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1
Żebrowski, Mateusz. "Educational Potential of Animated Films in Poland." Panoptikum, no. 18 (December 29, 2017): 106–19. http://dx.doi.org/10.26881/pan.2017.18.07.
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The paper describes events which are focused on Polish animation, with special regards to their educational values. The thesis refers to the importance of the Polish Film Institute, higher education, film workshops and film festivals for Polish animations. The most important part of the paper describes animation film festivals. Film festivals are portrayed as the most extensive educational platform, because of which the whole paper centres on an understanding of the issue through festival studies. The author evokes theories of the field configuring events by Bernard Leca, Charles-Clemens Rüling and Dominique Puthod. In the paper the Polish animation film scene is described as heterogeneous, however, filmmakers who make animations are evolving a coherent vision of it. Helpful in this process is the Polish Animation Producers Association. In the final part of the paper the author focuses on O!PLA. The Festival of Polish Animation. This event can be interpreted as a something more than a field-configuring event, and described as a communicator of the convergence of expertise (term of Grzegorz D. Stunża and associates).
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Zhang, Rong. "Computer Vision-Based Art Color in the Animation Film Performance Characteristics and Techniques." Journal of Sensors 2021 (September 13, 2021): 1–12. http://dx.doi.org/10.1155/2021/5445940.
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If an animated film wants to present extraordinary visual effects, the successful use of art colors is the key to the success or failure of an animated film. Although our country’s animated film started a short time ago, its development has been slow. In modern times, it is difficult to compete with excellent animation works of other countries; animation is an art form that requires the combination of modern technology and traditional cultural areas. Chinese cartoons are gradually declining today when the technology is taking off. The reason is that the traditional culture of the country has not been thoroughly explored. In today’s diversified world, if you want to revive the brilliance of Chinese animation, you must deeply and systematically study various elements of national art and form your own creative thinking and creation system. Particularly under computer vision, the gap is very obvious. Under the computer vision, in order to study the characteristics and techniques of the use of fine art colors in animated films, to promote the development of animated films in China, this article analyzes the role of art color in the animation of excellent Chinese and foreign animation works in recent years, through literature analysis, comprehensive qualitative and quantitative analysis, etc., to study the meaning and application of color symbols, hoping to be a Chinese animation providing useful help for film creation and development. Studies have shown that color has a strong influence on animated films. A good use of artistic color can add a lot of color to an animated film. According to statistics, art colors account for at least 20% of excellent animation works, which can be integrated into animation colors. Animation works with domestic characteristics are easier to succeed. This shows that the use of artistic colors can play a key role in animated films.
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Nidiansyah, Rafinur, Arif Sulistiyono, and Pandan Pareanom Purwacandra. "Penciptaan Karya Film Animasi 2D “Miliv” Dengan Teknik Hybrid." Journal of Animation and Games Studies 5, no. 1 (2019): 057–76. http://dx.doi.org/10.24821/jags.v5i1.2800.
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When human realize that they are not as they appear, it causes personal conflicts in humans, there are two sources that come from inside and outside. With animated films that have become increasingly popular with various groups, the creation of the animated film “MILIV” as one of media delivery in the form of visual and media delivery messages contained in the film.With the concept of hybrid, it combines stopmotion animation techniques, rotoscope, and digital animation, creating an experimental genre animation work with its unique visual style.The animated film “MILIV” tells of a bird who is too late to realize his true identity and is trapped in comfort zone. Contemplation became the main goal in this animated film “MILIV”Keywords: Film, MILIV, Hybrid, Rotoscope, Stopmotion, Experimental, Animation
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Wells, Paul. "Chairy tales." Alphaville: Journal of Film and Screen Media, no. 8 (February 9, 2015): 6–23. http://dx.doi.org/10.33178/alpha.8.01.
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This article addresses three issues of what I suggest here should be regarded as the shifting technological and matter-based apparatus of animation: first, the meanings and affect of objects and materials actually used in animated films; second, the visual dramaturgy made possible by objects and materials for animation screenwriters; and, third, the status of animation process materials as archival objects. The analysis looks at a number of animated films and specifically at their design form, material association, and narrative function to define what I will call the “scripted artefact”, and an “Animated Object Cycle”. This overview will also operate in a spirit of thinking about theories of practice and practices of theory in animation, and refer to both established theoretical perspectives as well as primary practice idioms.
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Pikkov, Ülo. "On the Topics and Style of Soviet Animated Films." Baltic Screen Media Review 4, no. 1 (2016): 16–37. http://dx.doi.org/10.1515/bsmr-2017-0002.
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Abstract This article provides a survey of Soviet animation and analyses the thematic and stylistic course of its development. Soviet animated film emerged and materialised in synch with the fluctuations of the region’s political climate and was directly shaped by it. A number of trends and currents of Soviet animation also pertain to other Eastern European countries. After all, Eastern Europe constituted an integrated cultural space that functioned as a single market for the films produced across it by filmmakers who interacted in a professional regional network of film education, events, festivals, publications etc. Initially experimental, post-revolutionary Russian animation soon fell under the sway of the Socialist Realist discourse, along with the rest of Soviet art, and quickly crystallised as a didactic genre for children. Disney’s paradigm became its major source of inspiration both in terms of visual style and thematic scope, despite the fact that Soviet Union was regarded as the ideological opposite of the Western way of life and mindset. The Soviet animation industry was spread across different studios and republics that adopted slightly varied production practices and tolerated different degrees of artistic freedom. Studios in the smaller republics, such as Estonia, Latvia and Lithuania in particular, stood out for making films that were more ideologically complicated than those produced in Moscow.
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Jonison, Muhammad Adha Fajri, and Anggy Trisnadoli. "Implementation of Rotoscoping Technique in the making of the Hang Tuah Ksatria Melayu 3D Animated Film." Jurnal RESTI (Rekayasa Sistem dan Teknologi Informasi) 4, no. 5 (2020): 943–50. http://dx.doi.org/10.29207/resti.v4i5.2404.
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The development of information technology in the multimedia field is growing very rapidly today. Multimedia development is often found in making animated films. Animation is an image that moves and is arranged so that it makes inanimate objects appear to be moving. Animation initially has a problem, where it is difficult for an animator to create animation with complex movements to imagine directly and sometimes the results will look stiff. Max Fleischer also saw it as a problem, so he invented rotoscoping. Rotoscoping is a technique for making animation by tracing the movements of an actor. This technique is used to create movements that are complex to imagine directly so that the animation movement is realistic. In implementing rotoscoping techniques in an animated film, a folk tale entitled Hang Tuah Ksatria Melayu was adopted. This folktale will be packaged into a 3D animated film using rotoscoping techniques. With the creation of a 3D animated film, the folklore of Hang Tuah Ksatria Melayu, an animated film was created with realistic character movements and people get moral messages of Hang Tuah Ksatria Melayu.
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Geal, Robert. "Animated Images and Animated Objects in the Toy Story Franchise: Reflexively and Intertextually Transgressive Mimesis." Animation 13, no. 1 (2018): 69–84. http://dx.doi.org/10.1177/1746847717752588.
