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Dissertations / Theses on the topic 'Animated films and children'

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Published: 4 June 2021

Last updated: 4 March 2023

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1

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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Hoffman, Sarah G. "Not Just Entertainment: Hollywood Animation and the Corporate Merchandising Aesthetics and Narratives for a Children’s Audience." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1490966620486322.

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Trowell, Melody Cukor-Avila Patricia. "A test of the effects of linguistic stereotypes in children's animated film a language attitude study /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3605.

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Davidson, Rachael. "Traditional and Non-traditional Gender Role Stereotypes in Children’s Animated Films." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3977.

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As gender stereotypes could lead to adherence to rape myths later in life, it is important to study the potential development of gender role stereotypes. Based on the theoretical approach of Bandura’s social learning, this mixed methods study sought to expand the literature on children observing gender stereotypes through film viewing. A content analysis of verbal and body language of the highest grossing animated films between 2017-2019 was conducted. The results indicated that most main characters displayed both traditional and non-traditional gender role stereotypes, which is indicative of gender role flexibility. This shows promise that there could be a moderating affect with gender role flexibility, but further research is needed. However, the results found that there was no significant difference between the amount of gender role stereotypes across all the films. It was concluded that there is still a concern for children to be indoctrinated with traditional gender role stereotypes.

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Azad, Sehar Banu. "Lights, camera, accent examining dialect performance in recent children's animated films /." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/456287167/viewonline.

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Trowell, Melody. "A test of the effects of linguistic stereotypes in children's animated film: A language attitude study." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3605/.

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

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Akers, Chelsie Lynn. "The Rise of Humor: Hollywood Increases Adult Centered Humor in Animated Children's Films." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3724.

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Children's animated films have held a lasting influence on their audiences since the rise of their popularity in the 1980s. As adults co-view such films with their children Hollywood has had to rewrite the formula for a successful animated children's film. This thesis argues that a main factor in audience expansion is adult humor. The results show that children's animated films from 2002-2013 are riddled with many instances of adult humor while earlier films from 1982-1993 use adult humor sparingly. It is clear that over the years the number of adult humor occurrences has consistently increased. Furthermore, this research shows that adult male roles consistently deliver the adult humor.

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Staben, Julia L. "The Cartoon Effect: Rethinking Comic Violence in the Animated Children's Cartoon." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1532695541735552.

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Hernandez, Nieto Luz Maria [Verfasser]. "What do cartoons tell children about science? A qualitative study of the representation of science and scientists in animated television series / Luz Maria Hernandez Nieto." Bielefeld : Universitätsbibliothek Bielefeld, 2016. http://d-nb.info/1107540615/34.

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Kauklija, Natalie. "Masculinity in Children's Film : The Academy Award Winners." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-74858.

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This study analyzes the evolution of how the male gender is portrayed in five Academy Award winning animated films, starting in the year 2002 when the category was created. Because there have been seventeen award winning films in the animated film category, and there is a limitation regarding the scope for this paper, the winner from every fourth year have been analyzed; resulting in five films. These films are: Shrek (2001), Wallace and Gromit (2005), Up (2009), Frozen (2013) and Coco (2017). The films selected by the Academy of Motion Picture Arts and Sciences in the Animated Feature film category tend to be both critically and financially successful, and watched by children, young adults, and adults worldwide. How male heroes are portrayed are generally believed to affect not only young boys who are forming their identities (especially ages 6-14), but also views on gender behavioral expectations in girls.

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van, Dam Bianca. "Disney's Fashionable Girls : Signs and symbols in the costume dress of Disney's female characters." Thesis, Stockholms universitet, Centrum för modevetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-105532.

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Disney’s princesses and heroines have long captured the minds and hearts of young girls with their magical dress. This thesis researches the fashion symbols in a chosen set of animated movies and relate this to children’s reception, sexuality and gender issues and narrative identities. A semiotic analysis of the movies and relating them to read literature will shine a new light on this subject.

