Relevant bibliographies by topics / Animated films

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Animated films'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 June 2025

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Journal articles on the topic "Animated films"

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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 (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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Zainal, Rizuan, and Mohd Asyiek Mat Desa. "The Benefit of Using Emotion in 3D Animation Film: Pre-Production Stage." PaperASIA 41, no. 1b (2025): 255–70. https://doi.org/10.59953/paperasia.v41i1b.162.

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Pre-production is the first phase of a 3D animated film; hence it is a critical initial process in the production of a 3D animated film. Elements such as ideas, storytelling, scripts, dialogue, storyboard, animatic, character development, and background design development need to be implemented perfectly. Thus, the process in the pre-production phase will determine the final outcome of the entire film that will be shown to the audience. Malaysia's 3D animated film ticket collection in 2009 and 2016, reached RM6.2 million and RM18 million. The data shows the developments taking place in the local animated film industry. However, this study has been able to identify that the position of the local animated film genre is not the preferred choice among Malaysian audiences. The local animated film genre ranking became the third choice of audiences over action and comedy genres from 2009 to 2019. Therefore, the main focus of the study was on the pre-production process as a determinant of the success of 3D animated films. Special emphasis on the emotional element as a factor in the interest of the audience. The study methodology involved document analysis and semi-structured interviews with ten active animation practitioners in Malaysia. The results showed that relatability and emotional elements play an important role in producing 3D animated films that can attract the attention of the audience. The study also found that there were factors that led to a lack of response to local 3D animated films among adult audiences. Overall, the study provides important insights to researchers and local animation production experts to enhance the appeal of local 3D animated films. In addition to helping the Malaysian 3D animated film industry grow. The importance of emotion and relatability in the pre-production process will garner greater support from the adult audience.
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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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Ward, Paul. "Animating with Facts: The Performative Process of Documentary Animation in the ten mark (2010)." Animation 6, no. 3 (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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Zhao, Wei Jun, and Ying Ying Wu. "The Impacts of CG Technology on Architectural Designs in Animated Films of the U.S.A." Advanced Materials Research 468-471 (February 2012): 2806–11. http://dx.doi.org/10.4028/www.scientific.net/amr.468-471.2806.

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In the digital animated films of the U.S.A, the frontier technology is CG (Computer Graphics). This paper, based on the study of American CG animated films, analyzes the unique architectural designs in these films and further points out that CG has brought unprecedented impacts on the traditional animated films. Thus, the architectural designs have been changing in the animated films of the U.S.A..
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Sun, Zhentao. "What Does CGI Digital Technology Bring to the Sustainable Development of Animated Films?" Sustainability 15, no. 14 (2023): 10895. http://dx.doi.org/10.3390/su151410895.

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This study examines the impact of the use of CGI digital technology on the sustainability of animated films. The study shows that because of the powerful virtual capabilities of CGI digital technology, CGI animated films that use CGI digital technology have a huge box office advantage over non-CGI animated films that do not use CGI digital technology, greatly increasing the profitability of animated films and expanding the scope for their sustainability. This study found that CGI digital technology enables animated films to achieve the same visual realism as live-action films, breaking down the barriers to viewing traditional animation and greatly enhancing the competitiveness of animated films. These results show that CGI digital technology has had a profound positive impact on the sustainable development of animation.
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Deng, Yasheng. "Analysis of Shanhaijing Elements in Ancient Chinese Mythological Animated Films." Highlights in Art and Design 4, no. 2 (2023): 170–73. http://dx.doi.org/10.54097/hiaad.v4i2.13498.

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Ancient Chinese mythology plays an important role in the classic work of Shanhaijing. This thesis aims to explore the inheritance and innovation of mythological elements in animated films by analysing the elements of Shanhaijing in ancient Chinese mythological animated films. Through the observation and study of several ancient mythological animated films, this paper finds that the elements of Shanhaijing have been widely used in animated films, such as the portrayal of birds and beasts, mountains and rivers, gods and immortals, and other images. In addition, the animated films have also adapted and created the Shanhaijing stories, incorporating them into new storylines to meet the needs of modern audiences for animated films. This paper argues that the success and popularity of animated films based on ancient myths is due to the use and re-creation of the elements of the Shanhaijing, which makes these ancient myths take on a new vitality.
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Karatimur Çutsay, Birnur. "AESTHETIC APPROACHES IN STOP MOTION ANIMATED FILMS." E-journal of New World Sciences Academy 15, no. 1 (2020): 88–98. http://dx.doi.org/10.12739/nwsa.2020.15.1.d0254.