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This article explores how animation can manipulate a reflexive intertextual framework which relates to religious prohibitions on artistic mimesis that might replicate and threaten God’s creative act. Animated films are most intertextually reflexive, in these terms, when they narrativize the movement of diegetic objects from another medium which also transgresses God’s prohibition: sculpture. In the media of both sculpture and animation, the act of mimesis is transgressive in fundamentally ontological terms, staging the illusion of creation by either replicating the form of living creatures in three-dimensional sculpture, or by giving the impression of animating the inanimate in two-dimensional film. Both media can generate artworks that directly comment on these processes by using narratives about the creative act which not only produce the illusion of life, but which produce diegetically real life itself. Such artworks are intensely reflexive, and engage with one another in an intertextual manner. The article traces this process from the pre-historic and early historic religious, mythic and philosophical meditations which structure ideas about mimetic representations of life, via Classical and Early Modern sculpture, through a radical proto-feminist revision crystallizing around the monstrous consequences of the transgression in Mary Shelley’s Frankenstein, and finally into film and more specifically animation. The article culminates with a relatively detailed account of these processes in the Toy Story franchise, which is a heightened example of how animation can stage a narrative in which ostensibly inanimate sculpted toys move of their own volition, and of how this double form of animation does this reflexively, by ontologically performing the toys’ animating act. The animated films analysed also engage with the transgressive and monstrous consequences of this double form of animation, which derive from the intertextual life of those narratives that challenge God’s prohibition on mimesis.
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Sandi, Supriyadi. "Perancangan Animasi Stopmotion Pangeran Diponegoro Berbasis Sinematografi." Jurnal Komunikasi 10, no. 2 (2019): 145–52. http://dx.doi.org/10.31294/jkom.v10i2.6181.
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Nowadays animated films are developing rapidly in Indonesia. Animated films are in demand because they are entertaining, but rarely found educative animated films that tell about history. In general, historical documentation is only based on thick textbooks, and the placement of photos of heroes on classroom walls is generally not interesting for students to enjoy. This encourages researchers to make an animated film that has historical and educational value. With appropriate cinematography, a film can have high artistic value. In addition, the film can also convey information and implied messages that can be used as lessons in life. To attract students, stopmotion technique was chosen. This stopmotion animation is created by applying the sine matography technique so that what will be conveyed in this animated film can be conveyed well to the audience. All of this aims to make the animation look livelier, smoother in its movements, and produce a more attractive appearance and is liked by the audience. It is better to make a stopmotion animation in a detailed storyboard design, so there are no mistakes when making motion, camera angles, type shots, and video translation. Stopmotion filmmaking is inseparable from photography and cinematography
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Wong, Oscar Gordon, and Imelda Ann Achin. "The Hero’s Journey: 12 Stages in The Narrative of Animation Boboiboy Movie 2." Mudra Jurnal Seni Budaya 36, no. 3 (2021): 316–25. http://dx.doi.org/10.31091/mudra.v36i3.1580.
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2019 is a phenomenal year for the development of the Malaysian animated film industry as it has successfully produced two superheroes animated films in total. However, the animated film industry in Malaysia is still not competitive at the international level. This can be seen from the 17 animated films that have been produced from 1998 to 2019, only two superheroes animated films managed to get the attention of the audience. This is due to the lack of knowledge of the concept and function of the hero character in animated films. Therefore, the main objective of this paper aims to demonstrate how the Hero’s Journey narrative structure can be applied in BoBoiBoy Movie 2 (2019). This research method involves the use of video analysis tools namely Kinovea and Motion Picture Analysis Worksheet to explain on how the Hero’s Journey of this film conveys the storytelling. The results of this study found that each semicircle Hero’s narrative structure has an important meaning across from one half-circle to the other half-circle. As a result, it explains the concept of peace and chaos as well as stasis and changes in the narrative structure of superhero animated films. This paper will provide information to researchers on the importance and use of the Hero’s Journey approach to analyze superhero animated films.
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Hubbes, László Attila. "New Hungarian Mythology Animated." Acta Universitatis Sapientiae, Philologica 5, no. 2 (2014): 223–40. http://dx.doi.org/10.2478/ausp-2014-0016.
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Abstract Hungarian civil religion in general, and various ethno-pagan spiritualities in special are deeply unsatisfied with the canonical version(s) of ancient national history. Screening history is an act of powerful pictorial mythologization of historical discourses and also a visual expression of national characterology. In recent years two animated films were released, telling the ancient history of Hungarians, but the stories they tell are very different. Not long after Marcell Jankovics’s Song of the Miraculous Hind1 (Ének a csodaszarvasról, 2002), a long fantasy animation based on ethnographic and historical data, another similar long animation: Heaven’s Sons (Az Ég fiai, 2010) started to circulate on YouTube and other various online Hungarian video-sharing channels. It seems as if the latter, an amateur digital compilation by Tibor Molnár, would have been made in response to the first film, to correct its “errors”, by retelling the key narratives. Built mainly on two recent mythopoetic works: the Arvisura and the Yotengrit (both of them holy scriptures for some Hungarian Ethno-Pagan movements), Molnár’s animation is an excellent summary of a multi-faceted new Hungarian mythology, comprising many alternative historical theses. My paper aims to present two competing images of the Nation on the basis of several parallel scenes, plots and symbolic representations from the two animations. A close comparative investigation of these elements with the help of the Kapitány couple’s mythanalytic method will show the essential differences between the two national self-conceptions expressed through the imaginary
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VEREȘ, SANDA, and IOANA MAGDAȘ. "The Use of the Educational Animated Film in Primary Education in Romania." Romanian Review of Geographical Education 9, no. 2 (2020): 67–86. http://dx.doi.org/10.23741/rrge220204.
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This study aims to review, analyse and synthesize the literature, which refers to the use of educational film in education in Romania and which deepens aspects related to the use of animated film in primary education. The aim was to review the literature on: classification of animated films in the category of educational means; the functions of animated films; types and sources of animated films; teacher preparation for the use of film for educational purposes; integrating the film into the lesson; how to use animated films in primary education and the results of their use. Existing information in papers in the field of education sciences from the last three decades was analysed. Regarding the use of animation films in primary education, five studies were analysed in depth
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Setiawati, Beta. "Americanization of Non-American Storiesin Disney Films." Register Journal 1, no. 1 (2016): 81. http://dx.doi.org/10.18326/rgt.v1i1.81-114.
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The study is intended to know the Disney’s animation films characteristics which are adapted from non American stories that contain Americanization in order to be American popular culture products. This qualitative and library research is carried out within the field of American Studies. Disney’s animated films which are regarded as artifacts in order to identify American society and culture is used as her primary data. She then compares those Disney films with the original stories to discover the changes in making those stories become American popular products. She furthermore uses the sources such as books, magazines, journals, articles, and also internet data for her secondary data. The result of this study shows that most of folk narratives which were used in Disney films were adapted from other countries’ stories. However, Disney intentionally adapts foreign countries’ stories in its animated films by using Disney formula to blow up the sale of its products. Since Disney is one of the most powerful media conglomerates in the world, it works endlessly to set out world entertainment. Disney formula in its animated films which has dominated those adapted films are only intended to obtain as much profit as possible without paying attention to the values in children entertainment.Keywords: Americanization; Non American Stories; Animation; Popular culture; Formula
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Amalia, Julia Rizky, and Prima Widia Wastuty. "SEKOLAH MENENGAH KEJURUAN DESAIN ANIMASI DI BANJARBARU." LANTING JOURNAL OF ARCHITECTURE 10, no. 1 (2021): 159–66. http://dx.doi.org/10.20527/lanting.v10i1.747.
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Animation is a sub-sector of the creative industry that has promising business opportunities and is able to absorb a lot of creative labor. The increasing number of animation creators in Indonesia shows the increasing demand for animated films, unfortunately the quality of animators has not been able to compete internationally due to inadequate infrastructure and low education. The government also encourages the development of the animation industry by opening vocational education, where the Animation Vocational School can become a special forum for learning activities in the field of animation technology which aims to improve Human Resources (HR). The Interactive Space theme offers problem-solving for Animated Vocational Schools which have an interactive platform. The method used is to create a place to stimulate ideas. Like a waiting room which can be a collaborative space for discussion and relaxation.
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Krivulya, Natalia G. "Development of the Animated Poster in the First Half of the XX century." Journal of Flm Arts and Film Studies 8, no. 3 (2016): 19–33. http://dx.doi.org/10.17816/vgik8319-33.