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Moraes, Isadora Teixeira. "Subtitling of collocational patterns in children's animated movies." reponame:Repositório Institucional da UFSC, 2015. https://repositorio.ufsc.br/xmlui/handle/123456789/135996.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2015.<br>Made available in DSpace on 2015-11-03T03:09:06Z (GMT). No. of bitstreams: 1 335756.pdf: 1527881 bytes, checksum: 0f0e255fab0f2d3d25a76eed052aaa7f (MD5) Previous issue date: 2015<br>Abstract : Due to technological innovations and to globalization, the translation of movies, or more specifically, audiovisual translation, has become an ever more common type of translation. However, most of the studies in the area focus on the technicalities involved in the activity, not taking into account the linguistic aspects of translation (Díaz Cintas & Remael, 2007). For that reason, little is known about the challenges and limitations of subtitling, and this area is constantly a target of criticism on its so called ?quality? (Carvalho, 2007). Following a descriptive approach (Toury, 2012), this research aims at uncovering the translation strategies (as defined by Chesterman, 1997; Pedersen, 2005; and Costa, 2014) used by subtitlers while rendering certain language patterns, namely collocations, from American English into Brazilian Portuguese. It takes on the methodological apparatus of corpus-based studies as they enable the processing of large quantities of data quickly and automatically. The corpus is made up of three children?s animated movies (Ice Age, Shrek and Toy Story), the subtitles of which were inserted in COPA-TRAD (Fernandes & Silva, 2013) ? a translation parallel corpus ? and analyzed following Pedersen?s (2005) classification of translation strategies for cultural expressions in subtitles. It was found that, most of the time, subtitlers will attempt to maintain the cultural expression in the translation or, at least, maintain its meaning, despite facing difficulties when dealing with puns and wordplay. In this sense, it can be attested that subtitlers were overall creative and innovative, possibly because of the movie genre they were working on ? animation. These results also show the unfounded nature of the criticism usually aimed this type of audiovisual translation.<br><br>Graças aos avanços tecnológicos e à globalização, a tradução de filmes, ou mais especificamente, a tradução audiovisual, se tornou um tipo de tradução cada vez mais comum. No entanto, a maior parte das pesquisas feitas na área foca nas tecnicalidades envolvidas nessa atividade, sem levar em conta os aspectos linguísticos da tradução (Díaz Cintas e Remael, 2007). Por esse motivo, não se sabe muito sobre os desafios e as limitações da legendagem, e não raro esta área é alvo constante de críticas relacionadas à sua Â qualidadeÂ (Carvalho, 2007). Seguindo uma abordagem descritivista (Toury, 1995), espera-se descobrir as estratégias de tradução (como definidas por Chesterman, 1997; Pedersen, 2005; e Costa, 2014) utilizadas por legendadores na tradução de determinados padrões linguísticos, ou colocações, do inglês americano para o português brasileiro. A metodologia aplicada é a dos estudos com base em corpus, já que estes permitem o processamento de grandes quantidades de dados de maneira rápida e automática. O corpus é composto por três filmes infantis de animação (A Era do Gelo, Shrek e Toy Story), cujas legendas foram inseridas no COPA-TRAD (Fernandes e Silva, 2013) Â um corpus paralelo de tradução Â e analisadas seguindo a classificação de estratégias de tradução de expressões culturais em legendas de Pedersen (2005). Descobriu-se que, na maioria das vezes, os legendadores tentam manter a expressão cultural na tradução ou, ao menos, manter seu significado, apesar de enfrentarem dificuldades ao lidarem com trocadilhos e jogos de palavras. Nesse sentido, pode-se afirmar que os legendadores foram em geral criativos e inovadores, possivelmente devido ao gênero dos filmes em que trabalharam Â animação. Esses resultados mostram também a natureza infundada das críticas que são geralmente direcionadas a esse tipo de tradução audiovisual.