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Frølunde, Lisbeth. "Animated war." Convergence: The International Journal of Research into New Media Technologies 18, no. 1 (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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Gao, Changyue. "New Chinese Style: A Case Study of Chinese Domestic Animated Films." Scientific Journal Of Humanities and Social Sciences 7, no. 3 (2025): 8–13. https://doi.org/10.54691/ejtexe48.

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As the Chinese domestic animated films expounds the practical significance of patriotism as an important narrative tool, this paper discussed Chinese domestic animated films from many aspects, combined with Chinese traditional culture to rewrite traditional stories. It analyzes about 39 typical local animated films and their artistic characteristics since the new era. Comparing with American ‘Chinese-Style’ animated films, domestic animation adheres to local characteristics, achieves high-quality dissemination through the synergy of globalization and localization, which explains Chinese cultural values and highlights ideological influence. As it provides theoretical and practical references for the sustainable development of local animated films in cultural inheritance, which contained the artistic innovation and international exchanges.
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Dissertations / Theses on the topic "Animated films"

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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.

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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 phenomenon<br>Master of Arts (Hons)
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Jung, Myung-Chul. "A shadow of an idea /." Online version of thesis, 2008. http://hdl.handle.net/1850/7923.

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Kim, Yumi. "Chasing the moon /." Online version of thesis, 2009. http://hdl.handle.net/1850/8691.

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Shin, Hyungho. "'Hey, Brother' thesis report / by Hyungho Shin." Online version of thesis, 2009. http://hdl.handle.net/1850/11206.

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Gochoco, Michael. "Variations /." Online version of thesis, 2008. http://hdl.handle.net/1850/7796.

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Klinger, Lori Jean Brestan Elizabeth V. "What are your children watching? a DPICS-II analysis of parent-child interactions in television cartoons /." Auburn, Ala., 2006. http://repo.lib.auburn.edu/2006%20Fall/Dissertations/KLINGER_LORI_42.pdf.

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Bergstrom, Ander. "Lockers /." Online version of thesis, 2008. http://hdl.handle.net/1850/7791.

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Jin, Rui. "Memoir of a marionette /." Online version of thesis, 2008. http://hdl.handle.net/1850/8039.

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Lee, Pei-Cheng. "Longshi /." Online version of thesis, 2009. http://hdl.handle.net/1850/8744.

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Giles, Zachary. "Do you hear what I hear /." Online version of thesis, 2009. http://hdl.handle.net/1850/8827.

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Books on the topic "Animated films"

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Nottridge, Rhoda. Animated films. Crestwood House, 1992.

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Osmond, Andrew. 100 animated feature films. Palgrave Macmillan on behalf of the British Film Institute, 2010.

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Pan, Qiusi. Zhongguo dong hua de xin fa zhan: Zhong guo dong hua de xin fa zhan. Jilin da xue chu ban she, 2015.

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Nagata, Daisuke, and Shintarō Matsunaga. Anime no shakaigaku: Anime fan to anime seisakushatachi no bunka sangyōron = Sociology of anime. Nakanishiya Shuppan, 2020.

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Suzanne, Buchan, Hertz Betti-Sue, Manovich Lev, San Diego Museum of Art., Centro Cultural Tijuana, and Faulconer Gallery, eds. Animated painting. San Diego Museum of Art, 2007.

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Maksimov, Ilʹ︠i︡a. Karlik Nos. s.n., 2003.

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Kim, I︠U︡liĭ, I︠U︡lii︠a︡ Rutberg та Garri Bardin. Gadkiĭ utënok: Polnometrazhnyĭ mulʹtfilʹm. Kinostudii︠a︡ "Staĭer", 2010.

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Bosustow, Nick, and Sam Weiss. The reluctant dragon: And, The furious flycycle. Golden Book Video, 1990.

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Cavallaro, Dani. Anime intersections: Tradition and innovation in theme and technique. McFarland & Co., 2007.

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Poitras, Gilles. The anime companion: What's Japanese in Japanese animation? Stone Bridge Press, 1999.

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Book chapters on the topic "Animated films"

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canemaker, john. "animated films." In winsor mccay. CRC Press, 2018. http://dx.doi.org/10.1201/b22526-8.