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The genre of animated posters emerged at the dawn of animation. In 1899, A. Cooper an English director created one of the first movie-posters in the history of world animation. The need for movie-posters with propaganda characteristics arose during the period of the WW1. During that time, the genre of the animated poster had been developed and had even become a stimulus to the development of the animation and film industry. It had achieved its greatest success in the UK due to the advanced level of printed graphics, as well as the fact that the British pioneered the development of systematic promotion approaches. German animators also worked in the genre of animated posters, but they filmed mostly instructional movies which presented technical or military information in a clear and simple form. By the end of the WW1 the structure of movie posters had evolved from transparent to narrative. During the war the genre of the animated poster was not developed in Russia. After the war, propaganda film-posters disappeared from the screens. Their place was taken by mostly political, educational and promotional posters. The time of experimentation with figurative language, technology, and structure of the animated poster was in 1920-1930s. Themes, targets and the form of presentation had changed, but the function remained the same - informational and visual propaganda. As the commercial poster had developed predominantly in European and American animation, the release of political posters initiated the development of Soviet animation. Sentiment changes in global politics and the situation in Europe during the late 1930s which evolved into the WW2, once again stimulated the entertainers interest for the genres of political-propaganda, patriotic, and instructive posters. During the war the production of animated posters formed a considerable portion of all the animation filmed in Soviet as well as American studios. With the cessation of hostilities films in the poster animation genre almost disappeared from the screens.
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Brydon, Suzan G. "“I’ve Got to Succeed, So She Can Succeed, So We Can Succeed”: Empowered Mothering, Role Fluidity, and Competition in Incredible Parenting." Social Sciences 7, no. 11 (2018): 215. http://dx.doi.org/10.3390/socsci7110215.
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The social influence of Disney discourse is difficult to ignore, as is their repetitive matricide and positioning of the patriarchal and heteronormative family model in their bloc.kbuster animated films. Yet, through its Pixar Animation Studios subsidiary, Disney has pushed progressively at the boundaries, not only in terms of animation artistry but also through the social topics explored. This study builds on previous research of male mothering in Finding Nemo by visiting the subsequent 11 Pixar animated films, with in-depth exploration of their most recent release, Incredibles 2. Ultimately, I argue that Pixar has once again opened space by embracing empowered and collaborative parenting.
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Van de Peer, Stefanie. "Fragments of War and Animation: Dahna Abourahme’s Kingdom of Women and Soudade Kaadan’s Damascus Roofs: Tales of Paradise." Middle East Journal of Culture and Communication 6, no. 2 (2013): 151–77. http://dx.doi.org/10.1163/18739865-00602003.
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In this article, the author addresses the meaning of animated fragments in documentary films. She analyzes a Syrian and a Lebanese film, and illustrates the role and function of the hybrid form as a means through which women are now able to express themselves. Dahna Abourahme’s film Ein El Hilweh: Kingdom of Women (Lebanon, 2010) and Soudade Kaadan’s film Damascus Roofs: Tales of Paradise (Syria, 2010) are used as recent examples of documentaries addressing taboo issues by way of animated fragments. The author places these films in the wider context of the contemporary developments in animation in the Middle East, paying special attention to women’s contributions in the field. Both documentaries use animation not only for aesthetic appeal but also to enhance understanding and deepen engagement with topics and events that are necessarily situated beyond the knowledge and experience of a transnational audience. The author contends that animation creates a different film experience, and the audience must deal with the seduction of the animation.
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SEVİNDİ, Koray. "IDEOLOGICAL DISCOURSE ANALYSIS IN SOVIET ANIMATION CINEMA." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 2 (2021): 594–605. http://dx.doi.org/10.7456/11102100/017.
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In this study, the Soviet animation cinema's ideological discourses, which showed the consequences and reflections of the political ideology of the era, were examined. In line with the findings, it was considered that these animated films constitute a kind of cultural memory that exhibits the political history and social culture of the Soviets. The article's ideological discourse analysis method was applied by considering Teun A. van Dijk's study titled Ideological Discourse Analysis. As part of this research, because ideological discourses were analyzed, only short films with propaganda content were regarded among Soviet animations, and the scope of the study was restricted. Furthermore, the date range taken about the films was the term of Soyuzmultfilm, the official animation studio of the Soviet Union. The films created by the studio, which began its actions in 1936 until the dissolution of the Soviet Union in 1991, were taken into account. The conclusions of discourse analysis were evaluated according to the headings 'self-identity', 'activity', 'goal', 'norm and value', 'position and relation' and 'resource' mentioned in the article Ideological Discourse Analysis, and the ideological discourses in Soviet animated cinema were analyzed.
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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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Kalmakurki, Maarit. "Snow White and the Seven Dwarfs, Cinderella and Sleeping Beauty: The Components of Costume Design in Disney’s Early Hand-Drawn Animated Feature Films." Animation 13, no. 1 (2018): 7–19. http://dx.doi.org/10.1177/1746847718754758.
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Costumes in feature films can be deliberately used for narrative purposes to reveal or conceal something related to the plot, functioning as a key element for cinematic storytelling. Costume design in animation is an integral part of character creation; however, relatively little is known about the design process. Previous research concentrates on either the history of hand-drawn animation, the principles of making animated films or character construction. This article presents several key components of the animators’ costume design process in Walt Disney’s animated feature films Snow White and the Seven Dwarfs (1937), Cinderella (1950) and Sleeping Beauty (1959). The author demonstrates that the costume design in these films was a multi-layered process. For example, for Snow White, the costume silhouette of the final animation is visible in the early conceptual designs whereas, for Cinderella or Princess Aurora, the principal character animators designed the final costume. Additionally, the slow production time influenced the style of the costumes: small details on costumes and complex constructions were not used as it would have taken too long for them to be drawn. The article also reveals that animators used live-action filming and rotoscoping as tools for designing costumes. Furthermore, costumes that were used in pre-production filming for rotoscope were different in their construction from everyday garments. The work of a costume designer existed in the character design process, although not as a separate profession. This article aims to highlight the importance of characters’ costumes in Disney’s early hand-drawn animated films and the different ways costumes have been designed for animated characters.
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Otto, Felix, and Christopher Rumpf. "Animation intensity of sponsorship signage." Sport, Business and Management: An International Journal 8, no. 2 (2018): 177–94. http://dx.doi.org/10.1108/sbm-05-2017-0029.
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Purpose Visual animation of sponsorship signage has become a frequently used technique at televised sports with the aim to increase viewer attention. The purpose of this paper is to investigate the impact of animation intensity of sponsorship signage on sport viewers’ attention and to examine viewers’ visual confusion as a reaction to increasing animation intensity. Design/methodology/approach Based on a lab experiment, eye-tracking methodology was applied to analyze the participants’ visual attention to animated sponsorship signage. The stimulus films showed a highlight video clip of a tennis match and included five different intensity levels of animated signage. The hypothesized causal relationships were tested by using linear regression analysis and structural equation modeling. Findings The results demonstrate that animation intensity of sponsorship signage positively influences sport viewers’ attention. The findings also reveal that animation intensity has no significant effect on sport viewers’ visual confusion. Practical implications The findings suggest the use of higher animation intensity levels for effective sponsorship communication in sports broadcasts. Furthermore, there is still more potential to improve sponsorship communication at televised tennis events as viewer confusion was not affected by animation intensity. Originality/value This research contributes to the body of knowledge by taking into account different intensity levels of animated sponsorship signage in a tennis event context. It is the first study that demonstrates the impact of animation intensity to improve sponsorship communication at televised sporting events.