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Santilli, Ana Catarina. "Criança, narrativa e amor: os vínculos afetivos em Sakura Card Captors." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21291.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-01T11:32:14Z No. of bitstreams: 1 Ana Catarina Santilli.pdf: 5124968 bytes, checksum: 853c02ce314ebf3095abfe8148ec5c20 (MD5)<br>Made available in DSpace on 2018-08-01T11:32:14Z (GMT). No. of bitstreams: 1 Ana Catarina Santilli.pdf: 5124968 bytes, checksum: 853c02ce314ebf3095abfe8148ec5c20 (MD5) Previous issue date: 2018-06-13<br>Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq<br>According to Jerusa Pires Ferreira’ studies, popular myths and tales always had a great role in the storage and transmission of elements of a culture. However, due to parents' lack of time, there is no longer a tradition of telling stories to children, and the main sources of these stories end up being the audio-visual animations shown on children's channels or on internet video sites. The problem is, as Norval Baitello Júnior and Vicente Romano noticed, more and more people relate to media images and stop being connected with other bodies, which can decrease sensitivity to deal with others. This becomes more alarming when we realize the contents produced for children, who are in a formation phase, in which they most need affection. From a research by Jo Groebel, it was noticed that children turn to media heroes as role models to help them cope with difficult situations. However, many of these heroes resolve their conflicts aggressively, and pass on the message that there are bad people who should be eliminated, which often generates tension and anxiety. From there, this research has an interest to study how a children's audiovisual narrative can treat love in a way that sensitizes the child to the other and to the important gestures in human bonding. In this case, love is understood as a personal bond that unites one human being to another. For this purpose, the animation Sakura Card Captors was chosen as the study corpus. It is a Japanese children's cartoon, appeared in Brazil in the early 2000s, and it was very successful among the public. It is a narrative that explores a great variety of affective bonds between the characters, in many scenes of banal moments, but in which the small gestures used to deal with the others are perceptible. Starting from the works of the ethologists Boris Cyrulnik and Irenäus Eibl-Eibesfeldt about love, and from the studies of the infant psychoanalyst Bruno Bettelheim on narratives for children, this research intends to throw a phenomenological view on the object, making an analysis of the narrative from the links between the characters. The intention is to check the types of love present in the cartoon, according to the classification of affective systems made by Harry Harlow, and to observe how the characters affect each other during the story. It was interesting to note that the animation is able to explore a series of bonds that children form during their lives, emphasizing some daily life details important to the connection with people and the world<br>Segundo os estudos da Prof.ª Dr.ª Jerusa Pires Ferreira, percebe-se que os mitos e contos populares sempre tiveram um grande papel no armazenamento e na transmissão de elementos de uma cultura. Contudo, com a falta de tempo dos pais, há uma perda da tradição de se contar histórias para os filhos, e as principais fontes de narrativas para as crianças acabam sendo as animações audiovisuais, exibidas em canais infantis ou em sites de vídeo da Internet. O problema é que cada vez mais as pessoas se relacionam com imagens midiáticas e menos se vinculam a outros corpos, o que pode diminuir a sensibilidade no trato com o outro, como alertam Norval Baitello Júnior e Vicente Romano. Isso se torna mais preocupante quando se pensa nos conteúdos produzidos para as crianças, que estão em fase de formação, em que mais precisam de afeto. Pelas pesquisas realizadas por Jo Groebel, foi possível notar que as crianças recorrem aos heróis da mídia como modelos que as auxiliam a lidar com situações difíceis. No entanto, muitos desses heróis resolvem seus conflitos de forma agressiva e passam a mensagem de que existem pessoas más que devem ser eliminadas, o que costuma gerar tensão e ansiedade. A partir daí, a pesquisa buscou estudar como uma narrativa audiovisual infantil, ao invés de estimular a agressão, pode fomentar o amor. Nesse caso, o amor é entendido como vínculo afetivo que une um ser humano ao outro. Ou seja, a proposta foi estudar como uma animação pode tratar o amor de forma que sensibilize a criança ao outro e aos gestos importantes na relação humana. Para tal foi escolhida como corpus de estudo a animação Sakura Card Captors, uma série japonesa infantil, exibida no Brasil no início dos anos 2000 e que teve muito sucesso entre o público. Trata-se de uma narrativa que explora uma grande variedade de vínculos afetivos entre as personagens, em muitas cenas de momentos banais, mas nas quais são perceptíveis os pequenos gestos utilizados no trato com o próximo. Partindo das obras dos etólogos Bóris Cyrulnik e Irenäus Eibl-Eibesfeldt sobre o amor e dos estudos do psicanalista infantil Bruno Bettelheim sobre narrativas para crianças, a pesquisa lançou um olhar fenomenológico sobre o objeto, realizando uma análise da narrativa a partir dos vínculos entre as personagens. A intenção foi verificar os tipos de amor presentes no desenho, de acordo com a classificação de sistemas afetivos feita por Harry Harlow, e observar como as personagens se afetam durante a história. Foi interessante notar que a animação consegue explorar diversos vínculos que a criança forma durante a vida, dando ênfase a detalhes do cotidiano importantes para se conectar às pessoas e ao mundo

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Kaur, Manjinder. "Designing effective animated icons for children." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/6327.

