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Journal articles on the topic 'Animated film'
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Sabri, Sabri, and Vani Dias Adiprabowo. "Nonverbal Communication Through Visual Storytelling of Leaving Home Animated Films." Proceedings Of International Conference On Communication Science 2, no. 1 (November 10, 2022): 181–86. http://dx.doi.org/10.29303/iccsproceeding.v2i1.99.
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This study aims to describe visual storytelling in the animated film Leaving Home as a nonverbal communication medium that provides education to the audience. The power of nonverbal communication as a form of visual storytelling in the animated film Leaving Home is the researcher's motive to examine how a nonverbal animation can be interpreted universally. The nonverbal communication of the animated film Leaving Home embodies writing into moving images. An animator must have the ability to visual storytelling to make the imagination in telling stories (synopsis-text) into scripts (visual-written). An animator, also an animation film creator, must understand the rules of scriptwriting to communicate the message implied in his work. An excellent visual understanding will help an animator visualize the picture's language into an exciting story. The technique of conveying visual storytelling stories in animation sometimes finds obstacles in understanding the story due to improper use of visual language. This research uses qualitative methods to uncover the phenomenon of nonverbal communication through visual storytelling in the animated film Leaving Home to explain in more detail. The results showed that nonverbal communication is omnipresent, including nonverbal aspects of each communicative action. In the interactions seen in the story of the animated film Leaving Home, all its nonverbal channels come into play. This study also represents the imagination visualized in animated films as more hyperbolic. After conducting a study of nonverbal visual storytelling communication in the animated film Leaving Home, it can be concluded that films with animation techniques can be presented with visual storytelling packaged in an artistic visual language. So visual storytelling can be a literacy animation technique in conveying information and opening up opportunities for animation creators to communicate nonverbally to the audience.
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Frølunde, Lisbeth. "Animated war." Convergence: The International Journal of Research into New Media Technologies 18, no. 1 (January 31, 2012): 93–103. http://dx.doi.org/10.1177/1354856511419918.
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In this feature article two DIY (do-it-yourself) film projects are examined from perspectives of resemiosis (transformations in meaning-making) and the textual production practices of contemporary multimedia authorship. These practices are considered as evolving in a complex media ecology. The two films analysed are Gzim Rewind (Sweden, 2011) by Knutte Wester, and In-World War (USA, expected 2011) by DJ Bad Vegan. The films are currently in production and involve many collaborators. Both films have themes of war and include film scenes that are ‘machinima’ – real-time animation made in 3D graphic environments – within live action film scenes. Machinima harnesses the possibilities of reappropriating digital software, game engines, and other tools available in digital media. War-related stories are resemiotized in the machinima film scenes as meanings are transformed in the story’s shift from a war game context to a film context. Thus machinima exemplifies how DIY multimedia storytellers explore new ways to tell and to ‘animate’ stories. The article contains four parts: an introduction to machinima and the notions of resemiosis and authorial practice; a presentation of DIY filmmaking as a practice that intertwines with new networked economics; an analysis of the two DIY film projects; and a discussion of implications including issues relating to IP (intellectual property) and copyrights when reappropriating digital assets from commercial media platforms.
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Yasa, Gede Pasek Putra Adnyana. "Analisis Unsur Naratif sebagai Pembentuk Film Animasi Bul." Jurnal SASAK : Desain Visual dan Komunikasi 3, no. 2 (January 17, 2022): 48–57. http://dx.doi.org/10.30812/sasak.v3i2.1594.
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Animated films that are interesting and beautiful can be created if an animator or creator, and the audience understand the elements that make up an animated film. Even more so for animators or creators as creators of animated film art. The audience cannot understand the animated film being shown, if the creator himself does not understand the elements that make up the animated film. The animation, entitled Bul, is the best animated film in the 2D animated film category. Therefore, it becomes interesting to be explored or researched. This research was conducted by observing the animated film Bul. This research is a field research designed to study, and reveal how the aesthetics of an animated film Bul is formed by film-forming elements, one of which is the narrative element. The critical paradigm is used as a basis for thinking in the hope of being able to comprehensively reveal and answer the problem of narrative elements in the animated film Bul. This research uses qualitative research methods in the area of art studies, which is a research procedure that produces descriptive data in the form of written words or expressions from a person and studies the behavior of the artist and the object being observed. The results showed that the narrative element which is one of the elements that form a film, especially in this case the animated film entitled Bul, has a very important role. Narrative elements consist of elements of theme, story, story structure, and character/character. Each element is interrelated, supports each other, needs and influences each other so as to create a unity that is able to create a beautiful feeling and the message can be received by the observer or the audience.
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Jonison, Muhammad Adha Fajri, and Anggy Trisnadoli. "Implementation of Rotoscoping Technique in the making of the Hang Tuah Ksatria Melayu 3D Animated Film." Jurnal RESTI (Rekayasa Sistem dan Teknologi Informasi) 4, no. 5 (October 30, 2020): 943–50. http://dx.doi.org/10.29207/resti.v4i5.2404.
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The development of information technology in the multimedia field is growing very rapidly today. Multimedia development is often found in making animated films. Animation is an image that moves and is arranged so that it makes inanimate objects appear to be moving. Animation initially has a problem, where it is difficult for an animator to create animation with complex movements to imagine directly and sometimes the results will look stiff. Max Fleischer also saw it as a problem, so he invented rotoscoping. Rotoscoping is a technique for making animation by tracing the movements of an actor. This technique is used to create movements that are complex to imagine directly so that the animation movement is realistic. In implementing rotoscoping techniques in an animated film, a folk tale entitled Hang Tuah Ksatria Melayu was adopted. This folktale will be packaged into a 3D animated film using rotoscoping techniques. With the creation of a 3D animated film, the folklore of Hang Tuah Ksatria Melayu, an animated film was created with realistic character movements and people get moral messages of Hang Tuah Ksatria Melayu.
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VEREȘ, SANDA, and IOANA MAGDAȘ. "The Use of the Educational Animated Film in Primary Education in Romania." Romanian Review of Geographical Education 9, no. 2 (November 14, 2020): 67–86. http://dx.doi.org/10.23741/rrge220204.
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This study aims to review, analyse and synthesize the literature, which refers to the use of educational film in education in Romania and which deepens aspects related to the use of animated film in primary education. The aim was to review the literature on: classification of animated films in the category of educational means; the functions of animated films; types and sources of animated films; teacher preparation for the use of film for educational purposes; integrating the film into the lesson; how to use animated films in primary education and the results of their use. Existing information in papers in the field of education sciences from the last three decades was analysed. Regarding the use of animation films in primary education, five studies were analysed in depth
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Agustin, Nurul, Ivo Yuliana, and Miftakhul Hidayah. "MEMAHAMI NILAI MORAL DALAM FILM ANIMASI NUSSA DAN RARA SEBAGAI TAYANGAN YANG LAYAK DITONTON ANAK SEKOLAH DASAR." Jurnal Muassis Pendidikan Dasar 1, no. 1 (January 25, 2022): 77–87. http://dx.doi.org/10.55732/jmpd.v1i1.7.
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Animated films are moving images that contain messages in each scene. Animated film, played by 2 children's characters named Nussa and Rara. The animated films Nussa and Rara are watched by all people, from children to adults. The animated films Nussa and Rara are very interesting for children to watch, so adults can also watch it in order to choose films that are suitable for children to watch. This research was conducted to understand the moral values and the presence or absence of moral values in the animated film Nussa and Rara for children. The moral values contained in the animated film Nussa and Rara are categorized into various relationships. From the relationship between humans and God, human relationships with others, human relationships with the surrounding environment and human relationships with oneself. This research method uses qualitative descriptive research which is a descriptive method, namely by describing a real event. The results of this study are: 1) Of the four selected animated films contain moral values. 2) Of the four animated films, Nussa and Rara, which were selected, contained moral values with different kinds of relationships. 3) The animated film Nussa and Rara deserves to be watched among elementary school children.