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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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Holliday, Christopher. "Emotion capture." Alphaville: Journal of Film and Screen Media, no. 3 (August 8, 2012): 76–94. http://dx.doi.org/10.33178/alpha.3.06.
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The customary practice across both feature-length cel-animated cartoons and television animation has been to cast adults in the vocal roles of children. While these concerns raise broader questions about the performance of children and childhood in animation, in this article I seek to examine the tendency within computer-animated films to cast children-as-children. These films, I argue, offer the pleasures of “captured” performance, and foreground what Roland Barthes terms the “grain” of the child’s voice. By examining the meaningless “babbling” and spontaneous vocalisations of the aptly-named child Boo from Pixar’s Monsters, Inc. (2001), this article offers new ways of conceptualising the relationship between animation and voiceover, suggesting that computer-animated films celebrate childhood by emphasising the verbal mannerisms and vicissitudes of the unprompted child actor. The calculated fit between the digital children onscreen and the rhythms of their unrefined speech expresses an active engagement with the pleasures of simply being young, rather than privileging growing up. Monsters, Inc. deliberately accentuates how the character’s screen voice is authentically made by a child-as-a-child, preserving the unique vocal capabilities of four-year-old Mary Gibbs as Boo, whilst framing her performance in a narrative which dramatises the powers held within the voice of children.
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Ilyina, E. N., and V. S. Tivo. "Onomastic Space of Animated Films about Russian Heroes by the Studio of Animation Cinema “Mill”." Nauchnyi dialog 1, no. 8 (2020): 84–96. http://dx.doi.org/10.24224/2227-1295-2020-8-84-96.
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The article is devoted to the study of the system of proper names in the texts of animated films with a folklore precedent basis. The relevance of the research is due to the need to study media texts that translate folklore imagery in linguocognitive and linguostylistic aspects. The material for the research is character and voice-over texts of animated films about Russian heroes: “Alyosha Popovich i Tugarin Zmey” (2004), “Dobrynya Nikitich i The Zmey Gorynych” (2006), “Ilya Muromets I Solovey Razboynik” (2007). The complex of names of geographical objects, the naming system of anthropo- and zoomorphic characters is considered, the precedent base for the formation of the onomastic space of animated films is determined, and the ways of introducing new components to the proper names system of this content are characterized. Special attention is paid to the description of intertextual links of the polycode content under study with works of epic genres of Russian folklore and with other sources. The scientific novelty of the work is seen in the fact that the verbal component of the studied animated films is currently insufficiently studied, and their proper names system becomes the subject of linguistic analysis for the first time.
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Desrianti, Dewi Immaniar, Ahmad Nur Firdaus, and Deny Pangestu Gunawan. "ANIMASI DENGAN GAMBAR BERGERAK MENINGKATKAN DAYA TARIK PROGRAM PROMOSI." CCIT Journal 10, no. 1 (2017): 114–26. http://dx.doi.org/10.33050/ccit.v10i1.526.
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The development of creative industries is growing, as evidenced by the many industry-emerging creative industry. The media campaign is currently very helpful in supporting the information and communication All of that is because of the many interests of the creative industry services. Many competitors require companies to do promotions to attract customers. Penyajiaan media ads interesting and entertaining will encourage the general public to find out more detail and have an interest to join a company or institute of technology is so rapid in PT.Movio Screen as a company engaged in the creative industry. Have a good portfolio will make promotion and enhance the corporate image. 3D animation movie series is a very good portfolio and attractive for media promotion for a company in the field of creative industries, in addition to the 3D animated film can enhance a company's image. In the 3D animation movie of the series can also be a support to increase the creation of the nation of the 3D animated film, to be more creative again in making animated films in 3D and can inspire people to work in the creative industries in order to generate industry local animation, based on a story in this animation.
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Krivulya, Natalia G. "Education Genres Animated Poster in the Second Half of the 20th Century." Journal of Flm Arts and Film Studies 8, no. 4 (2016): 28–42. http://dx.doi.org/10.17816/vgik8428-42.
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After WWII the genre of the animated poster was predominantly presented as advertisment films. The movie posters imagery in the 1950s tended to have an illustrative and spatial-pictorial artistic propensity. Grotesque and satire gave way to the dominance of realistic images, and the artistic design had gained coloration and splendor, creating the image of a cheerful world, affluence and prosperity. Films with propaganda and ideological orientations appeared along with the advertisement films, as the political and social poster developed. A special role in the poster genre development was played by the emergence of television as a major customer and distributor of this product. Unlike Western animation, the production of advertisement and social film-posters in the USSR was a state tool of the planned economy. Animated posters played an important role in the formation of new social strategies, behavior patterns and consumption. As a result, in the animated posters of the Soviet period, especially during the 1950s and 1960s, a didactic tone and an optimistic pathos in the presentation of the material dominated. The stylistics of film-posters changed in the 1960s. Their artistic image was characterized by conciseness and expressiveness, inclination towards iconic symbolism, and the metaphoric and graphic quality of the imagery. The poster aesthetics influenced the entire animation development in this period. The development of advertisement and social posters continued in the 1970s-1980s. The clipping principles of the material presentation began to develop in the advertisement poster, however, in the social and political poster there was a tendency towards narration. Computer technology usage in animation and the emergence of the Internet as a new communicative environment contributed to a new stage in the development of the animated poster genre. Means of expression experienced a qualitative upgrade under the influence of digital technologies in animated posters. While creating an animated posters artistic appearance the attraction and collage tendencies intensify due to the compilation of computer graphics and photographic images, furthermore, simulacrum-images are actively utilized as well. Since the 2000s, digital technologies are actively used for the development of social, instructional and educational posters. The advent of new technologies has led to modifications of the animated poster genre, changed the way it functions and converted its form. Along with cinematic and television forms - new types of animated posters have appeared which are used in outdoor advertising (billboards) as well as dynamic interactive banners and animated posters on web sites.
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Rowe, Rebecca. "Shaping Girls: Analyzing Animated Female Body Shapes." Animation 14, no. 1 (2019): 22–36. http://dx.doi.org/10.1177/1746847719829871.
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The debate over whether television and film affect girls’ body image has been contentious. Researchers argue that film and television negatively affect, only partially affect, or do not affect girls’ body image. These studies have one common limitation: they approach animated female bodies as if they are the same because they are, mostly, thin. In this project, the author seeks to extend and complicate this existing scholarship by analyzing bodies in 67 films produced by several American animation studios from 1989 through 2016. In this study, she classifies 239 female characters as one of four body types: Hourglass, Pear, Rectangle, or Inverted Triangle. Her argument is two-fold: (1) over the last 30 years, there has been a shift from a singular dominant shape (Hourglass) to the dominance of several body shapes (especially Pear and Rectangle); and (2) young girls may be affected by characters their own age who have been largely ignored in studies thus far. The author argues that young girls see diverse images of bodies rather than the singular image that scholars study. Girls’ body image may be affected by animation, but animated images are so diverse that this effect may be difficult to determine. A more nuanced understanding of the body shapes animation utilizes may allow researchers to study the more complex messages that girls do or do not internalize.
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Whitley, David. "Learning with Disney." Journal of Educational Media, Memory, and Society 5, no. 2 (2013): 75–91. http://dx.doi.org/10.3167/jemms.2013.050206.
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This article reconsiders the concept of innocence in relation to animated films for children, focusing particularly on Disney but additionally drawing on examples from other traditions. The author argues that the notion of innocence within these films is potentially double-edged, encompassing both actively transformative and more vulnerable, passive properties. Children's animation is not simply culturally conservative, however, but also rehearses other possibilities, often in a playful form. The article suggests that what children learn from Disney and other animated films is shaped in complex ways by responses to the quality of innocence with which such films are so often imbued.