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Information Technology is an essential part of the National Curriculum in the UK, yet despite the growth of IT in schools that this has generated, there is evidence that children are not to be taken into consideration enough when designing aspects of educational software. The functionality available in education software packages tends to be made available through static icons, yet there are problems with their implementation as they can at times cause confusion for the user in terms of the functionality that they are aiming to represent. In order to make icons in educational software more effective, and to meet the needs of children, of the use of animated icons has been suggested. Animating the function of the icon aims to provide a clarification of its meaning and demonstrate its capabilities, as well as explaining to the user the method of use. However, there is little information available on how to support the design of effective animated icons. Focusing on a target age group of 11 to 12 year olds, this thesis argues that some form of support mechanism should be developed for the design of animated icons to ensure that consideration is being given to the types of object that children find useful and accessible. A set of dimensions where guidance on visual aspects of the icon may be useful are developed through analysis of relevant literature and it is highlighted that they do not provide any insight into what types of object may be helpful in designing the animated icons. This thesis then argues that animated icon design can be usefully informed by psychological theories of learning and that using such theories as a base may provide an understanding of how children identify icon functionality. The thesis introduces and critiques Piaget’s Genetic Epistemology theory, Vygotsky’s Sociocultural theory and Leontjev’s Activity Theory, identifying aspects of the theories which may be of relevance to the design of animated icons. By investigating the relationships between the dimensions of animated icons and the concepts from the theories of learning, insights are developed into the impact of visual factors on a child’s identification and understanding of icon functionality. The thesis goes on to report a practical study where the sample is a group of 11 to 12 year old children. The practical study consists of three phases. The first phase gathers data related to the children’s familiarity with computers and the types of software packages that they use. The second phase looks at their use and recognition of static icon functionality. The last phase involves using the findings from phases 1 and 2 to create and evaluate a set of animated icons, the development of which is based on the relationships between the concepts from theories of learning and the identified dimensions of animated icons. The analysis of the evidence from the practical study leads to a small set of design principles being proposed that are aimed to provide advice/guidance on how to design animated icons effectively for this target age group, with an emphasis on the types of object that might be used. The principles are underpinned by the concepts from the theories of learning and presented in a manner that aims to be understandable by, and accessible to, designers.

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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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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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Mathews, Caitlin Hope. "Animated Media Exposure and Snack Choices of Preschool Children." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437177683.

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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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Su, Jiunnfu. "Co co nut /." Online version of thesis, 2009. http://hdl.handle.net/1850/10126.

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Zhao, Shi Qi Jennifer. "The use of accents in Disney animated feature films 2010-2015." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3953579.

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Legwaila, Karabo. "Thokolosi /." Online version of thesis, 2008. http://hdl.handle.net/1850/8015.

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Liu, Ting. "The lantern /." Online version of thesis, 2009. http://hdl.handle.net/1850/9550.

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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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Dunn, Christine. "Victorian organ /." Online version of thesis, 2008. http://hdl.handle.net/1850/7901.

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Hu, Tze-yue Gigi. "Understanding Japanese animation : from Miyazaki and Takahata anime /." Thesis, Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B24729954.

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Poon, Man-wai. "Cultural globalization? : the contemporary influence of Japanese animation on Hong Kong teenagers /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B24872970.

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Lavoie, Elizabeth Marie. "A Content Analysis of Disney Animated Films: Identifying Teachable Moments for Parents." Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/LavoieEM2008.pdf.

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Leventi-Perez, Oana. "Disney's Portrayal of Nonhuman Animals in Animated Films Between 2000 and 2010." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/communication_theses/81.

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This paper used the constant comparative method to examine the 12 animated features released by Disney between 2000 and 2010 for: (1) their representation of nonhuman animals (NHAs) and the portrayal of race, class, gender, and speciesism within this representation, (2) the ways they describe the relationship between humans and NHAs, and (3) whether they promote an animal rights perspective. Three major themes were identified: NHAs as stereotypes, family, and human/NHA dichotomy. Analysis of these themes revealed that Disney’s animated features promote speciesism and celebrate humanity’s superiority by justifying the subordination of NHAs to human agency. Furthermore, while Disney’s representation of NHAs remains largely anthropocentric, most of its animated features do not reflect the tenets of animal rights.

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Schipperges, Tjus Einar. "A Voice Against War : Pacifism in the animated films of Miyazaki Hayao." Thesis, Stockholms universitet, Institutionen för Asien-, Mellanöstern- och Turkietstudier, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-158712.