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Zhang, Xijin, and Gaofeng Mi. "A Narrative Comparison Between the Animated Films Frozen and White Snake." Arts Studies and Criticism 3, no. 2 (July 6, 2022): 192. http://dx.doi.org/10.32629/asc.v3i2.915.
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Although the theme of the American animated film Frozen series and the Chinese animated film White Snake series are the same, they present completely different narrative structures. This paper makes a comparison between the two series of animated films from three aspects: narrative strategy, emotional clues and characters' personalities, and finds out some common narrative features of female-themed animated films under cultural differences, to further explore how animated films depict female images in the new era.
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Šošková, Eva. "The Reincarnation of Animated Film." Slovenske divadlo /The Slovak Theatre 65, no. 4 (December 1, 2017): 331–44. http://dx.doi.org/10.1515/sd-2017-0019.
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Abstract Throughout its entire history, Slovak animated film has had the form of figurative narrative art or craft. For this reason, the author of this study examines its post-1989 development through the prism of the body. Since the most visible change that has affected contemporary film aesthetics is the feminization of animated film in terms of authorship, the study primarily focuses on the ability of an animated body to represent gender and gender roles. It attempts to capture the most significant changes in the depiction of the body in authorial animated film before and after 1989, in more detail record the post-revolution changes in the body, and relate this to the changes in the institutional background of animated film. Animated bodies have developed from “ordinary people” from a dominant male point of view in socio-critical socialist production through female characters in interaction with clearly distinguished male characters in the films of female authors from the Academy of Performing Arts, the crisis of stereotypical masculinity in the production of male authors to independent women looking for their own identity inside themselves, without relating themselves to their male counterparts.
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Apriliyanti, Desy, Juniardi Nur Fadila, and Fresy Nugroho. "3D ANIMATION DESIGN "SCIENCE, LANTERNS TO HEAVEN" USING THE POSE-TO-POSE METHOD." JITK (Jurnal Ilmu Pengetahuan dan Teknologi Komputer) 8, no. 1 (January 9, 2023): 46–55. http://dx.doi.org/10.33480/jitk.v8i1.2231.
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In today's era, technology and communication have experienced very rapid development. Islamic values raised through the media are an effort in people's lives today. Including through the media of 3D animated films that rely on entertaining audio-visuals and messages conveyed through animated films can also be easily captured by the audience. In addition, the selection of animated films is based on the number of animated films circulating on social media such as YouTube and other electronic media, and this film can affect the attention of many people. Animated film designed by the author with the theme of the importance of studying can lead to Allah SWT's heaven. Making this animated film will use Blender software version 2.80. The method used is "Pose-to-Pose" by determining each key pose movement to produce a good movement. Using this method makes the work more effective or faster; if there is an error in the pose, it can be easily corrected. The design of the 3D animated film entitled "Science, Lantern Towards Heaven" is expected to be useful for the audience and take the moral message in it, which is to increase enthusiasm for learning or studying
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Stroganov, Mikhail V. "Animated story of Kolobok. 1936–2020." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 1 (2022): 131–55. http://dx.doi.org/10.35852/2588-0144-2022-1-131-155.
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The fairy tale Kolobok [The Gingerbread Man] belongs to the group of archaic cumulative fairy tales. Their entire content was reduced to recounting the phenomena of reality, living beings or objects. This type of thinking continues to be relevant for any person during early childhood. But in the modern world, such worldview does not exist and cannot be represented in figurative forms. Meanwhile, the cartoon interpretations of the Kolobok plot claim to be adequate in the transfer of folk pedagogy and morality. It considered to be their high dignity. However, not a single film adaptation conveys the content of the fairy tale in its natural environment. Thus the assessment of the film adaptation should not depend on its compliance with the original work. The fairy tale Kolobok is one of the most popular fairy tales; a large number of animated films have been created on this plot for both children and adults. But since the idea of cumulation is incomprehensible to a modern person, the directors fill the plot of the tale with new solutions and meanings. Children’s film adaptations teach to be careful and not trust the first person they meet, obey their parents and not run away from home. Adult film adaptations deal with the tragedy of human life, the complex relationship between man and power, ironically mention social turmoils. It does not matter whether the positive or destructive nature the new film has, but the most important thing is artistically convincing solution to the problem.
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Varga, Zoltán. "Look Behind the (Animated) Pictures. Notes on the Role of the Aesopic Language in Hungarian Animated Film." Acta Universitatis Sapientiae, Film and Media Studies 10, no. 1 (August 1, 2015): 121–39. http://dx.doi.org/10.1515/ausfm-2015-0030.
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Abstract The essay explores a certain tendency of Hungarian animated film related to a strategy of constructing meaning. The so-called Aesopic language, which can be found in Hungarian animated film, is interested in creating ambiguity, hidden meanings, especially against oppressive political systems. The paper approaches the development of the Aesopic language in Hungarian animated film based on two factors. The first one examines the characteristics of the animated film in general, focusing on the double sense of the animated image. The second one is a historical approach, considering how the Communist regime affected artistic freedom, and how the Aesopic language became general in Central and Eastern Europe during the decades of Communism. After delineating the concept, the essay continues with interpretations of Hungarian animated films produced by the famous Pannonia Film Studio as examples of the Aesopic language. The paper distinguishes between a less and a more direct variant of creating ambiguity, depending on whether the animated films lack or contain explicit references to the Communist system. The group o|f the less direct variant includes Rondino, Changing Times and The Fly, among the examples of the more direct variant we can find Storv about N, Our Holidays and Mind the Steps!.
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Wong, Oscar Gordon, and Imelda Ann Achin. "The Hero’s Journey: 12 Stages in The Narrative of Animation Boboiboy Movie 2." Mudra Jurnal Seni Budaya 36, no. 3 (August 3, 2021): 316–25. http://dx.doi.org/10.31091/mudra.v36i3.1580.
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2019 is a phenomenal year for the development of the Malaysian animated film industry as it has successfully produced two superheroes animated films in total. However, the animated film industry in Malaysia is still not competitive at the international level. This can be seen from the 17 animated films that have been produced from 1998 to 2019, only two superheroes animated films managed to get the attention of the audience. This is due to the lack of knowledge of the concept and function of the hero character in animated films. Therefore, the main objective of this paper aims to demonstrate how the Hero’s Journey narrative structure can be applied in BoBoiBoy Movie 2 (2019). This research method involves the use of video analysis tools namely Kinovea and Motion Picture Analysis Worksheet to explain on how the Hero’s Journey of this film conveys the storytelling. The results of this study found that each semicircle Hero’s narrative structure has an important meaning across from one half-circle to the other half-circle. As a result, it explains the concept of peace and chaos as well as stasis and changes in the narrative structure of superhero animated films. This paper will provide information to researchers on the importance and use of the Hero’s Journey approach to analyze superhero animated films.
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Ward, Paul. "Animating with Facts: The Performative Process of Documentary Animation in the ten mark (2010)." Animation 6, no. 3 (September 9, 2011): 293–305. http://dx.doi.org/10.1177/1746847711420555.