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Fan, Ni. "Ne Zha’s image transformation in Chinese animation cinema (1961‐2019)." Film, Fashion & Consumption 10, no. 1 (2021): 277–98. http://dx.doi.org/10.1386/ffc_00025_1.
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This article analyses Ne Zha’s image evolution through different animated films in the PRC from 1961 to 2019. Three key Ne Zha films are Uproar in Heaven, Ne Zha Conquers the Dragon King and Ne Zha, representing the era of ‘classical Chinese animation’, ‘modern Chinese animation’ and ‘postmodern Chinese animation’, respectively. In 2019, Ne Zha became the summer hit and the highest-grossing Chinese original animation earning ¥5.035 billion at the Chinese box office. Explorations of how classical artistic traditions and legendary stories have been transposed into these films shows that Chinese animation has retreated from the peak of national style in the 1960s and undergone change with globalization’s cultural and ideological impacts. In sum, artistic techniques associated with fine arts film, traditional narrative methods and plot stylization have gradually weakened. Contemporary elements such as Hollywood classic three-act pattern and Japanese comic character relationships and images have significantly influenced Chinese animation in the twenty-first century.
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Anggara, I. Gede Adi Sudi, Hendra Santosa, and A. A. Gde Bagus Udayana. "CHARACTER EDUCATION AND MORAL VALUE IN 2D ANIMATION FILM ENTITLED "PENDETA BANGAU"." Capture : Jurnal Seni Media Rekam 10, no. 2 (2019): 57–70. http://dx.doi.org/10.33153/capture.v10i2.2449.
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Character is a very important and fundamental matter in a child's development. Character education has the same orientation with moral education, whereas moral education is very important in directing young generation to become good people through good values approach. In the midst of current IT advances, animated films are one of the effective and interesting media in transferring the values of character education and moral messages to children. The 2D animated film entitled Pendeta Bangau (The Priestess of Stork) is an animated film which source of story comes from Balinese folklore entitled Pedanda Baka. The aim of this study is to discuss the values of character education and moral messages/values contained in the animated film entitled “Pendeta Bangauâ€. This study uses qualitative research methods with qualitative data analysis techniques model of Miles and Huberman. The result of this study shows that the character education values from the animated film entitled Pendeta Bangau contains the values of honesty, tolerate, friendship / communicative, love of peace, and curiosity. While the moral message/value was seen in the final/end of film, namely the Bangau (stork) died due to its immorality. Its Bangau dead is related to the principal of Prarabda Karmaphala, namely Bangau, gets the results of his behavior in the present, and is now available without being there anymore.
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Pikkov, Ülo. "On the Links between Caricatures and Animated Films in Communist Eastern Europe." Baltic Screen Media Review 5, no. 1 (2017): 28–41. http://dx.doi.org/10.1515/bsmr-2017-0010.
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AbstractThis article analyses and maps the links between caricature and animated film, as well as their development during the post-World War II era, in communist Eastern Europe. The article also deals with the specific nature of animation production under the conditions of political censorship and the utilisation of Aesopian language as an Eastern European phenomenon for outmanoeuvring censorship.
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Lönroth, Linn. "‘I don’t have a skull… Or bones’: Minor Characters in Disney Animation." Animation 16, no. 1-2 (2021): 36–50. http://dx.doi.org/10.1177/17468477211025666.
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This article explores the place of minor characters in Disney’s animated features. More specifically, it proposes that Disney’s minor characters mark an aesthetic rupture by breaking with the mode of hyperrealism that has come to be associated with the studio’s feature-length films. Drawing on character theory within literary studies and on research into animated film performance, the article suggests that the inherent ‘flatness’ of Disney’s minor characters and the ‘figurativeness’ of their performance styles contrasts with the characterizations and aesthetic style of the leading figures. The tendency of Disney’s minor characters to stretch and squash in an exaggerated fashion is also reminiscent of the flexible, plasmatic style of the studio’s early cartoons. In addition to exploring the aesthetic peculiarity of minor characters, this article also suggests that these figures play an important role in fleshing out the depicted fictional worlds of Disney’s movies. By drawing attention to alternative viewpoints and storylines, as well as to the broader narrative universe, minor characters add detail, nuance and complexity to the animated films in which they appear. Ultimately, this article proposes that these characters make the fairy-tale-like worlds of Disney animation more expansive and believable as fictional spaces.
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Ekawardhani, Yully Ambarsih, Imam Santosa, Hafiz Azis Ahmad, and Irfansyah Irfansyah. "Modification of Visual Characters in Indonesia Animation Film." Harmonia: Journal of Arts Research and Education 20, no. 2 (2020): 167–75. http://dx.doi.org/10.15294/harmonia.v20i2.22556.
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This study aims to determine the relationship between facial physiognomy, body shape, and visualization of animated film character designs. Characterization in an animated film is inseparable from the characters who are placed to fulfill the film’s role. In the creation of physiognomy and body shapes can be combined as an approach to design. The characters are modified through simplifications in the form of cartoons. This is done so that the visualization of the character gets closer to the role added, in addition to emphasizing the characteristics of one character to another. Even in animated films, characters become important elements to direct the understanding of stories. The approach used is interdisciplinary, given that in characters there is a merging of visual elements that need to be approached using different theories. The combination of theories used is personality theory through somatotype to find characters through body shapes, physiognomy from Ar-Razi and ming xiang to obtain character traits and the theory of simplifying shapes into cartoons. The result is a match between the characters played by the three reference elements. The interesting thing that was found was the application of different physiognomy between one character and another to reinforce the characteristics. So that in the film, these figures can represent roles, which are human presentations in real life.
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Purwaningsih, Dominika Anggraeni. "PUPPET MOVEMENTS IN STRUCTURE-SPECIFIC TRADITIONAL PAPER CUT OUT ANIMATION PRODUCTION." Ultimart: Jurnal Komunikasi Visual 13, no. 2 (2020): 61–68. http://dx.doi.org/10.31937/ultimart.v13i2.1821.
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Physical paper puppets are inanimate objects, but when we’re speaking in terms of the production of traditional paper cut out animation, they become the actors and the souls that drive the movie. When shooting and animating traditional paper cut out animation, the puppets are laid flat on a surface so they can only move in limited directions compared to conventional 2D or 3D animation. As we know, each character in animated movie has its own personality and unique to each other. The challenge lays in bringing out the characteristics and personality of the character through the limited medium of paper puppet. In this qualitative research, puppet movements will be applied to quadruped cat characters in a public service announcement titled “Spay & Neuter”. The puppet along with the visual design, segmentations, and joints were done in previous research. Qualitative observations and audio-visual materials are used to collect the data for references. Literature review will study the characteristics of cats, body language, behaviour, and principles of animation especially timing and exaggeration. Observation is conducted by studying the movements of real cats from online videos and direct observations and also studying how other animators animate cat characters in animated films. In the exploration stage, paper puppets will be animated according to the movement design while experimenting with the timing and frame rate of the stop motion to achieve the final results.
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Tai, Peng-yi. "The Animator as Inventor: Labour and the New Animated Machine Comedy of the 2010s." Animation 13, no. 3 (2018): 238–51. http://dx.doi.org/10.1177/1746847718805163.
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Around 2010, the inventor character started to populate animated blockbusters. Computer 3D animated films and their sequels such as Robots (Chris Wedge and Carlos Saldanha, 2005), Cloudy with a Chance of Meatballs (Phil Lord and Christopher Miller, 2009), Despicable Me (Pierre Coffin and Chris Renaud, 2010) and Big Hero 6 (Don Hall and Chris Williams, 2014) all feature inventors and their extravagant machines. In this article, the author explores the inventive artisan character as a self-reflexive trope of the animator. She expands Crafton’s thesis of the animator’s self-figuration and Tom Gunning’s work on machine comedy and operational aesthetics to further discussions on the animator and thereby the labour of animation. The article seeks to reveal the political agenda in the new animated machine comedy of the 2010s, which not only reflects the modes of production of contemporary animation studios, but also the larger concerns in the post-Fordist mode of production.