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Allen, Steven. "Getting Animated — Valuing Anime." In Valuing Films. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230305854_5.

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Ward, Paul. "Animated Documentary." In Emotion in Animated Films. Routledge, 2018. http://dx.doi.org/10.4324/9780203731253-5.

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Ulusal, Dilek. "Feminist Discourse in Animated Films." In Research Anthology on Feminist Studies and Gender Perceptions. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-4511-2.ch030.

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Animation in cinema, which appeals not only to children but also adults, is one of the most important film genres that has existed since the birth of cinema. As in the other genres of cinema, feminist discourse formed through female characters is remarkable in animated cinema. This study aimed to present the feminist narratives in animated films, one of the most popular film genres today. In this context, computer-animated fantasy film Brave, regarded as one of the feminist films in animation cinema, was included in the scope of the study and was investigated in line with feminist film theory. The study revealed, as opposed to the powerless and passive woman image imposed by the patriarchal structure in society, the female characters in this film were represented as strong, brave, and free as designed by feminist ideology.
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Ulusal, Dilek. "Feminist Discourse in Animated Films." In Advances in Media, Entertainment, and the Arts. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1774-1.ch012.

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Animation in cinema, which appeals not only to children but also adults, is one of the most important film genres that has existed since the birth of cinema. As in the other genres of cinema, feminist discourse formed through female characters is remarkable in animated cinema. This study aimed to present the feminist narratives in animated films, one of the most popular film genres today. In this context, computer-animated fantasy film Brave, regarded as one of the feminist films in animation cinema, was included in the scope of the study and was investigated in line with feminist film theory. The study revealed, as opposed to the powerless and passive woman image imposed by the patriarchal structure in society, the female characters in this film were represented as strong, brave, and free as designed by feminist ideology.
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"Appendix 1: Animated Films by Mochinaga Tadahito." In Animated Encounters. University of Hawaii Press, 2019. http://dx.doi.org/10.1515/9780824877514-009.

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Holliday, Christopher. "Introduction." In The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.003.0001.

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The introduction argues for the significance of the computer-animated film by placing this popular media form within its historical, cultural and critical contexts. It charts the rejuvenation of U.S. animation during the 1990s and the broader market response to Toy Story (1995), as well as identifying the global circulation of computer-animated films by establishing the expansion of the international computer graphics community and rise in CG facilities, divisions and subsidiaries beyond Hollywood. The introduction also unfolds its central argument regarding film genre, expounding the evaluative possibilities made available by genre theory to the close examination of the computer-animated film. The main body of writing surveys the critical contexts that have accounted for the computer-animated film’s scholarly place across a multitude of disciplines. Genre is then innovatively positioned as an enabling tool that brings into relief the terms under which computer-animated films can be held distinct from other forms and styles of animation.
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Carter, Chris, Zachary Ingle, and Susan Ward. "AUSTRALIAN ANIMATED FEATURE FILMS." In Directory of World Cinema: Australia and New Zealand 2. Intellect Books, 2015. http://dx.doi.org/10.2307/j.ctv36xvmdt.15.

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Harrison, S. L. "Cartoons and Animated Films." In Encyclopedia of International Media and Communications. Elsevier, 2003. http://dx.doi.org/10.1016/b0-12-387670-2/00021-2.

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Warstat, Andrew. "Adorno, Lewis Klahr and the Shuddering Image." In Drawn from Life. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748694112.003.0009.

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This chapter considers animation’s relationship to the document and documentary form from a broadly Marxist perspective. It uses Marxist aesthetic theory to demonstrate how analysing an animated film’s ‘constructedness’ can allow for critical examination of the construction of reality as lived under capitalism. Specifically, the chapter analyses the stop-frame and cut-out animated films of Lewis Klahr. Klahr’s films show capitalist reality not as an unmediated realm, but as a reality enmeshed in American and European image cultures. His films are literally built from the material residue of the recent past, creating dense psycho-social narratives out of re-animated ‘dead’ images. This chapter views Klahr’s films as realist documents in relation to two arguments. Firstly, Siegfried Kracauer’s suggestion that film engages reality through its constructed “material dimension”. Secondly, Theodor Adorno’s proposal that the shuddering (animated) image is encoded with a hidden, social content that provokes unease in the viewer.
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Conference papers on the topic "Animated films"

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Abdulraheem, Ayah Wafiq, Mohammad Arafah, and Ahmad Aladawi. "Intelligent Age Group Classification System for Animated Films Using Hybrid Machine Learning Models." In 2025 1st International Conference on Computational Intelligence Approaches and Applications (ICCIAA). IEEE, 2025. https://doi.org/10.1109/icciaa65327.2025.11013757.