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This article examines how animated films re-present and re-interpret real world occurrences, people and places, focusing on an area that has been overlooked to date: the process of performance and how this manifests itself in animated documentary films. Not simply a notion of ‘performance’ as we might understand it in an ‘acting’ sense (someone playing a role in a re-enactment), but that of the animator performing specific actions in order to interpret the factual material. The central questions addressed are: how does an understanding of ‘performance’ and the related term ‘performativity’ help us to frame animated/nonfictional acting? What ontological questions are raised by thinking about notions of acting in animation (and the performance instantiated in the very action of animating)? How do viewers relate to, interpret or ‘believe in’ animated films that are asserting real/factually-based stories? The article uses a recent film, the ten mark, as a case study to explore possible answers to these questions.
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Zhang, Rong. "Computer Vision-Based Art Color in the Animation Film Performance Characteristics and Techniques." Journal of Sensors 2021 (September 13, 2021): 1–12. http://dx.doi.org/10.1155/2021/5445940.
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If an animated film wants to present extraordinary visual effects, the successful use of art colors is the key to the success or failure of an animated film. Although our country’s animated film started a short time ago, its development has been slow. In modern times, it is difficult to compete with excellent animation works of other countries; animation is an art form that requires the combination of modern technology and traditional cultural areas. Chinese cartoons are gradually declining today when the technology is taking off. The reason is that the traditional culture of the country has not been thoroughly explored. In today’s diversified world, if you want to revive the brilliance of Chinese animation, you must deeply and systematically study various elements of national art and form your own creative thinking and creation system. Particularly under computer vision, the gap is very obvious. Under the computer vision, in order to study the characteristics and techniques of the use of fine art colors in animated films, to promote the development of animated films in China, this article analyzes the role of art color in the animation of excellent Chinese and foreign animation works in recent years, through literature analysis, comprehensive qualitative and quantitative analysis, etc., to study the meaning and application of color symbols, hoping to be a Chinese animation providing useful help for film creation and development. Studies have shown that color has a strong influence on animated films. A good use of artistic color can add a lot of color to an animated film. According to statistics, art colors account for at least 20% of excellent animation works, which can be integrated into animation colors. Animation works with domestic characteristics are easier to succeed. This shows that the use of artistic colors can play a key role in animated films.
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Benitez Rojas, Raquel Victoria. "CRISTIANI AND THE FIRST ANIMATED FEATURE FILMS IN HISTORY- FROM ARGENTINA TO THE WORLD." MEDIA STUDIES AND APPLIED ETHICS 3, no. 1 (September 12, 2022): 127–46. http://dx.doi.org/10.46630/msae.1.2022.09.
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On December 21, 1937, Snow White and the Seven Dwarfs (Hand, Jackson, Pearce, Sharpsteen, Morey, Cottrell, 1937) was released, produced by Walter E. Disney. The press immediately ranked it as the first animated feature film. However, this claim was not true. The Italian-Argentinian animator Quirino Cristiani with his work El Apóstol (Cristiani,1917) was responsible for the first animated feature film in the world twenty years before the North American release. His 1931 film Peludopolis (Cristiani,1931) was also the first animated feature film with synchronised sound recording. Cristiani patented a new and revolutionary system for creating animations using only cardboard cut-outs. The aim of this paper is to give recognition to his work by analyzing his contribution to the seventh art through qualitative documentary research.
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Gorcevic, Admir R., Samina N. Dazdarevic, and Amela Lukač Zoranić. "DYSPHEMISMS IN ANIMATED FILMS." Folia linguistica et litteraria XII, no. 35 (2021): 175–94. http://dx.doi.org/10.31902/fll.35.2021.9.
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Current research focuses on an observational investigation of dysphemistic words and phrases in contemporary animated films. The language of animated films varies from other genres and styles, and this divergence from conventional language presents an important sociolinguistic problem. The main reason for the study is an assumption that authors and script writers of animated films use dysphemisms in this specific language style, despite the fact that they should be avoided. The study's methodological foundation is a corpus analysis which deals with three different corpora: the primary corpus – selected contemporary animated films (dating from 2017 to 2020) and the secondary – a) the native language corpus (Corpus of Contemporary American English - COCA), and b) Google search engine. The following goals were pursued in this dysphemism investigation: (1) the selection of animated films for the primary corpus, (2) identification of dysphemisms in the primary corpus, (3) sociolinguistic analysis and explanation of some of the most appealing expressions from the primary corpus, and (4) to cross-check some of the dysphemisms identified in the primary corpus against the secondary corpus. The authors believe that certain number of them are exclusive to animated films and cannot be found in the native discourse. The analysis has confirmed that the language of animated films contains dysphemisms, and that their number and nature vary from film to film. The most common dysphemisms can be found in all animated films, but those containing the most profane language are characteristic only for South Park. Further investigation revealed that certain number of dysphemistic expressions identified in the primary corpus can only be found in animated films and not in the natural discourse.
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Sandi, Supriyadi. "Perancangan Animasi Stopmotion Pangeran Diponegoro Berbasis Sinematografi." Jurnal Komunikasi 10, no. 2 (September 3, 2019): 145–52. http://dx.doi.org/10.31294/jkom.v10i2.6181.
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Nowadays animated films are developing rapidly in Indonesia. Animated films are in demand because they are entertaining, but rarely found educative animated films that tell about history. In general, historical documentation is only based on thick textbooks, and the placement of photos of heroes on classroom walls is generally not interesting for students to enjoy. This encourages researchers to make an animated film that has historical and educational value. With appropriate cinematography, a film can have high artistic value. In addition, the film can also convey information and implied messages that can be used as lessons in life. To attract students, stopmotion technique was chosen. This stopmotion animation is created by applying the sine matography technique so that what will be conveyed in this animated film can be conveyed well to the audience. All of this aims to make the animation look livelier, smoother in its movements, and produce a more attractive appearance and is liked by the audience. It is better to make a stopmotion animation in a detailed storyboard design, so there are no mistakes when making motion, camera angles, type shots, and video translation. Stopmotion filmmaking is inseparable from photography and cinematography
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Nidiansyah, Rafinur, Arif Sulistiyono, and Pandan Pareanom Purwacandra. "Penciptaan Karya Film Animasi 2D “Miliv” Dengan Teknik Hybrid." Journal of Animation and Games Studies 5, no. 1 (July 23, 2019): 057–76. http://dx.doi.org/10.24821/jags.v5i1.2800.
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When human realize that they are not as they appear, it causes personal conflicts in humans, there are two sources that come from inside and outside. With animated films that have become increasingly popular with various groups, the creation of the animated film “MILIV” as one of media delivery in the form of visual and media delivery messages contained in the film.With the concept of hybrid, it combines stopmotion animation techniques, rotoscope, and digital animation, creating an experimental genre animation work with its unique visual style.The animated film “MILIV” tells of a bird who is too late to realize his true identity and is trapped in comfort zone. Contemplation became the main goal in this animated film “MILIV”Keywords: Film, MILIV, Hybrid, Rotoscope, Stopmotion, Experimental, Animation
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Karen Beckman. "Film Theory's Animated Map." Framework: The Journal of Cinema and Media 56, no. 2 (2015): 472. http://dx.doi.org/10.13110/framework.56.2.0472.
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Hasbullah, Hasbullah, and Gede Pasek Putra Adnyana Yasa. "MAKNA KODE VISUAL DALAM SCENE FILM ANIMASI “ BATTLE OF SURABAYA”." Jurnal Bahasa Rupa 3, no. 2 (April 17, 2020): 124–29. http://dx.doi.org/10.31598/bahasarupa.v3i2.460.