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

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Xu, Xia Ying. "Chinese animation in times of reform and convergence :the case of 100,000 Bad Jokes." Thesis, University of Macau, 2017. http://umaclib3.umac.mo/record=b3690678.

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Suparman, Michie Akahane School of Modern Language Studies UNSW. "An investigation into audience perception of Mononoke Hime: construction and reconstruction of contemporary Japanese identity." Awarded by:University of New South Wales. School of Modern Language Studies, 2006. http://handle.unsw.edu.au/1959.4/26975.

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This exploratory study follows existing theory and analysis of mass media product and its audience analysis. It aims to analyse how audience members utilise a popular anime in Japan for their construction and reconstruction of sense of self, which is referred to as socialisation. Academic research has increasingly shed light on audience members??? socialisation by utilising mass media products in encompassing academic fields such as media studies, communication studies and cultural studies. It is widely agreed that the content of mass media products play a significant role in their socialisation. This study takes up a Japanese anime, Mononoke Hime as a sample case for investigating audience members??? socialization. Through the analysis of reactions of audience members to Mononoke Hime, it will be investigated how audience members interpret the anime reflecting one???s experience in the society relating the experience to the content of Mononoke Hime. It will be clarified that the audience members of the anime construct and reconstruct their sense of self, morals and values in the society, that is, they utilize the anime as a facility for their socialization. The data of this study are collected comments which are compiled in a published magazine and private comments posted on Internet sites. 133 comments in the magazine and 32 comments on Internet sites are selected for the analysis. The data were analysed by two analytical approaches. The first analysis is to see how the consulted viewers established their relationship with the anime, while the second analysis is to see how the viewers depicted and interpreted the content of the anime. This study concluded that the consulted audience members show high level of ideological involvement with the anime; they depict parts of the anime relating to their experience in the real life and talk the anime seriously rather than playfully enjoy it as an entertainment. By analysing the comments of consulted audience members, it is also revealed that the audience members take characters of the anime as a role model both in cross gender and gender based ways.

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Graf, Matthew D. "The animation paradox : a study in believability." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1397373.

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Animation has been an integral part of the entertainment industry for over seventy years. What is it about animated films that make them just as, or even more, captivating than live-action films? While animation is most typically associated with fantasy or escapism, there is certainly an element of reality exploration that causes animation to be more believable. Through examination of this and previous creative projects, it was found that a balance of fantasy and reality exploration, along with other key factors, help to make animation successful in relating to the viewer.<br>Department of Telecommunications

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Allan, Robert Mumby. "Walt Disney and Europe : European influence on the animated feature films of Walt Disney." Thesis, University of Exeter, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.335467.

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Jacobs, Howard. "Animated enchantment : a psychoanalytic exploration of the enduring popularity of Disney's first feature films." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/6859.

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In this thesis I explore reasons for the widespread and enduring popularity of Disney’s first feature-length films (Snow White and the Seven Dwarfs (1937), Pinocchio (1940), Dumbo (1941) and Bambi (1942)). While acknowledging the historical, industrial and aesthetic features that have contributed to their success, my argument is that the continuing fascination of these films is in large part attributable to the manner in which they engage the spectator and evoke unconscious concerns about family cohesion, interpersonal conflicts and the death of parents. My investigation begins with an analysis of the films’ prefilmic provenance and narrative characteristics, placing an emphasis on the role of their narrative and extra-narrative components as embodying social, pedagogical and psychological meanings. In order to explore how the films engage with the spectator’s unconscious mind, I employ a number of Freudian and post-Freudian psychoanalytic concepts. The post-Freudian models include that of Jacques Lacan and those based on object-relations theory, particularly as developed by Melanie Klein and Donald Winnicott. These conceptual models are used to explore the content of the films, while that of Winnicott is also used to explore the visual fascination of the form Disney gave them. Although these films were designed for family viewing, and many of the more distressing aspects of their original stories were toned down in Disney’s adaptations, the films portray a remarkably dystopic version of family life, of childhood and of growing up. Moreover, psychoanalytic investigation suggests that concealed within the films’ attractive animation, music and humour, there lie recurrent ruminations on anxieties about death caused by germs (Snow White and the Seven Dwarfs) and old age (Pinocchio) and about culpability for injury (Dumbo) and death of mothers (Bambi). I conclude that the films reward the spectator by offering her/him the opportunity to engage with, fantasise about and work through the problems encountered by the films’ protagonists.