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Krivulya, Natalia G. "The Origins of the First Sound Animation: Songs Series by the Fleischer Brothers." Journal of Flm Arts and Film Studies 10, no. 1 (2018): 119–31. http://dx.doi.org/10.17816/vgik101119-131.
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With the invention of moving pictures, the creators sought to supplement them with sound. Even before the invention of cinemat, E. Reynaud in the optical theatre gave performances in which moving images were combined with sound. It was pre-cinema experience, which represented the theatre model of audiovisual show. The attempts to synchronize the dynamic images and sound were taken by T. Edison, S. Meshes, L. Gaumont, O. Kellum, E.Tigerstedt, J. Engel, G. Phocht and J. Massol. However, the systems suggested by these inventors were not perfect. An important step towards creation of a sound film was the appearance of the optical sound recording system Phonofilm designed by Lee de Forest. In 1923, he became acquainted with Brothers Fleischer, outstanding American animators. Together with H. Riesenfeld and E. Fadiman they organized Red Seal Pictures Corporation and began to shoot Ko-Ko Song Car-Tunes, which consisted of a series of animated shots Sing-alongs (featuring the famous bouncing ball). It was a kind of multimedia shots, as there was no plot, no character and no narrative structure. They were created basing on popular songs, but did not illustrate them. The Sing-alongs shots were produced for the audience to sing their favorite songs before the session, while reading the text of the songs from the screen. The animated ball bouncing on the syllables helped them to follow the rhythm of the melody. These films became the prototype of the modern karaoke and music animated shows. The series were released from May 1924 till September 1927. The Fleshers created more than 45 shots, more than 19 of which using the Phonofilm. The first sound animated shots where the images were synchronized with the sound and recorded on the same media, were released in 1925. The film Come to Travel on My Airship was the first where the speech was heard, and in the shot My Old House in Kentucky the Fleischers managed to synchronize the speech with the facial expressions of cartoon characters as they were speaking. When the animating and shooting technology changed, the film structure underwent changes too. Detailed animation parts with the story content appeared. The text animation became variable as well. Since the 1930s, the shots have included scenes with singers and jazz-bands. The animated film series Ko-Ko Song Car-Tunes shot by the Brothers Fleischer established the principle of movement and sound synchronism in the animation. They not only out paced the sound films by P. Terry and W. Disney, which were considered to be the first sound animation films for a long time, but also proved that the sound animation had been possible and the thirty-year era of the silent animation came to an end.
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Rahmayanti, Wiga, Ahmad Hariandi, and Nopia Wati. "MORAL ANALYSIS IN THE ANIMATED FILMS OF NUSA RARA AND UPIN IPIN AS EDUCATIONAL SHOWS." AL-ISHLAH: Jurnal Pendidikan 12, no. 2 (2020): 465–80. http://dx.doi.org/10.35445/alishlah.v12i2.220.
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This study aims to analyze and describe the moral values contained in the Nusa and Rara animations as well as the Upin and Ipin cartoons. This research is a qualitative descriptive research using a sample entitled from the animation film Nussa and Rara and the cartoon Upin Ipin with content analysis techniques. The data in this study contain religious and moral values contained in the animation of Nusa and Rara and Upin and Ipin cartoon. From this research, the results are religious and moral values in form of “adab” before going to bed, eating manners, saying “basmallah”, alms, keeping doing, doing good deeds, tolerance and help, not being arrogant, keeping words, praying on time, brotherhood, honesty, loving animals, respect, responsibility, justice, tolerance, self-discipline, caring for others, courage and democratization. The animation of Nussa Rara as well as the cartoon of Upin and Ipin are highly requested to be watched by children because it contains many religious and moral values in accordance with the national culture and Islam
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Bockareva, Ol'ga. "The interpretation of classical music in Polish and Russian animation as a basis for creative dialogue." Muzikologija, no. 21 (2016): 175–84. http://dx.doi.org/10.2298/muz1621175b.
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Animated musical film, lying at the intersection of the two creative worlds and representing a dialogue between the musician and painter, is a living process of the visual interpretation of the artistic image of a musical work. A dialogue between the director of an animated film and the composer of a musical masterpiece can take place only if there is intonational (term used according to B. Asaf?ev?s writing) ?equalization? of the artistic and validation determinants of merger-related, personal, emotional states. The author emphasizes that within the artistic image of an animated film, the inner essence of the ?I? is made on the basis of the artist?s expression, the unity and consistency of color, sound, plastic solutions, coupled with deep philosophical generalizations, cultural, and value-semantic in their nature. The article provides examples of interpretations of classical music masterpieces in animated films by Russian and Polish filmmakers.
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Moen, Kristian. "Expressive Motion in the Early Films of Mary Ellen Bute." Animation 14, no. 2 (2019): 102–16. http://dx.doi.org/10.1177/1746847719859194.
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Between 1935 and 1938, Mary Ellen Bute began her career as a filmmaker with a series of mostly animated films, including Rhythm in Light (1935), Synchromy No. 2 (1936), Parabola (1938) and Escape (1938). This article examines how these films offered an innovative, subtle and purposeful investigation of the potentials of animation to create artistic and expressive motion. Paying close attention to Bute’s own writing, the article explores how these films related to Bute’s expansive vision of cinema as a new form of kinetic art that was both composed and free-flowing. Drawing upon painting, music, sculpture and chronophotography, Bute’s work was highly intermedial, investing these arts and media with the dynamic potentials of filmic and animated motion. Tracing how Bute composed motion, displayed motion and used motion expressively, this article aims to develop our understanding of a pivotal 20th-century filmmaker, while at the same time investigating the distinctive ideas of the aesthetics, forms and effects of animated motion that were articulated in her filmmaking practice and theoretical writing.
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Sayfo, Omar. "Mediating a Disney-style Islam: The Emergence of Egyptian Islamic Animated Cartoons." Animation 13, no. 2 (2018): 102–15. http://dx.doi.org/10.1177/1746847718782892.
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As early as the 1930s, Egypt was the first Arab country to establish an animation production. While the majority of productions in the eight-decade history of the industry have been aimed at a national audience and conveyed through locally relevant messages, a growing number of films and series on Islamic topics targeting a transnational Muslim audience have emerged since the 1990s. This article examines the growth and characteristics of Egyptian Islamic animated cartoons and the Islamization of animation. It explores how the Egyptian state’s politics in the 1990s and its tightening affiliations with al-Azhar, the country’s highest religious authority, paved the way for such a production. Through a close study of the case of Qisas al-Qur’an (Stories from the Qur’an), the country’s most significant production to date in terms of budget, quality and distribution, this article provides an introduction to the characteristics of Egyptian Islamic animation.
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Dulamă, Maria Eliza, Sanda Vereş, Ioana Magdaș, and Oana-Ramona Ilovan. "Using animation films in formal activities at Natural Sciences during the COVID-19 pandemic. Instruction problems and models." Journal of Educational Sciences & Psychology 11 (73), no. 1 (2021): 49–65. http://dx.doi.org/10.51865/jesp.2021.1.06.
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Animation films were used frequently during online didactic activities during the COVID-19 pandemic. We have not identified research that focuses on the problems that teachers face when using animated films to enable students’ learning of Natural Sciences and on the training models that can be organized based on this resource. Therefore, we analysed the problems faced by teachers and, to solve them, we identified, analysed, and described several instruction models based on animation films: illustrative, expositive, interactive, flipped classroom, learning through discovery, and learning through simulation. We analysed the way to integrate them into the didactic activity and, finally, we realized some recommendations.