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The animated film "Battle of Surabaya" is one of the nation's children's work that is able to win various awards, both at national and international levels. In some scenes in this animated film, there is a visual code that contains information or messages delivered to the audience (audience). Through observing several scenes, it is found that there is a meaning of the visual codes contained in the scene. This study aims to analyze the aesthetic visual codes contained in the first, middle and end scenes of the animated film "Battle of Surabaya". Data collected through observation and literature study. Theories used as analysis are semiotics and postmodern aesthetic codes. The results of this study indicate that the meaning of the visual code in the animated film scene "Battle of Surabaya" namely: in the first scene, the action or action of the Indonesian government declared independence from the Dutch East Indies government as an act of the past that needed to be made; the scene is explaining the rejection of Indonesian independence, this action as the style of an animator in the sequence before and next; the final scene depicts the action of the main character (Musa) who unites the storyline sequence of the animated film "Battle of Surabaya", one of which implements the cultural value of please help as an act of popularizing Indonesian culture.
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Kirsh, Steven J. "Using Animated Films to Teach Social and Personality Development." Teaching of Psychology 25, no. 1 (January 1998): 49–51. http://dx.doi.org/10.1207/s15328023top2501_17.
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Students in a course on Social and Personality Development wrote term papers about 10 aspects of child and adolescent development depicted in an animated film of their choice. Film analysis required using theory and research from the course. The assignment received favorable ratings. The animated film assignment appears to improve students' understanding of course material and helps students evaluate the types of films that children frequently see.
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Yasa, Nyoman Miyarta. "TANDA VERBAL PADA FILM ANIMASI “El Empleo”." Jurnal Nawala Visual 2, no. 1 (May 2, 2020): 45–53. http://dx.doi.org/10.35886/nawalavisual.v2i1.77.
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"El Empleo" is a silent animated film that won 102 Awards. This animated film is only equipped with sound effects, so that makes it alive. This film is very important to be investigated when viewed from the uniqueness that is located in a strange visual, humans are used as tools and objects around their residence. This animated film, communicates messages through verbal signs However, not everyone understands the meaning of the sign. Therefore, the problem that arises in this research is about how the verbal signs are displayed in the animated film " El Empleo ". The purpose of this study is to analyze in-depth in the first, middle and end scenes of verbal signs, the intent that the animator communicates in the animated film. The method used is qualitative interpretative with the foundation of Charles S. Pierce's semiotics theory. The results of this study are verbal signs in the form of icons of men living as bosses; human symbolized as a seat, vehicle (taxi), traffic signs, and as a toilet mat; index contained in the expression of the face of the character/character that indicates power and oppression. In conclusion, at the level of verbal signs in the first, middle, and final scenes, they can be divided into icons depicting a man living a boss; humans as subordinates are symbolized as seats, vehicles, traffic signs, even as footwear in front of the toilet door, the index looks at the boss's facial expression, and subordinates that indicate oppression. The purpose and objectives as a symbolic message that signifies power are not always owned, but on the contrary the power will be oppressed.
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Zhao, Siyun. "Export of Chinese Animated Film:A Case Study on Nezha." Communications in Humanities Research 1, no. 1 (December 21, 2021): 28–33. http://dx.doi.org/10.54254/chr.iceipi.2021185.
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The box office of Chinese films is growing, and domestic films have made a great contribution.Chinese films has also becoming an important component of Chinese cultural exportation. Animated films have advantage of having wider audience, which can convey national values more gently and shape the national image imperceptibly. This paper took the animated film "Nezha", which was a dark horse at the domestic box office, as an example to analyze the advantages and disadvantages of Chinese animation film in cross-cultural communication. The study found that although technique and animation visual effects received good commonts from the overseas audience, the cultural barriers and the lack of commercial publicity was still a constaint for Chinese animated films.
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Sandya, Isha, and Sri Widati. "PERBEDAAN EFEKTIFITAS FILM ANIMASI DAN FILM CERITA TERHADAP PENINGKATAN PENGETAHUAN DAN SIKAP ANAK TENTANG KESEHATAN GIGI." Indonesian Journal of Public Health 14, no. 1 (July 5, 2019): 60. http://dx.doi.org/10.20473/ijph.v14i1.2019.60-68.
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According to Basic Health Research 2013 states that the age group less than 12 years ie age 5-9 years 28.9% suffered dental caries. The aim of this study is to analyze the effectiveness of animated movies and non- animated movies in improving children’s knowledge and behavior concerning dental health. This study was designed based on quasi experimental design. The samples of this study were the students of Class 3A and Class 3B SDN 03 Kepanjen consisting of 63 students. The independent variables of this study were animated movie and non-animated movie concerning dental health while the dependent variables were children’s knowledge and behavior. The collected data were analyzed using Mann Whitney test. The findings of this study show that the respondents are aged between 8 and 10 years old. There is difference in terms of knowledge before and after the students received intervention through animated movie and non-animated movie. Animated movie seems to be more effective in improving the respondents’ knowledge to maintain dental health than non-animated movie as indicated by the average score for animated movie intervention is higher than non-animated movie intervention.
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Rafiek, Muhammad. "Equation of Malay vocabulary in the animation film of Upin and Ipin with Banjarese vocabulary in South Kalimantan." Journal of Language and Linguistic Studies 17, no. 1 (March 30, 2021): 85–114. http://dx.doi.org/10.52462/jlls.6.
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This research is aimed at explaining the equation of the Malay vocabulary in the animated film of Upin and Ipin with Banjarese vocabulary in South Kalimantan. In this research, the researcher used a qualitative method with comparative linguistic research design or equation characteristic method of linguistic features. In collecting the data, the researcher used the technique of listening and direct typing after watching the animated series Upin and Ipin on Youtube. In analyzing the data, the researcher used the equation techniques of forms and meanings of the vocabulary. This technique is called retention and innovation techniques together in methods of equation linguistic features (Mahsun, 2014). Researchers also analyzed and discussed using comparative linguistic theories from Adelaar, Blust, and Nothofer to reinforce the evidence that there are similarities in Malay vocabulary in the animated films Upin and Ipin with Malay vocabulary in South Kalimantan. The results of this research found that there are three groups of the equation of Malay vocabulary in the animated film of Upin and Ipin with Banjarese vocabulary in South Kalimantan, namely (1) Malay vocabulary in the animated film of Upin and Ipin have an equation in the form and differences meaning with the Banjarese vocabulary; (2) Malay vocabulary in the animated film of Upin and Ipin have an equation in form and meaning with the Banjarese vocabulary; and (3) Malay vocabulary in the animated film of Upin and Ipin have a semblance of forms and equation in meaning with Banjarese vocabulary, in South Kalimantan.
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Ko, Fuji. "Esoteric Symbolism in Animated Film Storytelling." Chinese Semiotic Studies 14, no. 3 (August 28, 2018): 347–70. http://dx.doi.org/10.1515/css-2018-0021.
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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.
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Wardaniningsih, Agustin Diana, and E. Ngestirosa Endang Woro Kasih. "DELINEATION OF WOMEN IDENTITY IN THE DISNEY ANIMATED FILM ECANTO (2019)." Lire Journal (Journal of Linguistics and Literature) 6, no. 2 (October 31, 2022): 209–29. http://dx.doi.org/10.33019/lire.v6i2.160.