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Nunes, Sofia, and Maria Joao Antunes. "Older characters in animated films : Analysis of the most popular animated films in Portugal." In 2021 16th Iberian Conference on Information Systems and Technologies (CISTI). IEEE, 2021. http://dx.doi.org/10.23919/cisti52073.2021.9476573.

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van Hamersveld, Eric, Bob Hanon, and Debra Miller. "Anyone can make quality animated films!" In ACM SIGGRAPH 2005 Courses. ACM Press, 2005. http://dx.doi.org/10.1145/1198555.1198557.

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van Hamersveld, Eric, Bob Hanon, and Debra Miller. "Anyone can make quality animated films!" In ACM SIGGRAPH 2007 courses. ACM Press, 2007. http://dx.doi.org/10.1145/1281500.1281662.

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XU, XIN. "THE CURRENT SITUATION AND DEVELOPMENT OF CHINESE MYTHOLOGICAL ANIMATED FILMS IN THE CONTEXT OF NATIONAL CULTURAL REVIVAL." In 2021 INTERNATIONAL CONFERENCE ON ADVANCED EDUCATION AND INFORMATION MANAGEMENT. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/aeim2021/35957.

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Abstract. In the context of national cultural confidence mythological animated films have become an important issue in animated film types. Put the three films “Monkey King Hero is Back”, “White Snake”, and “Ne Zha: I am destiny “into the status and development of domestic animated mythology films. It is necessary to deal with IP images in artistic films, innovative mythological subjects, constructing new stories, and audiences of all ages. Therefore, we must start with tell good stories, enlightening values, expanding overseas communication, and so on, so as to improve animation creation and domestic and foreign influence.
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Wang, Miaomiao. "“Combining Education With Entertainment” and “Truth, Goodness and Beauty” in Animated Films: Enlightenment from Pixar Animated Films." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.091.

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Hovhannisyan, Arusyak, and Sona Khachatryan. "THE IMPACT OF ANIMATION FILMS ON THE CHILD'S EDUCATION PROCESS." In The Impact of the Social Cultural Environment on Childhood: Challenges and Solutions. Armenian State Pedagogical University after Kh. Abovyan, 2021. http://dx.doi.org/10.24234/14ah1v24.

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This article discusses the role of the socio-cultural media environment especially the issue of the impact of animated films on the upbringing of a child, in the case of development and formation. The role of the socio-cultural media environment is empha-sized, especially the influence of animated films in the process of upbringing and devel-opment of the child.
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Zhang, Yawen. "Optimization of the Animation Production Process utilizing Game Engine." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003708.

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With the increasing demands of audiences, animated films are required to achieve higher quality. The traditional production process frame has an extreme slow development since the advent of the first 3D animated film in 1995, which leads to a continuously increasing requirement of both human labor and hardware. Nowadays, with the optimization and iteration of game engines, their application in animation has become more and more extensive. Utilizing game engines to optimize the traditional pipeline is a feasible approach, not only for industry, but for education field and independent artists. This paper elaborated the three processes: Pre-production, Production and Post-production, through comparative analysis of the pipeline of traditional 3D animation films and the engine 3D animation films with representative practical works. The study shows that game engines provided a revolutionary way in all these stages of animation production, more than 50% of detailed processes are remarkably simplified. This work described optimizations in different phases, generalized this pipeline systematically, then discussed challenges and opportunities of this innovation. The results of this study could be adopted by creators, especially independent artists to product animated films with relatively lower costs and higher flexibility.
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Liu, Yan. "Narrative Strategy of Death Theme in Animated Films Under Children’s Cognitive Perspective: A Case Study of Pixar Animated Film COCO." In 4th International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200316.069.

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Meng, Qian, Lingxuan Wang, and Qi Yang. "The Innovative Design of Villain Roles in Animated Films." In 3rd Eurasian Conference on Educational Innovation 2020 (ECEI 2020). WORLD SCIENTIFIC, 2020. http://dx.doi.org/10.1142/9789811228001_0200.