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Drumm, Kerry. "The art of persuasion : a critical survey of British animated information films (1939-2009)." Thesis, Loughborough University, 2014. https://dspace.lboro.ac.uk/2134/16100.

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Comparatively little has been written about British animated public information film and this gap in knowledge led to research, which positioned my practice as an animator in the historical and theoretical contexts of British filmmaking. My research investigates how animation creates distinctive approaches to information narratives and contributes to persuasive information communication. The animated public information film is one of several categories of information film, which are identified in my Glossary of Terms. Volume 1 of the thesis contains theoretical and historical discussion and argument. Chapter 1 is an overview of my research which generated the first comprehensive filmography of animated British public information shorts, chronologically recorded and defined from 1939 2009. Chapter 2 uses my filmography to determine the core characteristics, role and function of animated information film in the interdisciplinary contemporary era. This in turn informs my own approach to making a contemporary information film, and I also draw on some informal primary research and my critique of the historical sources identified in Chapter 1. Chapter 3, on my practice (evidenced in Volume 2), identifies how a contemporary animation responds to my research questions: How is the art of persuasion manifested in British animated information films? and How can animation practice contribute to contemporary information films made for public distribution? I focus on the history of British animation information films to assess patterns and forms affiliated with information delivery. I examine media technology and methods of communications as they evolve in a cross-media era, consider how they facilitate the production of a contemporary information film, and evaluate how I developed Tell Someone to provide information on how children, aged seven to eleven, can remain safe while on the Internet. My research establishes that British animation has been instrumental in contributing to social awareness by delivering important information to British society for over seventy years. My practice reveals that animation can make a contemporary contribution to information films. It proves to be adaptable to rapidly changing technology and capable of updating knowledge to meet new social challenges posed both by online access to technology and the new multiple platforms available for the delivery of information in the digital era.

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Carrière, Louise. "Les films d'animation à l'O.N.F. (1950-1984) et la protestation sociale /." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75929.

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The animated film in Canada has come of age and may be regarded as a distinct genre in Canadian cinema. Animated films produced in Canada can now be ranked with the works of other artists, including docudrama films. In this study, we show that, during their formative periods, Canadian authors of animated films shared a number of preoccupations with their fellow Quebec literary and pictorial artists, and cinematographers, the most important of which was a commitment to social protest.<br>This study is a detailed analysis of some 250 short animated films produced at the National Film Board between 1950 and 1984. In their choice of themes, frequent didactic stance and experiments with image and sound, almost all animated film creators are seen to be engaged in questioning the status quo and/or calling for social and political change. Their films might be best characterized as exploratory, informative and persuasive. The analysis permits us to further classify the films as contributions made by Canadian men or women, English- or French-speaking animators, and foreign guests.<br>In this study we have paid particular attention to the historical, esthetic and socio-cultural influences on the development of the contemporary animated film in Quebec during the different stages of its evolution.

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Chow, Cheuk-wing, and 周卓穎. "Nostalgia, nature, and the re-enchantment of modern world in Hayao Miyazaki's anime." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B4839449X.

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The association between nostalgia, nature and disenchantment has been and still is a very common trope in cultural and literary studies (Saler 138) within the scope of modernity. In fact, it has almost become “a cliché of our time” (Saler 138) in which people often view modern experience as an oppressive status of disillusionment rather than a liberating condition of enlightenment. Since this thesis aims to open up and point at different dimensions of modernity and become “part of a grandiose modernist project yet to be finished” (Hu 23-4), I would like to use Miyazaki’s works to argue that modernity is never a simple, one-sided condition of being ‘disenchanted’ as proclaimed by many scholars. In order to pinpoint some of the contradictory impulsions and potentialities of the experience of modernity, this thesis would first start with a brief overview on the ideas of ‘disenchantment’ and ‘nostalgia’ and their relations to the experience of modernity. The second part would be a general introduction to Miyazaki’s anime, briefly introducing his works in terms of style, content, characterization and such. In particular, I would like to point out how Miyazaki’s works have created alter-tales about disenchanted modernity by showing the multiple facets of modern life and exploring the possibility to (re)enchant modern experiences through his childlike protagonists and the fantastical form of anime. Part three to five would be comprehensive textual analyses about Laputa: Castle in the Sky (1986), Nausicaa of the Valley of the Wind (1984) and Spirited Away (2001) respectively, examining their relationships with and responses to the ambivalent experiences of modernity. The concluding part of this thesis would reflect on the contribution as well as the limitation of my research in regards to the writing of modern experiences and the ongoing modernist project.<br>published_or_final_version<br>Literary and Cultural Studies<br>Master<br>Master of Arts

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Cox, Rachel E. "Plasticity in Animated Children’s Cartoons: The Neoliberal Transforming Bodies and Static Worlds of OK KO and Gumball." Scholar Commons, 2019. https://scholarcommons.usf.edu/etd/7769.