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Mulyani, Neni. "PERANCANGAN PROSES PRA PRODUKSI FILM ANIMASI 3D LEGENDA PUTRI MERAK JINGGA." JURTEKSI (Jurnal Teknologi dan Sistem Informasi) 5, no. 2 (2019): 183–92. http://dx.doi.org/10.33330/jurteksi.v5i2.361.
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Abstrack:To produce a 3D animated film requires a long process flow so that the processing time of manufacture is also prolonged. This is a constraint in the development of the local animation film in Indonesia for a long time will lead to high production costs making it difficult to compete commercially with animated films from abroad who have abundant funds and the support of various parties in the country. Therefore, efforts to improve the competitiveness of local animated film and one of these efforts is by analyzing the stages of the manufacturing process and apply it to the process of making the actual 3D animated film.In general there are three stages of the filmmaking process, namely the 3D animation pre-production, production and post-production. Although this time the animation industry in Indonesia has not been detailed separates each of these stages, but still be important for designing detail the activities of these stages, in order to see the strengths and weaknesses of each process that existed at that stage. Therefore, this study was conducted with the hope to provide recommendations to improve the local animation industry. Keywords: 3D Animation, Animation Film Pre-Production Stage, Princess Peacock Orange Abstak: Untuk menghasilkan sebuah film animasi 3D membutuhkan alur proses yang panjang sehingga waktu pembuatannya juga berlangsung lama. Ini yang menjadi kendala dalam perkembangan film animasi lokal di Indonesia karena waktu yang yang panjang akan mengakibatkan tingginya cost production sehingga sulit untuk bersaing secara komersial dengan film animasi dari luar negeri yang memiliki dana berlimpah dan dukungan dari berbagai pihak di negaranya. Untuk itu diperlukan upaya untuk meningkatkan daya saing film animasi lokal dan salah satu upaya tersebut adalah dengan menganalisa tahapan-tahapan proses pembuatan dan menerapkannya pada proses pembuatan film animasi 3D yang sebenarnya.Secara umum ada 3 tahapan proses pembuatan film animasi 3D yaitu pra produksi, produksi dan paska produksi. Meskipun saat ini industri animasi di Indonesia belum secara detail memisahkan setiap tahapan tersebut, namun tetap menjadi penting untuk merancang detail aktifitas dari tahapan tersebut, dengan tujuan untuk melihat kekuatan dan kelemahan dari setiap proses yang ada pada tahapan tersebut. Kata Kunci: Animasi 3D, Tahap Pra Produksi Film Animasi, Putri Merak Jingga
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Sulistiyono, Arif. "Punakawan Sebagai Inspirasi Penciptaan Film Pendek Animasi Bertema Pendidikan Karakter." Journal of Animation & Games Studies 2, no. 2 (2017): 173. http://dx.doi.org/10.24821/jags.v2i2.1420.
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Educational animation is an animated product produced specifically for the purpose of learning. Its popularity in helping students understand and remember information presented increased since the advent of computer graphics technology. The lack of an increase in the production of animated short films in Indonesia resulted in at least encountered the works of domestically-made animation education. Stimulation of creation of animated works based on the local culture should be a concern for creators to produce Indonesian animated film. This has encouraged the idea of research and the creation of the works to add alternative work spectacle for children to be more varied. The work produced will be expected to become one of the benchmarks for the creators of short animated films in Indonesia. The short animated film themed character education and have the characterization and design characteristics based on local wisdom is still a little bit. Production work is still dominated by elements that showed the humorous aspects of violence as like a common thing to do. It is extremely dangerous due to the development of the child's personality or character will indirectly entertained spectacle dominated by the less educated. Therefore bring back figures Punakawan as "teacher" character education in the form of short animated films for the sake of growth is necessary to be realized next generation character education in Indonesia.Keywords: educational animation, punakawan, moral educationAbstrakAnimasi edukasi adalah sebuah produk animasi yang diproduksi khusus untuk tujuan pembelajaran. Popularitasnya dalam membantu peserta didik memahami dan mengingat informasi yang disajikan meningkat sejak munculnya teknologi komputer grafis. Kurangnya peningkatan produksi karya film pendek animasi di Indonesia mengakibatkan sedikitnya dijumpai karya-karya animasi edukasi buatan anak negeri. Rangsangan penciptaan karya animasi berbasis pada budaya lokal sepatutnya menjadi perhatian bagi para kreator dalam menghasilkan film animasi Indonesia. Hal inilah yang mendorong ide penelitian dan penciptaan karya guna menambahkan karya alternatif tontonan bagi anak-anak supaya lebih bervariatif. Karya yang dihasilkan nantinya diharapkan mampu menjadi salah satu tolok ukur bagi pencipta-pencipta film pendek animasi di Indonesia.Film pendek animasi yang bertemakan pendidikan karakter dan memiliki ciri penokohan dan desain berbasis kearifan lokal masih sangat sedikit. Produksi karya masih didominasi oleh unsur-unsur humoris yang mempertontonkan aspek kekerasan sebagai layaknya hal yang umum dilakukan. Hal ini sangat berbahaya dikarenakan perkembangan kepribadian atau karakter sang anak secara tidak langsung akan didominasi oleh tontonan hiburan yang kurang mendidik. Oleh karena itu memunculkan kembali tokoh-tokoh Punakawan selaku “guru” pendidikan karakter dalam wujud karya film pendek animasi sangatlah perlu direalisasikan demi pertumbuhan pendidikan karakter generasi penerus bangsa Indonesia dikemudian hari. Kata kunci: Animasi edukasi, punakawan, pendidikan karakter
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Rama, Tamara, and Carmen Lloret. "Unveiling and Revealing the Mirror: Mobile Reverberations in Patrick Bokanowski’s Animated Films." Animation 14, no. 2 (2019): 83–101. http://dx.doi.org/10.1177/1746847719856997.
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The principal focus of this article is to provide an analysis of some of the most significant works by the independent filmmaker Patrick Bokanowski and the methodology he uses to create those animated films. It addresses Bokanowski’s technique of filming on various kinds of reflective surfaces as a strategy for transforming the image through optical deformation and thereby expressing his subjective vision in films and animation. He explores the practical application of creating reverberation as visual echoes, as well as the use of unusual reflections that appear in mirrors and other more unstable reflective surfaces, such as liquid mercury, and the refraction occurring in sculpted lenses, glass or water. The aim of this strategy is the pure expression of subjective experience, with the director using a camera as if it were an entirely free-moving paintbrush that inspires creativity and breaks loose from automatic camera movements. Accordingly, this study examines the dynamic, expressive potential of the language of catoptrics, taking as paradigmatic examples two of Bokanowski’s short films: La Plage (1992) and Au bord du lac (1994). The authors’ analyses of these films are aimed at demonstrating how the artist manages to bring about qualitative, transformative changes of forms and space by reflecting images on mirrors, ripples in mercury and movements of water, and by combining these elements. The system developed by Bokanowski successfully transports us to an ever-changing, poetic universe and breaks new ground in the field of animation.
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Reznik, Gabriela, and Luisa Massarani. "Gender and science in animation: analysis of the Anima Mundi Festival films." Journal of Science Communication 18, no. 02 (2019): A08. http://dx.doi.org/10.22323/2.18020208.
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We used content analysis to analyse the representation of female scientists in animated short films on gender and science, selected from the Anima Mundi Festival, over 21 annual editions. In these films, female scientists are featured as ‘intelligent’, ‘dominant’ and ‘well respected’, adult, white, wearing a lab coat or uniform and working in laboratories and fieldwork. We identified a reconfiguration of the gender stereotype in films in which the female character is about to gain space and visibility. We also analysed films whose sexist foundations in the relationship between scientists and their interlocutors reinforce the reproduction of sexist and heteronormative stereotypes.