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Reports on the topic "Animated films"

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Caldwell, Michael. The Occurrences, References and Projected Attitudes About LGBT Lifestyles in Children's Media: A Content Analysis of Animated Films. Portland State University Library, 2014. http://dx.doi.org/10.15760/honors.107.

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Бережна, Маргарита Василівна. Psycholinguistic Image of Joy (in the Computer-Animated Film Inside Out). Psycholinguistics in a Modern World, 2021. http://dx.doi.org/10.31812/123456789/5827.

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The paper is focused on the correlation between the psychological archetype of a film character and the linguistic elements composing their speech. The Nurturer archetype is represented in the film Inside Out by the personalized emotion Joy. Joy is depicted as an antropomorphous female character, whose purpose is to keep her host, a young girl Riley, happy. As the Nurturer, Joy is completely focused on Riley’s happiness, which is expressed by lexico-semantic group ‘happy’, positive evaluative tokens, exclamatory sentences, promissive speech acts, and repetitions. She needs the feeling of connectedness with other members of her family, which is revealed by lexico-semantic groups ‘support’ and ‘help’. She is ready to sacrifice everything to save the girl in her care, which is demonstrated by modal verbs, frequent word-combination ‘for Riley’, and directives.
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Biazus-Dalcin, Camila, Louise Marryat, Sarah Gray, et al. My data: an animated film, co-produced with people who use drugs. University of Dundee, 2023. http://dx.doi.org/10.20933/100001299.

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This video was co-produced with people on their drug use recovery journey to explore the perceptions of administrative data use for research and to share this information with the wider community. This work was led by members of the Substance Use Research Group (SURG), School of Health Sciences, University of Dundee. This project was funded by Research Data Scotland (RDS), https://www.researchdata.scot/ A film by: Craig Glencross, David Hood, Jade Renton, Maxine Thomson, Ryan Westwood, Stewart Bernard, Sarah Hulin, Robert Doig, Ashley McMaihin and everyone at Restoration Fife who shared their views and experiences. Research team and collaborators: Camila Biazus Dalcin (Co-PI) and Louise Marryat (Co-PI) Sarah Gray (Co-I) Andrea Mohan (Co-I) Senga Robertson-Albertyn (Co-I) Sreekanth Thekkumkara (Co-I) Hazel Booth (Co-I) Calum Hoggitt (Mental Health Nursing Student) Kay McMahon (Receptionist Fife Campus) Graham Ogilvie (Conference in pictures – Ogilvie Design) Andrew Low (Artist) We appreciate the collaboration and support provided by all Restoration Fife staff involved in this project. Special thanks to Jade Whyte and Vanessa Hamilton.
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AKHADOVA, R. A., and M. L. SHTUKKERT. ‘THE DREAM OF A RIDICULOUS MAN’ F.M. DOSTOEVSKY AND A. PETROV: POETICS OF THE FEAR. Science and Innovation Center Publishing House, 2021. http://dx.doi.org/10.12731/978-0-615-67323-3-8-21.

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The purpose of the study is to determine the features of the structure and functioning of the fear motive in F.M. Dostoevsky’s “fantastic story” “The Dream of a Ridiculous Man” and in A. Petrov’s cartoon of the same name. The report first examines the images, details, etc., with which the fear motive is created in the story, and then analyzes the ways of embodying this motive and transmitting a certain frightening atmosphere in the cinema. There is revealed and determined the ontological significance and the main character of fear in the “The Dream of a Ridiculous Man”, which, in our opinion, manifests itself in the fundamental nature and primacy of this feeling in human nature. It can be observed in the transition from the dream world, not defiled by the fall, to the terrible reality of St. Petersburg, described in the story. The scientific novelty lies in the fact that a comprehensive analysis of the fear motive in the story of F. M. Dostoevsky and the peculiarities of the interpretation of this motive in the animated film by A. Petrov has not been carried out before. The study revealed, firstly, a number of repetitive means by which the fear motive is formed in both works (and their functions were determined), and secondly, there was noted the originality of the representation of the analyzed motive in the cinema.
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Galili, Naftali, Roger P. Rohrbach, Itzhak Shmulevich, Yoram Fuchs, and Giora Zauberman. Non-Destructive Quality Sensing of High-Value Agricultural Commodities Through Response Analysis. United States Department of Agriculture, 1994. http://dx.doi.org/10.32747/1994.7570549.bard.

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