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Through the study of OK KO! Let’s Be Heroes! and The Amazing World of Gumball, I argue that children’s cartoons represent and recreate anxieties toward money’s plasticity in the plasticity of the cartoon bodies and worlds. I closely examine the ambivalence towards abstraction’s plasticity in contemporary children’s cartoons to trace the neoliberal ambivalence towards money’s plasticity. While much scholarship has grappled with what can be understood as animatic plasticity, very little of it takes on the questions raised about neoliberal culture by televised children’s cartoons. Cartoons are important to study in this respect because their form allows for unbridled plasticity. Cartoons provide the artists with the freedom to create characters and worlds that are as bound or unbound to our world’s norms and natural laws, unlike in other live action moving media. It combines this with the dynamic, temporal component of moving image media. Unlike a surreal painting, cartoons are capable of dynamic movement and transformation, even in their non-moving image form as comics. However, this plastic dynamism is most fully realized in the animated form, as the characters are capable of movement and change regardless of the viewers’ presence. Contemporary cartoons like OK KO and Gumball asymmetrically mobilize this plasticity by rendering the characters’ bodies as highly plastic while presenting their worlds as comparatively static. This aesthetic practice suggests that the world cannot be reshaped for a variety of reasons, so the only thing that individuals can do is try to change themselves as necessary to accommodate it. Thus, what at first blush looks like a celebration of plasticity is in reality a celebration of mere flexibility, which enables and perpetuates neoliberal power structures. Yet these same shows simultaneously challenge the neoliberal aesthetic project in their hyper-mobilization of non-diegetic plasticity. When the shows mobilize their plasticity in a way that is not narratively impactful, such as through cutaways, inserts, or other asides, the plasticity is instead framed as comedic and thus enjoyable. This suggests that while presenting character and world plasticity as equally valid would be natural next step for animated aesthetics, the major limitation contemporary animation faces is in reality the uneven treatment of diegetic and non-diegetic plasticity.

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Amir, Shahkarami Sayed Najmedin. "The pre-production phase in the making of Iranian full-length animated films 1979-2012." Thesis, University of West London, 2013. https://repository.uwl.ac.uk/id/eprint/611/.

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As the pre-production phase is a vital process in feature-length animation filmmaking, this study focuses on the arrangement of this phase in Iranian animation film projects. They are Mouse and Cat, Tak Taz, Namaki & The Giant, The Sun of Egypt, Jamshid & Khorshid, Simorq’s Heart and Tehran 2121. In support of the investigation of these, the research reviews the background of Iranian cinema, television and animation. It looks also at the emergence and evolution of the pre-production phase in Disney and Pixar studios. Moreover, comparisons of pre-production phases implemented by Japanese, British and Pixar filmmakers are complementary contexts highlighting this process. It comprises four key stages: writing stages e.g. script; visualization stages e.g. concept design; scene setting e.g. storyboard, and a rough version of a film in the form of a story reel (Yun Mou et al, 2013). Implementation of these stages needs strategies to be employed by successful filmmakers. Based on such facts, a theoretical comparison analyses the arrangement of the pre-production phase in the seven projects. The findings indicate two types of factors affecting the arrangement of this phase. Indirect factors such as the dependency on management by government and its financial support constitutes issues influencing productions. Direct factors include filmmakers’ abilities and their direct actions on production.

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Davis, Amy Michele. "Disney's women : changes in depictions of femininity in Walt Disney's animated feature films, 1937-1999." Thesis, University College London (University of London), 2001. http://discovery.ucl.ac.uk/1382007/.

