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1
Haydarova, Nigora. "SPECIAL EFFECTS IN MODERN UZBEK ANIMATED FILMS." European Science Review, no. 3-4 (2021): 20–24. http://dx.doi.org/10.29013/esr-21-3.4-20-24.
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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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Benitez Rojas, Raquel Victoria. "CRISTIANI AND THE FIRST ANIMATED FEATURE FILMS IN HISTORY- FROM ARGENTINA TO THE WORLD." MEDIA STUDIES AND APPLIED ETHICS 3, no. 1 (2022): 127–46. http://dx.doi.org/10.46630/msae.1.2022.09.
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On December 21, 1937, Snow White and the Seven Dwarfs (Hand, Jackson, Pearce, Sharpsteen, Morey, Cottrell, 1937) was released, produced by Walter E. Disney. The press immediately ranked it as the first animated feature film. However, this claim was not true. The Italian-Argentinian animator Quirino Cristiani with his work El Apóstol (Cristiani,1917) was responsible for the first animated feature film in the world twenty years before the North American release. His 1931 film Peludopolis (Cristiani,1931) was also the first animated feature film with synchronised sound recording. Cristiani patented a new and revolutionary system for creating animations using only cardboard cut-outs. The aim of this paper is to give recognition to his work by analyzing his contribution to the seventh art through qualitative documentary research.
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Sun, He, Jieying Loh, and Adam Charles Roberts. "Motion and Sound in Animated Storybooks for Preschoolers’ Visual Attention and Mandarin Language Learning: An Eye-Tracking Study With Bilingual Children." AERA Open 5, no. 2 (2019): 233285841984843. http://dx.doi.org/10.1177/2332858419848431.
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This study examined the role of the “animated eBook advantage” in child bilingual’s Mandarin learning, which has tended to be examined in the acquisition of Germanic languages. With this aim, 102 4- to 5-year-old preschoolers in Singapore were assigned to one of four conditions: (a) animated eBooks (+sound+motion), (b) static eBooks with sound, (c) static eBooks only, and (d) a control condition where children played a math game on an iPad. Three stories were displayed to children each for four times over 2 weeks, while visual attention was traced with an eye tracker. Children’s target words and story comprehension were assessed for the effects of the intervention conditions. The results revealed that children in the animated condition outperform their counterparts in total fixation duration, target word production, and storytelling of one of the stories (Cycling With Grandpa). There were no consistent differences between the two static conditions. Our results indicate the importance of motion in animated eBook design, in line with previous findings.
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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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Kim, Ki-Hong, and Shin-Ichiro Iwamiya. "Formal Congruency between Telop Patterns and Sound Effects." Music Perception 25, no. 5 (2008): 429–48. http://dx.doi.org/10.1525/mp.2008.25.5.429.
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The effects of formal congruency between Telops (animated text on a display) and sound effects on the affect of audio-visual content were investigated. Rating experiments were performed using systematic combinations of various Telops and sound patterns. As a result, formal congruency contributed to enhancing subjective congruency between Telop and sound patterns. Formal congruency also contributed to enhancing the evaluation of audio-visual productions. Two types of formal congruency were effective in creating subjective congruency: the synchronization of temporal structures and the matching of changing patterns between auditory and visual events. To create formal congruency based on synchronization between auditory and visual structures, correspondence of the onsets of sound and Telop was important. The combinations of the gradually rising loudness or pitch of sounds and the expanding (or approaching) of Telop pattern were found to create the matching of changing patterns.
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Zhao, Siyun. "Export of Chinese Animated Film:A Case Study on Nezha." Communications in Humanities Research 1, no. 1 (2021): 28–33. http://dx.doi.org/10.54254/chr.iceipi.2021185.
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The box office of Chinese films is growing, and domestic films have made a great contribution.Chinese films has also becoming an important component of Chinese cultural exportation. Animated films have advantage of having wider audience, which can convey national values more gently and shape the national image imperceptibly. This paper took the animated film "Nezha", which was a dark horse at the domestic box office, as an example to analyze the advantages and disadvantages of Chinese animation film in cross-cultural communication. The study found that although technique and animation visual effects received good commonts from the overseas audience, the cultural barriers and the lack of commercial publicity was still a constaint for Chinese animated films.
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Ridout, Sam. "The aesthetics of animated sound: François Bayle, Bernard Parmegiani and the Service de la recherche de l’ORTF." Journal of Popular Television 9, no. 1 (2021): 93–104. http://dx.doi.org/10.1386/jptv_00043_1.
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Founded by Pierre Schaeffer in 1960, the Service de la recherche at Radiodiffusion-Télévision Française sought to incubate technical and aesthetic research in television and radio, supporting the development of novel animation techniques, pedagogical films for television and experimental short films. As such, the Service served as a fertile meeting point for composers and filmmakers, playing a significant role in the early careers of a number of well-known French composers of electroacoustic music. The early work of both François Bayle and Bernard Parmegiani principally consisted of music and sound for the moving image – and in particular for experimental animated shorts by filmmakers including Robert Lapoujade and Piotr Kamler – created with the support of the Service de la recherche. In attending to the particular configurations of sound and image worked out in these collaborations, the idea of ‘animation’ emerges as a recurring concern in the electroacoustic music of the period, underwriting both a general approach to recorded sound and, I argue, particular formal and technical developments in the aesthetics of French electroacoustic music in the 1960s and beyond.
