animated Film "MOE DELUSION"." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/p7xa57.
Full textAbstract:
碩士國立臺北藝術大學
新媒體藝術學系碩士班
102
The aim of this dissertation is to discuss author''s graduation project, MOE DELUSION. MOE DELUSION is a short 2D animation created by computer animation technique. The concept of this short film is to let Moe-Elements of Otaku culture develop into an expression of Otaku visual elements by a form of animation. In this dissertation, an analysis of the basic theory of it with Gestalt psychology and an interpretation of author''s personal point of view of a special emotion between Otaku visual elements and Moe-Elements will be carried out. The first chapter of this dissertation shows an interpretation of both motivation and background of creating this film. In the second chapter, a discussion on the development of a demonstration of Otaku culture and Moe-Elements and the meaning of Gestalt psychology between viewers and images will be discuss. The idea of creation, characters, scenes, art setting, drawing research and production process will be shown in the third chapter. Finally, author would review and critique the creation process of this project.
50
Chen, Yi-Chien, and 陳宜謙. "A Critique Essay on Animated Film “Inside Blue”." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/6zxzww.
Full textAbstract:
碩士國立臺北藝術大學
新媒體藝術學系碩士班
103
Due to the psychological impact of growth experiences in the past, the author had to face her own problems and make changes. After a period of repeated introspection and self-review, the author has deeply realized the importance of psychological consciousness and thus decided to use it as the starting point for creation. The project process began by investigating the relationship between psychology and consciousness. Through the existing literature and research, relevant information was found and experiences were summarized. Following the self-psychological context, the relationship between such information and experiences and the creation was observed. With self-practice, the operation between consciousness and subconsciousness was understood. Corresponding with the impacts of the current mental state and the creation, the appropriate method was found and applied to the creation, and personal understanding was developed as the theme. To present the film, hand drawings were combined with computer technology to simulate a visual style of engraving. The experimental stop-motion animation for storytelling were then drawn. During the production process, every possible method of performance was attempted so that the animation could interpret and express the abstract thought of the imprisonment of the self-consciousness and thereby explore whether we are trapped in a world constructed by ourselves. This study aims to understand the relationship between consciousness and behavior on a psychological level. By combining abstract visual language, such as symbolism and metaphors, a kind of unimaginable mental state is interpreted, and invisible feelings are conveyed into visible images, leading audiences into an animated scenario and providing them with deep emotional feelings. The anticipated effect is empathy.