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VIREN, DENIS G. "DOCUMENTARY ANIMATION OR ANIMATED DOCUMENTARY? Reflections on the history and the current situation on the example of Poland and other countries." ART AND SCIENCE OF TELEVISION 17, no. 1 (2021): 101–35. http://dx.doi.org/10.30628/1994-9529-2021-17.1-101-135.
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Documentary animation is a hybrid cinematic form, the history of which goes back over 100 years. Earlier such films were rather a rarity, while lately they appear on screens more and more often. Using numerous examples, the article discusses the goals of artists turning to this unusual and controversial practice. The main thematic blocks are highlighted, the boundaries between the fictional artistic world and the real basis of a film are determined. The author also attempts to distinguish between animated documentary and “full-fledged” documentary animation. After reviewing the genesis (films by W. McCay, J. and F. Hubley) and films that have become modern classics of the direction (Waltz with Bashir, Crulic: The Path to Beyond etc.), the most notable modern samples—primarily those filmed in Poland and in Russia, where animadoc is rapidly gaining momentum—were analyzed in detail. Directors use this form when talking about historical events (reconstruction), ambiguous personalities and unusual places, as well as about their own or others’ internal problems and experiences. Documentary animation is becoming a common means of (auto)psychotherapy and fits into the current trend of pronouncing taboo topics and working out hidden traumas. Animation allows to penetrate deeply into the world of characters without violating their personal boundaries. An important place is held by metafilms, reflecting on the language of the animadoc and cinema in general. Today, documentary with the use of animation is more common than “real” animadoc, although the line between the fictional artistic world and the actual basis of films is rather fluid. The phenomenon is still in the making. Nevertheless, such films must have a real component: interviews (usually off-screen), newsreels, photographs, genuine objects, etc. The factual basis is not a sufficient argument to classify the work as a documentary animation—the decisive factor here is the hybridization of the form.
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Kurnianto, Arik. "Tinjauan Singkat Perkembangan Animasi Indonesia dalam Konteks Animasi Dunia." Humaniora 6, no. 2 (2015): 240. http://dx.doi.org/10.21512/humaniora.v6i2.3335.
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The purpose of this study was to assess the development of animated films in Indonesia based on historical studies to determine simultaneously mapping the history Indonesia in the context of world/global animation history. This study also examines the relationship between the histories of Indonesiananimated films with history first entry of the film in Indonesia which began the Dutch colonial era. According to Stephen Cavalier, the world history of animation was divided into five large round starts from the era before 1900 (The Origin of Animation) to the digital era (1986-2010). Based results of the study, Indonesian animation in the context of five major round of world animation, though have long been in contact with foreign-made films and animation (Disney Studio) has into Indonesia from the early 20th century (the early 1900s), the animation is produced Indonesia has only emerged in the '50s through the vision of a Soekarno, the first President. 1950 in the world of animation history entered the era of transition from gold age of traditional animation/cartoon (golden age of cartoons) are dominated by studio Disney to the era of television (television era). In a review of the history of animation, the era of the '50s travel half a century is the era of the modern world of animation history. Based on the facts the Indonesian animation has actually grown quite long, but the development of animation in Indonesia was very slow when seen in the context of the world animation history.
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Rafiek, Muhammad. "Equation of Malay vocabulary in the animation film of Upin and Ipin with Banjarese vocabulary in South Kalimantan." Journal of Language and Linguistic Studies 17, no. 1 (2021): 85–114. http://dx.doi.org/10.52462/jlls.6.
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This research is aimed at explaining the equation of the Malay vocabulary in the animated film of Upin and Ipin with Banjarese vocabulary in South Kalimantan. In this research, the researcher used a qualitative method with comparative linguistic research design or equation characteristic method of linguistic features. In collecting the data, the researcher used the technique of listening and direct typing after watching the animated series Upin and Ipin on Youtube. In analyzing the data, the researcher used the equation techniques of forms and meanings of the vocabulary. This technique is called retention and innovation techniques together in methods of equation linguistic features (Mahsun, 2014). Researchers also analyzed and discussed using comparative linguistic theories from Adelaar, Blust, and Nothofer to reinforce the evidence that there are similarities in Malay vocabulary in the animated films Upin and Ipin with Malay vocabulary in South Kalimantan. The results of this research found that there are three groups of the equation of Malay vocabulary in the animated film of Upin and Ipin with Banjarese vocabulary in South Kalimantan, namely (1) Malay vocabulary in the animated film of Upin and Ipin have an equation in the form and differences meaning with the Banjarese vocabulary; (2) Malay vocabulary in the animated film of Upin and Ipin have an equation in form and meaning with the Banjarese vocabulary; and (3) Malay vocabulary in the animated film of Upin and Ipin have a semblance of forms and equation in meaning with Banjarese vocabulary, in South Kalimantan.
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Klahr, Lewis. "Flotsam and Jetsam: The Spray of History." Animation 6, no. 3 (2011): 387–98. http://dx.doi.org/10.1177/1746847711421651.
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Renowned collage filmmaker Lewis Klahr has created a collage of personal statements and images from his films to reflect upon his cut-out animation films. The piece discusses his artistic process and his use of artifacts, documents and detritus to explore ephemeral aspects of history and the passage of time. He comments on his use of animated movement and stillness and the idea of reanimating objects from the past.
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Chen, Shaopeng. "Tang Cheng: The first female animation screenwriter and director in the People’s Republic of China." Journal of Screenwriting 11, no. 3 (2020): 245–64. http://dx.doi.org/10.1386/josc_00032_1.
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Tang Cheng (唐澄) (1919–86) was one of the most accomplished and versatile animation practitioners in the history of Chinese animation and the first female animation scriptwriter and director in the People’s Republic of China (PRC, 1949–present). Animation in the PRC was once famous for its ‘Chinese school’ aesthetics, in which female professionals influenced all dimensions of the form, from animation techniques to aspects of narration and artistic style. Tang Cheng was best known for directing or co-directing representative Chinese school animated films. However, her early career in animation screenwriting has been largely forgotten. This article not only highlights her role as a scenarist commissioned to write the screenplays of the didactic fairy tales Old Lady’s Jujube Tree (1958) and Radish Is Back (1959) but also analyses how the spirit of collectivism and childlike simplicity revealed in her screenwriting affected her later directorial productions such as Little Tadpoles Looking for Mother (1961), Havoc in Heaven (1961, 1964) and The Deer Bell (1982).
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Ruddell, Caroline. "‘Don’t Box Me In’: Blurred Lines in Waking Life and A Scanner Darkly." Animation 7, no. 1 (2012): 7–23. http://dx.doi.org/10.1177/1746847711429632.
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This article seeks to evaluate the visual style of Waking Life and A Scanner Darkly, predominantly through an analysis of the films’ aesthetics. The use of Rotoshop as an expressive means to illustrate character and theme, where identity becomes sketched and multi-faceted rather than fixed or stable is explored here. Yet this aesthetic play with borders has a greater resonance than simply a means by which to delineate thematic preoccupations with troubled identity. While such representations are indeed key to these two films, the darkly outlined contours of character borders, which move and slide incessantly, also comment on the blurred divide between live action and animation. Central to the argument is the use of the animated line in understanding these two films; the line provides impetus for exploring several issues raised by the films and the use of Rotoshop. This article explores the following key ideas: the animated line and aesthetic analysis; Rotoshop technology; the representation of fragmentary identity; and the relationship between photo-real cinema and animation, with a particular focus on narrative and spectacle. The author addresses Rotoshop within the context of technology and spectacle; taking industry practices into account allows for an appreciation of how a technological innovation such as Rotoshop can change the shape of live-action cinema.