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The animated films of Walt Disney have played an important role in American culture. Most Americans, either during childhood or adulthood, have been exposed to at least some of them. The films themselves have, in some respects, reflected American society and culture. They may also, at least to some extent, have influenced them. As academic scholarship on the history of Hollywood film has grown, various aspects of Disney's influence and cultural position have likewise come to be the focus of study. In recent decades, also, there has been a continually greater interest in the role of women in American society and how that role is constructed. Uniting both these scholarly interests, this thesis analyses how Disney films depict femininity, and the ways in which such depictions correspond with those in the larger arena of Hollywood film. To make these issues more comprehensible, it describes the beginnings of animated film in the United States, together with the early career and works of Walt Disney. In order to cast light on the manner in which such portrayals have changed over time, the films examined are analysed in relation to three particular time periods: 193 7-67, 1967-89, and 1989-99. By examining the depictions to be found within individual films, and comparing these depictions both with one another and with selected live-action, mainstream Hollywood films of the same eras, a better understanding of the make-up of the Disney films as a body of work is achieved, and a corrective offered to some of the misconceptions of Disney to be found within American society in general.

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Kirkpatrick, Stephanie Renee. "The Disney-Fication of Disability: The Perpetuation of Hollywood Stereotypes of Disability in Disney’s Animated Films." University of Akron / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=akron1248051363.

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Hsu, Li-Hsin. "Emotional Perception of Death in Animated Films : Sentiment Analysis of Coco and Soul’s Scripts and Reviews." Thesis, Uppsala universitet, Institutionen för ABM, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-445901.

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This thesis aims to understand the emotions expressed by adults watching animated films with death topics through sentiment analysis. The research is a quantitative sentiment analysis from the perspective of distant reading. The previous studies on death scenes in animated films have only focused on child audiences. However, the age group of the audience of animated films is extensive; thus, it is necessary to analyse the sentiments of adult audiences. This thesis attempts to collect two movies produced by Pixar studio: Coco (2017) and Soul (2020), as well as their audience reviews on IMDb, a total of 600, for cross-comparison. Additionally, it analyses the content containing death in the reviews to understand better adult audiences’ emotional expressions on the subject of death. The analysing results show that the positive sentiment scores of the comments containing death are slightly lower than the scores of all the reviews, and the scores of the negative sentiments do not differ much. However, positive emotions still dominate these comments that contain death. The emotional performance between the script and the reviews is roughly similar. Still, the emotional intensity of the comments is higher than that of the script, indicating that the audience is willing to show their emotions on the public online film platform. Future research is recommended to conduct analysis together with other NLP analysis methods or close reading to explore more details of the content.

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Kirkpatrick, Stephanie R. "The Disney-fication of disability the perpetuation of Hollywood stereotypes of disability in Disney's animated films /." Akron, OH : University of Akron, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=akron1248051363.

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Thesis (M.A.)--University of Akron, School of Communication, 2009.<br>"August, 2009." Title from electronic thesis title page (viewed 10/14/2009) Advisor, Mary Triece; Committee members, Therese Lueck, Carolyn Anderson; School Director, Carolyn Anderson; Dean of the College, James Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.

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Blair, Jeremy Michael. "Animated Autoethnographies: Using Stop Motion Animation As a Catalyst for Self-acceptance in the Art Classroom." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804983/.

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As a doctoral student, I was asked to teach a course based on emerging technologies and postmodern methods of inquiry in the field of art education. The course was titled Issues and Applications of Technology in Art Education and I developed a method of inquiry called animated autoethnography for pre-service art educators while teaching this course. Through this dissertation, I describe, analyze, interrogate, value, contextualize, reflect on, and artistically react to the autoethnographic animated processes of five pre-service art educators who were enrolled in the course. I interviewed the five participants before and after the creation of their animated autoethnographies and incorporated actor-network theory within the theoretical analysis to study how the insights of my students’ autoethnographies related to my own animations and life narratives. The study also examines animated autoethnography as a method of inquiry that may develop or enhance future teaching practices and encourage empathic connections through researching the self. These selected students created animations that accessed significant life moments, personal struggles, and triumphs, and they exhibited unique representations of self. Pre-service art educators can use self-research to create narrative-based short animations and also use socio-emotional learning to encourage the development of empathy within the classroom. I show diverse student examples, compare them to my own animations, and present a new model of inquiry that encourages the development of self by finding place in chaos, loving the unknown, embracing uncertainty, and turning shame into a celebration of life.

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Meachem, Dhugal. "Virtual worlds, non humans and power beams : a neoformalist analysis of the digital animation aesthetic in Hong Kong's mythical martial arts films." HKBU Institutional Repository, 2003. http://repository.hkbu.edu.hk/etd_ra/513.

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