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Disney's animated films is produced not only to provide entertainment but also to deliver messages in it. Most Disney animated films have a target audience of children. The element of persuasion that includes every message will be one of children's character-building in real life, including how the film constitutes gender identity in children, which will affect the development of their lives. One of Disney's animated films is Encanto film which was released in 2021. The purpose of this research is to describe the moral values of the characters in Encanto film, especially observing the identity of the women depicted in this film. The research method uses a qualitative narrative approach to analyze Encanto film. This study uses Stuart Hall's representation theory and Christian Metz's Semiotic Analysis Method (MAS), or cinematographic semiotics. By the critical paradigm, this MAS is qualitatively interpretive. A method that focuses on signs and texts as objects of study and how researchers interpret and understand the code (decoding) behind the signs and texts. The study revealed the women's identity on the main character, Mirabel in the film Encanto. This identity is mainly found from the stereotypical Mirabel identity as a woman. The other marginalization, subordination, power, and workload differentiate Mirabel’s identity as a woman from men in Encanto film
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Nurazizah, Tsani Shofiah, Zakiah Ulfiah, and Yona Wahyuningsih. "Analisis Muatan IPS Keberagaman Budaya dalam Film"Adit dan Sopo Jarwo” Episode “Ondel-Ondel Bikin Denis Jengkel”." Journal on Education 5, no. 2 (January 14, 2023): 2840–47. http://dx.doi.org/10.31004/joe.v5i2.932.
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One of the social studies contents for grade IV SD is about Social and Cultural Diversity in Indonesia. In the midst of rapid technological developments, some traditional and hereditary activities have been replaced by activities contained in technological products such as gadgets. Therefore, cultural learning is very important to be introduced to students. One way that can attract students to know and get to know culture is by watching animated films because students are more interested in moving images that involve audio-visual activities. One of the educational animated films is the animated series 'Adit dan Sopo Jarwo' with one episode of “Ondel-Ondel Make Denis Angry” which is suitable for social and cultural content. The method used in this research is literature study and film analysis. The results of the research based on film analysis found that the animated film series "Adit & Sopo Jarwo: Ondel-Ondel Bikin Denis Jengkel" contained IPS content about social and cultural diversity in Indonesia, such as the Betawi language and Batak accent, the typical Betawi art, namely Ondel. -Ondel, and traditional games, namely Sondah and Kelereng.
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Mason, Derritt. "Resurrecting ParaNorman: Ghosts and gays in the New Queer Cartoon." Queer Studies in Media & Popular Culture 6, no. 3 (September 1, 2021): 285–303. http://dx.doi.org/10.1386/qsmpc_00062_1.
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When the Oscar-nominated, stop-motion animated film ParaNorman was released in August 2012, critics made much ado about the supporting character named Mitch: a dopey, beefy jock perceived to be the first openly gay character in a mainstream American children’s animated movie. As queer representation in children’s animated media continues to expand ‐ as seen, for example, in Netflix’s 2021 film The Mitchells vs. the Machines, which features an openly queer protagonist ‐ this article argues that Mitch’s now decade-old legacy is worth revisiting. Drawing on Noreen Giffney’s concept of the ‘New Queer Cartoon’, ParaNorman, I claim, marks a crucial turning point in children’s animated media. The film represents a collision between the latently and openly queer ‐ it nods to the coded queer signifiers of past films while simultaneously making possible the gradual increase in visible queer representation that has taken place since its release.
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Bockareva, Ol'ga. "The interpretation of classical music in Polish and Russian animation as a basis for creative dialogue." Muzikologija, no. 21 (2016): 175–84. http://dx.doi.org/10.2298/muz1621175b.
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Animated musical film, lying at the intersection of the two creative worlds and representing a dialogue between the musician and painter, is a living process of the visual interpretation of the artistic image of a musical work. A dialogue between the director of an animated film and the composer of a musical masterpiece can take place only if there is intonational (term used according to B. Asaf?ev?s writing) ?equalization? of the artistic and validation determinants of merger-related, personal, emotional states. The author emphasizes that within the artistic image of an animated film, the inner essence of the ?I? is made on the basis of the artist?s expression, the unity and consistency of color, sound, plastic solutions, coupled with deep philosophical generalizations, cultural, and value-semantic in their nature. The article provides examples of interpretations of classical music masterpieces in animated films by Russian and Polish filmmakers.
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Boydell, Katherine M., and Joseph Croguennec. "A Creative Approach to Knowledge Translation: The Use of Short Animated Film to Share Stories of Refugees and Mental Health." International Journal of Environmental Research and Public Health 19, no. 18 (September 12, 2022): 11468. http://dx.doi.org/10.3390/ijerph191811468.
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This study used animated film to translate narratives of refugees and mental health into accessible material aimed at enhancing empathy and understanding. It focuses on the use of short animated films in series one and two of the Woven Threads catalogue. Series one shared moments of hope in a refugee’s journey, whilst series two focused on people living with mental health challenges. This research was designed to understand the responses to viewing for people who watch these animations. A mixed-method design was used via an online Qualtrics platform that asked respondents to view two short animated films, one from the refugee series and one from the mental health series. 364 members of the general public viewed and responded to the refugee film and 275 responded to the mental health film. The platform collected both quantitative and qualitative data. Survey responses indicated that the majority of viewers found the films challenged public misconceptions about refugees and individuals with mental health challenges and left them with a feeling of hopefulness. Qualitative narratives were organised into one superordinate theme: the power of film as a knowledge translation strategy, with four subthemes: (i) changing perceptions and inspiring empathy, (ii) enhancing literacy, (iii) highlighting the power of storytelling, and (iv) encouraging hope and a sense of belonging. The use of short animated film as a knowledge translation strategy can enhance our understanding, promote deep reflection, increase empathy and has the potential to lead to social change.
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Anggara, I. Gede Adi Sudi, Hendra Santosa, and A. A. Gde Bagus Udayana. "CHARACTER EDUCATION AND MORAL VALUE IN 2D ANIMATION FILM ENTITLED "PENDETA BANGAU"." Capture : Jurnal Seni Media Rekam 10, no. 2 (May 29, 2019): 57–70. http://dx.doi.org/10.33153/capture.v10i2.2449.
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Character is a very important and fundamental matter in a child's development. Character education has the same orientation with moral education, whereas moral education is very important in directing young generation to become good people through good values approach. In the midst of current IT advances, animated films are one of the effective and interesting media in transferring the values of character education and moral messages to children. The 2D animated film entitled Pendeta Bangau (The Priestess of Stork) is an animated film which source of story comes from Balinese folklore entitled Pedanda Baka. The aim of this study is to discuss the values of character education and moral messages/values contained in the animated film entitled “Pendeta Bangauâ€. This study uses qualitative research methods with qualitative data analysis techniques model of Miles and Huberman. The result of this study shows that the character education values from the animated film entitled Pendeta Bangau contains the values of honesty, tolerate, friendship / communicative, love of peace, and curiosity. While the moral message/value was seen in the final/end of film, namely the Bangau (stork) died due to its immorality. Its Bangau dead is related to the principal of Prarabda Karmaphala, namely Bangau, gets the results of his behavior in the present, and is now available without being there anymore.
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Winarja, Winarja, M. Suyanto, and Asro Nasiri. "Analisis Dan Optimasi Rendering Pada Autodesk Maya Dengan Menggunakan UE4." Creative Information Technology Journal 7, no. 2 (March 31, 2021): 142. http://dx.doi.org/10.24076/citec.2020v7i2.260.
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Proses rendering pada pembuatan film 3D animasi merupakan pekerjaan yang sangat memakan banyak waktu dikarenakan banyaknya frame yang diperlukan untuk membuat film 3D animasi. Pada proses rendering satu frame dalam film 3D animasi biasanya membutuhkan waktu hingga beberapa jam dikarenakan proses kalkulasi render yang terdiri dari data model, data shader, data texture, dan data lighting dalam sebuah shot pada adegan 3D animasi. Dengan menggunakan proses render secara frame per frame maka proses render akan memerlukan waktu yang lama sehingga penulis akan melakukan penelitian pada proses rendering dengan menggunakan software game engine pada Unreal Engine 4 sebagai kalkulasi render secara realtime. Dari data yang semula dilakukan proses render pada software maya dan selanjutnya akan dilakukan perubahan data dari file maya diubah menjadi FBX file sebagai data yang akan di proses pada software Unreal Engine 4 (UE4). Dengan penggunaan game engine sebagai hasil akhir dalam menampilkan hasil render secara realtime sangatlah membantu dalam mendapatkan kelancaran pada sebuah proses produksi pada film 3D animasi. Kata Kunci—animasi 3D, rendering, real time render, game engine.The rendering process in making animated 3D movies is a very time-consuming job due to the large number of frames needed to make animated 3D films. In the rendering process one frame in an animated 3D movie usually takes up to several hours because the rendering calculation process consists of model data, shader data, texture data, and lighting data in a shot on a 3D animated scene. By using the rendering process in a frame per frame, the rendering process will require a long time so the writer will conduct research on the rendering process by using the game engine software on Unreal Engine 4 as a realtime rendering calculation. From the data that was originally done in the virtual software rendering process and then the data will be changed from the virtual file to be converted into FBX file as data that will be processed in the Unreal Engine 4 software (UE4). Using the game engine as the final result in displaying rendering results in realtime is very helpful in getting fluency in a production process in 3D animated films.Keywords—3D animation, rendering, real time rendering, game engine.
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Satkauskaitė, Danguolė, and Alina Kuzmickienė. "Conveying Frenchness in the Dubbing of Animated Film Ratatouille." Sustainable Multilingualism 16, no. 1 (May 1, 2020): 205–26. http://dx.doi.org/10.2478/sm-2020-0010.
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SummaryDue to globalization, migration, tourism and other reasons multiculturalism and multilingualism have become the rule rather than the exception. In this context films, on the one hand, serve as a reflection of multilingual and multicultural reality, on the other hand, multilingualism inevitably occurs by translating films for different audiences since (interlingual) translation involves at least two languages. Films, in which characters belong to different cultures and languages, pose a considerable challenge to translators. Such a case is the American animated film “Ratatouille” (2007), which action takes place in France and most of its characters are French. However, by adapting the film for the main target audience – the children – the character identity is revealed not using complete foreign language dialogues but creatively combining various modes: verbal acoustic (dialogues and lyrics), verbal visual (written texts), nonverbal visual (images) and nonverbal acoustic (nondiegetic music). The same modes are applied to render culture-specific items, especially food and drink names. Since verbal mode varies depending on the target audience, American English source language as well as Lithuanian, Russian and French dubbed versions of the film “Ratatouille” will be compared in order to determine semiotic modes, which convey Frenchness. Additionally, by comparing selected dubbed versions of the film, amusing translations, resulting exactly from the encounter of cultures and languages, will be presented as well. For the research methodological approaches of audiovisual translation, multimodality and comparative method will be applied.
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Lestari, Bini. "Tindak Tutur Ilokusi dalam Film Animasi Upin dan Ipin Episode �Seronoknya Wisata Air� serta Implikasinya Terhadap Pendidikan Karakter Anak." ESTETIK : Jurnal Bahasa Indonesia 2, no. 2 (December 9, 2019): 139. http://dx.doi.org/10.29240/estetik.v2i2.1191.
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This study aims to describe the forms of illocutionary speech acts in the animated film Upin & Ipin in the series "Seronoknya Wisata Air". In addition, this study also describes the form of character education contained in the animated film. Furthermore, this study uses a qualitative method with a descriptive approach. The data source in this study obtained conversations in the animated film Upin & Ipin obtained from Television. Data collection techniques in this study used the note taking technique, by noting every conversation that contains illocutionary speech acts. The data validity technique in this research is in the form of theory triangulation, data analysis using interactive analysis. The results of the study show that in the animated film Upin & Ipin the series of "Water Tourism" contains illocutionary acts. For example assertive, directive and expressive. In this study, researchers also found the value of character education contained in the Upin & Ipin animated film "Seronoknya Wisata Air", for example disciplinary value, creative value, value of achievement and friendly values.Keywords: Illocutionary Speech Acts, Upin & Ipin Animated Film, Character Education
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Fardani, Diah Novita, and Yorita Febry Lismanda. "NILAI-NILAI PENDIDIKAN KARAKTER UNTUK ANAK USIA DINI DALAM FILM “NUSSA”." Thufuli : Jurnal Ilmiah Pendidikan Islam Anak Usia Dini 1, no. 2 (December 31, 2019): 34. http://dx.doi.org/10.33474/thufuli.v1i2.4921.
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Early Childhood has a variety of interests, one of them is the fondness of watching television shows that are animated cartoons. At an early age, children have a strong tendency to mimic everything they see. This becomes important considering that a lot of animated cartoon films are shown and are often seen by children which certainly affects the character and personality of children.This study aims to determine the values of character education forearly childhood contained in the animated film "Nussa". In carrying out this study using a qualitative descriptive approach by analyzing the contents of four randomly selected episodes. The results of this study found that educational valuescharacters for early childhood contained in the four episodes of the animated film "Nussa" are very diverse, among the character values contained such as religious, hard work, independent, friendly and communicative, honest, caring socially, creatively, disciplined, rewarding achievement, and responsibility.
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Halid, Elan. "TINDAK TUTUR EKSPRESIF DALAM FILM ANIMASI UPIN DAN IPIN SIARAN TELEVISI SWASTA MNCTV (KAJIAN PRAGMATIK)." IdeBahasa 3, no. 2 (December 24, 2021): 71–80. http://dx.doi.org/10.37296/idebahasa.v3i2.70.
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The problem to be discussed in this research is how the expressive speech acts in the animated film Upin and Ipin are broadcast on MNCTV private television. Pragmatics is the study of all aspects of meaning that have been covered in semantic theory, or in other words: discussing all aspects of the meaning of speech that cannot be explained completely by direct reference to the conditions of truth of the sentence spoken. Speech acts are actions that are displayed through utterances to convey one's intentions and goals to others in life situations. Expressive is a type of speech act that states something the speaker feels. Animated films are films that are the result of processing hand drawings, so that they become moving images. Animated films are basically based on fantasy stories. While the source of data in the research is the animated film Upin and Ipin. This type of research is a qualitative research with descriptive method. After the researchers conducted research and grouped the results of the research data based on expressive speech acts, the researchers obtained 27 data. The speech act of thanking found 5 data, apologizing found 4 data, congratulating found 3 data, praising found 5 data, complaining found 6 data, and blaming found 4 data. The conclusion in this study is that expressive speech acts in the form of complaining are the most commonly found in the animated film Upin and Ipin.
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Muh. Haris Zubaidillah, Husin, Nesrin, and Abdul Rashid bin Abdul Aziz. "ANALYSIS OF CHARACTER AND SOCIAL EDUCATION VALUES TOWARD CHILDREN IN NUSSA AND RARA FILM EPISODE 3S." Proceeding of The International Conference on Economics and Business 1, no. 1 (November 22, 2022): 157–65. http://dx.doi.org/10.55606/iceb.v1i1.151.
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Apart from being a means of entertainment, films can also be a means of guidance to the public through the message contained in the film. Therefore, the public must be more careful in choosing films, especially for children, so as not to fall prey to the negative things that come from the films they watch. Nussa and Rara is one of the children's animated films with the Muslim genre that children like. In this animated film there are positive educational values for children. This study aims to analyze the educational values contained in the film Nussa and Rara in one of its episodes entitled 3S (Senyum, Salam, Sapa).This study used library research methods with mass media analysis as the type of research. The results of the study show that there are two types of character education in the films Nussa and Rara episode 3S (Senyum, Salam, Sapa), namely character education and social education. The character education values contained in the animated film are based on the Ministry of Education and Culture's references, namely religious attitude, fond of reading and curiosity. Meanwhile, the social educational values contained in the film are based on Nashih Ulwan's opinion, namely 1) the inculcation of noble psychological foundations, namely piety and brotherly affection. 2) safeguarding the rights of others, namely the teaching of social etiquette
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Gordziejuk, Ewelina. "Polski film animowany – gdzie jest i dokąd zmierza?" Kultura Popularna 3, no. 57 (November 30, 2018): 2–10. http://dx.doi.org/10.5604/01.3001.0012.7284.
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The article aims to define Polish animated film and its place within contemporary Polish cinematography as well as to predict its future. Based on the literature review, the author's own reflections and the opinions of critics, film experts and filmmakers, the author provides her own definition of an animated film, presents facts related to the history of the genre and speculates on the future of Polish animated film.
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Sulistiyono, Arif. "Punakawan Sebagai Inspirasi Penciptaan Film Pendek Animasi Bertema Pendidikan Karakter." Journal of Animation & Games Studies 2, no. 2 (January 18, 2017): 173. http://dx.doi.org/10.24821/jags.v2i2.1420.
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Educational animation is an animated product produced specifically for the purpose of learning. Its popularity in helping students understand and remember information presented increased since the advent of computer graphics technology. The lack of an increase in the production of animated short films in Indonesia resulted in at least encountered the works of domestically-made animation education. Stimulation of creation of animated works based on the local culture should be a concern for creators to produce Indonesian animated film. This has encouraged the idea of research and the creation of the works to add alternative work spectacle for children to be more varied. The work produced will be expected to become one of the benchmarks for the creators of short animated films in Indonesia. The short animated film themed character education and have the characterization and design characteristics based on local wisdom is still a little bit. Production work is still dominated by elements that showed the humorous aspects of violence as like a common thing to do. It is extremely dangerous due to the development of the child's personality or character will indirectly entertained spectacle dominated by the less educated. Therefore bring back figures Punakawan as "teacher" character education in the form of short animated films for the sake of growth is necessary to be realized next generation character education in Indonesia.Keywords: educational animation, punakawan, moral educationAbstrakAnimasi edukasi adalah sebuah produk animasi yang diproduksi khusus untuk tujuan pembelajaran. Popularitasnya dalam membantu peserta didik memahami dan mengingat informasi yang disajikan meningkat sejak munculnya teknologi komputer grafis. Kurangnya peningkatan produksi karya film pendek animasi di Indonesia mengakibatkan sedikitnya dijumpai karya-karya animasi edukasi buatan anak negeri. Rangsangan penciptaan karya animasi berbasis pada budaya lokal sepatutnya menjadi perhatian bagi para kreator dalam menghasilkan film animasi Indonesia. Hal inilah yang mendorong ide penelitian dan penciptaan karya guna menambahkan karya alternatif tontonan bagi anak-anak supaya lebih bervariatif. Karya yang dihasilkan nantinya diharapkan mampu menjadi salah satu tolok ukur bagi pencipta-pencipta film pendek animasi di Indonesia.Film pendek animasi yang bertemakan pendidikan karakter dan memiliki ciri penokohan dan desain berbasis kearifan lokal masih sangat sedikit. Produksi karya masih didominasi oleh unsur-unsur humoris yang mempertontonkan aspek kekerasan sebagai layaknya hal yang umum dilakukan. Hal ini sangat berbahaya dikarenakan perkembangan kepribadian atau karakter sang anak secara tidak langsung akan didominasi oleh tontonan hiburan yang kurang mendidik. Oleh karena itu memunculkan kembali tokoh-tokoh Punakawan selaku “guru” pendidikan karakter dalam wujud karya film pendek animasi sangatlah perlu direalisasikan demi pertumbuhan pendidikan karakter generasi penerus bangsa Indonesia dikemudian hari. Kata kunci: Animasi edukasi, punakawan, pendidikan karakter
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Wang, Yue, and Xiaowen Ji. "A Study of Translation Strategies of Animated Film Titles from the Perspective of Eco-translatology." Journal of Language Teaching and Research 12, no. 1 (January 1, 2021): 88. http://dx.doi.org/10.17507/jltr.1201.09.
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In recent years, the animated film industry is booming and attracting more and more attention. This study, under the guidance of Eco-translatology, revolves around both E-C and C-E animated film title translation, analyzing its translational eco-environment and three-dimensional transformations. Use of main translation strategies of animated film titles, which are transliteration, literal translation, free translation and creative translation, is analyzed. It is found that free translation is the mainstream in both C-E and E-C translation of animated film titles while that creative translation is the least frequently used method.
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Aminor, Aminor, and Sri Sudiarti. "Taḥlīlu al Syakhṣiyyāti fī filmi al Rasūmi al Mutaḥarrikati Ballerina li Eric Summer wa Eric Waren." Al-Uslub: Journal of Arabic Linguistic and Literature 5, no. 02 (July 2, 2021): 184–212. http://dx.doi.org/10.30631/al-uslub.v5i02.105.
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Character Analysis in Ballerina Animated Film Directed by Eric Summer And Eric Waren (Literary Studies).The purpose of this research is to find out the characters and some of the characters in the animated film Ballerina directed by Eric Summer and Eric Warin, and to be able to know the values contained in the animated film. The type of research used is qualitative research. The source of the research data is the animated film ballerina by Eric Summer and Eric Warin. The object of this research is a character in the animated film Ballerina by Eric Summer and Eric Warin published by Aifan Sharthok's YouTube channel. The data collection techniques used are by witnessing and recording techniques. The instrument used is the author assisted with text data, stationery and laptop. The method used to analyze data is a description of the analysis.
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Wu, Hang. "The Translocalized McDull Series: National Identity and the Politics of Powerlessness." Animation 12, no. 1 (March 2017): 28–44. http://dx.doi.org/10.1177/1746847716686550.
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The animated film Me & My Mum was released in mainland China and Hong Kong in 2014 and proved to be a huge box office hit, cashing in on the existing McDull animated films that are hailed as the best animations in Hong Kong. Previous scholarship suggests that the McDull animated film series is a symbol of Hong Kong local culture; it serves as a repository of the changing landscapes of Hong Kong and demonstrates hybrid identities. However, this article argues that the McDull animated film series is more translocal than local, a fact which reveals the dynamics of the Hong Kong–mainland China relationship after Hong Kong’s return to Chinese sovereignty in 1997. The translocalized McDull series demonstrates an obsession with Chineseness which helps to evoke the national identity. By aestheticizing powerlessness as cuteness through anthropomorphic animals, the McDull series used to be highly political; they grappled with the wounds of society in Hong Kong. However, the articulation of a well-rounded McDull in the translocalized film Me & My Mum indicates that it is conforming to the Chinese Communist Party’s ideology of ideal children while the political power of aestheticizing powerlessness is repressed, revealing the dominant power of the Chinese film market.
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Kalmakurki, Maarit, and Marley Healy. "‘Who wants the pressure of being super all the time?’: Mid-century modern fashions and their influence on costume development in The Incredibles and Incredibles 2." Film, Fashion & Consumption 11, no. 1 (April 1, 2022): 91–108. http://dx.doi.org/10.1386/ffc_00041_1.
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In this article, we examine period fashions in character costumes in the two Pixar/Disney computer-animated films, The Incredibles and Incredibles 2. These films have a strong mid-century modern design influence interwoven into the films’ narratives and aesthetic designs. The films have previously raised interest in fashion studies, due to their superhero concept. However, an analysis of the characters’ everyday dress is also valuable for understanding the influence of fashion and pop culture references on contemporary animated film costuming and how those elements embed within the technological development of digital characters’ clothing. We employ historical and visual analysis to highlight the integration of design elements of period-appropriate fashions into character costumes. Additionally, we examine the relationship between animation software development and the films’ design aesthetics to inspect how technological advancements support the behaviour of cloth, narrative progression and characters’ personal emotional arcs by reviewing industry articles as well as animator and designer interviews from the making of the films. This is a unique case study that explores the influences and inspiration of period-specific fashion in constructing costumes for computer-animated films, which are ostensibly set in an environment also inspired by the period and specific cultural zeitgeist.
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Ulanovich, Oksana. "Diminutives in the Translation of Film Speech of Characters in Children’s Animated Films." Philology & Human, no. 3 (September 8, 2022): 62–76. http://dx.doi.org/10.14258/filichel(2022)3-05.
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Diminutive forms of the Russian language are considered by the author of the article from the perspective of their functional-semantic syncretism and communicative-pragmatic potential, manifested in everyday communication with children in the Russian-speaking environment and in the film speech of characters in children’s animated films. The tendency of the prevalence of diminutive forms in Russian-language translations of children's animated films over those in the English-language originals, discovered by the author, is qualified by the author as a translation strategy of emotive replacement. Emotive replacement allows one to solve a number of translation tasks during the process of children’s films localization. These are: stylization of film speech in translation and lending the dialogues of film characters a child-centric coloring, expressivization of film speech through imparting additional effects of irony, appraisal, implicit aggression and jesting.
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Mytnik-Daniluk, Joanna. "A social dimension of the activities of selected contemporary animated film characters." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 12, no. 4 (November 27, 2020): 4–14. http://dx.doi.org/10.24917/20837275.12.4.1.
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Animated film characters represent various attitudes, points of view and issues, including social problems. Many of them are shown as carriers of socially approved character traits, who have an important mission or fight for the greater good. It must be emphasised that a film hero, as the key element of the film plot is the centre of attention for a viewer. The holistic reception, including all the values, norms and principles, proves to be an effective tool during educational and therapeutic work. Thanks to considerations into the social dimension of activities, based on the example of particular characters, it is possible to appreciate in animated films the significance of the issues which are still unnoticed and regarded as childish. The development of this topic is the result of the researcher’s own research into the social message of animated works.
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Ainiyah, Kurniyatul, Nurul Hidayah, Faradilah Putri Damayanti, Indana Nuril Hidayah, Juniardi Nur Fadila, and Fresy Nugroho. "Rancang Bangun Film Animasi 3D Sejarah Terbentuknya Kerajaan Samudra Pasai Menggunakan Software Blender." JISKA (Jurnal Informatika Sunan Kalijaga) 5, no. 3 (November 10, 2020): 164. http://dx.doi.org/10.14421/jiska.2020.53-04.
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Indonesian people's knowledge about the history of kingdoms in Indonesia was decreased. Now the existence of history books was shifted by the rapid development of technology. Realized this, many educational institutions were involved in technology to their learning media. To support that, the writer will use technology to create a learning media, named 3D short animated films. This kind of film turned out to attract the publics' attention, ranging from children to adolescents. The animated film will be designed with the theme of the first Islamic kingdom in Indonesia, named the Samudra Pasai kingdom with a duration of approximately 3 minutes. this animated film was made by Blender software version 2.79. The design of this animation aims to increase knowledge as well as learning media for students about the history of the Indonesian people, especially the history of Samudra Pasai kingdom.
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Romadhon, Syaefani Arif, Iin Indrayanti, and M. Taufik Qurohman. "ANIMATION MOVIES FOR ENHANCING VOCABULARY: A QUANTITATIVE STUDY AMONG VOCATIONAL SCHOOL STUDENTS." Journal of English Language Learning 6, no. 1 (July 6, 2022): 121–26. http://dx.doi.org/10.31949/jell.v6i1.2833.
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The purpose of this study was to analyse the effectiveness of using animated films to improve students' English learning, especially in vocabulary. Three vocabulary component points assessed are picture identification, word meaning and spelling. Before getting treatment in the form of watching English animated films, students did 30 pre-test questions. After watching the film students were also asked to work on post-test questions with the same number and types of questions. In this study, the design used was the One-Group Pre-test Post-test Design method. This research was conducted at SMK Karya Bhakti Brebes, there were 23 subjects. From the results of the T-Test Picture Identification, we can see that the results of the t count (tcount)> ttable or 3,766> 1,713. This shows that the initial hypothesis is accepted or it can be said that the use of the animated film method is effective to increase students' vocabulary, especially in picture identification. For the results of the T-test Word Meaning, namely t count (tcount)> ttable or 2,760 > 1,713 so it can be concluded that animated films are effective for increasing students' vocabulary. And for the results of the T-Test Spelling the value of t count (tcount) < ttable or 0.568 < 1.713, indicates that the learning method using animated films is less effective.
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Wijaya, Rivaldi Andi, and Wahyudi Buska. "Taḥlīlu al ‘Anāṣiri al Dākhiliyyati fī filmi al Rasūmi al Mutaḥarrikati Kung Fu Panda 2008 li Atan Reeve wa Cyrus Forese." Al-Uslub: Journal of Arabic Linguistic and Literature 5, no. 01 (January 1, 2021): 68–86. http://dx.doi.org/10.30631/al-uslub.v5i01.100.
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The purpose of this study was to determine the intrinsic elements (theme, plot, characters and characterizations, setting, point of view of the story) in the 2008 animated film Kung Fu Panda directed by Melissa Cobb, and to find out the values contained in the animated film. The type of research used is qualitative research. The research data source is the animated film Kung Fu Panda 2008 in English and using Arabic translation by Shimaa Adel. The object of this research is the intrinsic elements in the 2008 animated film Kung Fu Panda published by the Layarkaca21.com website and the values contained in the animated film. The method used to analyze the data is a description of the analysis. The results of the analysis of the intrinsic elements and values contained in the 2008 film Kung Fu Panda. The theme contained in this film is struggle. The plot contained in this film is a mixed plot. The characters in this film are Poo, Tai Lung, Grand Master Oogway, Master Shifu, Tigress, Viper, Monkey, Mantis, Crane, Tuan Ping, Zeng, Commander Vachir. The setting in this film is a valley of peace. The point of view used in this film is in the first person, namely Po. The values contained in this film are sincerity to achieve goals, patience over obstacles, suggestions to help each other.
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Dai, Hongyang, and Jonghan Lee. "Research on Discourse Reconstruction Effect of Animated Film Cross-Cultural Communication Based on Machine Learning." Wireless Communications and Mobile Computing 2022 (June 23, 2022): 1–10. http://dx.doi.org/10.1155/2022/2343328.
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Animated films are an important carrier of cultural dissemination, a way of conveying national culture and displaying regional culture in film and television, and an important medium for constructing national image and cultural form in the process of cross-cultural dissemination. The special film language expression of emotion in animated films also highlights its unique charm, status, and cultural communication role in the field of communication and at the same time reflects the unique value of the flash point in the ever-changing modern society. This paper starts with the related concepts of machine learning models, analyzes machine learning characteristics and model quality factors, and builds a model evaluation index system based on this and then proposes machine learning model evaluation implementation and index data processing methods. In building the corresponding evaluation experiment, the training model and animation film sentiment classification analysis need big data animation film culture data; the existing open source experimental data is very small and not suitable for the experiment of this paper. The principle of support vector machine is mainly introduced. And an improved machine learning model for animated film cultural sentiment classification is built. Experiments show that the performance of each index of the improved machine learning model is better than that of the support vector machine classifier.