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Egan, Kelly FW. "‘Tones from Out of Nowhere’ and Other Non-sensedness: Re-membering the Synthetic Sound Films of Oskar Fischinger and Làszló Moholy-Nagy." Animation 15, no. 2 (2020): 160–78. http://dx.doi.org/10.1177/1746847720938230.
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Synthetic sound film, a genre in which sound is directly animated onto the soundtrack of a filmstrip, is an avant-garde practice which remains seldom theorized and too often neglected. Expanding on Thomas Y Levin’s canonical work on the genre, ‘“Tones from out of Nowhere”: Rudolph Pfenninger and the archaeology of synthetic sound’ (2003), this article argues that there is a fundamental divide amongst the artistic approaches to synthetic sound film between filmmakers seeking to create specific aural objects through a new form of visual representation, and filmmakers focused on the graphic object and its direct translation into a new/unknown form of aural representation. Concentrating on the latter group which begins with Oskar Fischinger and Làszló Moholy-Nagy, through a materialist framework, this article shows how their produced sounds re-member the objects from which they emerge and, as such, are bound to a material encounter defined by this sensorial return to objectness.
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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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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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Anwar, Ahsani Amalia, and Alvionita Dahoklory. "Pengembangan Film Animasi Berbasis Nilai Budaya Pela Gandong di SDN 1 Masohi." DIKDAS MATAPPA: Jurnal Ilmu Pendidikan Dasar 5, no. 1 (2022): 110. http://dx.doi.org/10.31100/dikdas.v5i1.1855.
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The aim of the study is to develop an animated film as learning media based on the cultural value of Pela Gandong as a thematic education medium for K-13 theme 1 sub-theme 1 Cultural diversity in Civics. The study applied Research and Development (R&D) method. The data were collected through questionnaires and class tests. Aspects of material assessment include aspects of the suitability of the material with the core curriculum and basic curriculum 3.4. From a media perspective, including technical quality, narration, music/sound effects. The teacher assessed that the animated film category was very appropriate, the learning aspect, and the audio aspect of animated film media shows were all in the good category. The material test for the animated film "The Cultural Value of Pela Gandong" was carried out by material experts with an average score of 4.9 > 4.2 in the very good category, media experts with an average score of 4.6 > 4.2 in the very good category. , PPKN teachers with a mean score of 4.6 > 4.2 are in the very good category. The results of the material, media, and film trials, "Pela Gandong Budaya" can be tested on students.
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Nur Budi Nugraha and Tri Yuliati. "Animasi 2D Corona Virus Desease 19 (Covid 19) Sebagai Media Edukasi Anak - Anak." Pixel :Jurnal Ilmiah Komputer Grafis 14, no. 2 (2021): 182–88. http://dx.doi.org/10.51903/pixel.v14i2.546.
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The development of technology is currently growing very rapidly making it easier for the community to convey information. 2D animation can be a means of socialization for the sake of interesting and efficient information. In the midst of the widespread Covid-19 outbreak in Indonesia, the government took several steps to minimize the spread of Covid-19 by socializing including to schools. The school always reminds its students to comply with health protocols. However, less interesting socialization makes children less enthusiastic in understanding the purpose of socialization. The purpose of this research is to make a 2D animated video about Covid-19. This 2D animated video is made as attractive as possible with characters and sound effects that children like so that children become interested in learning and understanding about covid-19. Based on the results of this educational media test, it has been tested on children and helps children in the process of delivering information about covid 19 more effectively and interestingly. Of the 20 respondents, 60% (12 people) agreed that animated videos help children understand covid 19
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Ajiwe, Uchechukwu Chimezie, and Stella Uchenna Nwofor. "Perception of Computer Generated Images (CGI) in Nigerian made animated films: A cognitive-semiotic view." Journal of Communication 3, no. 1 (2022): 1–19. http://dx.doi.org/10.47941/jcomm.860.
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Purpose: There has been lots of positive and negative criticisms on the influences and effects of animated images on kids in Nigeria without considering the communicative potentials of such medium from our cultural perspectives. Again, many Nigerians may not have the knowledge that there are quality Nigerian local content animation. Methodology: This paper looks at the perception of computer generated imagery (CGI) in Nigerian animated films. It examines the nature of the application of CGI in popular Nigerian Animated films by analyzing the techniques used and meanings produced from The images constructed to communicate the ideas of the narratives. This paper is anchored on the framework of cognitive semiotic theory and adopts the qualitative research design to investigate the communication of meanings by use of CGI in Malika (2020), the basis for using cognitive semiotic theory in this paper is that CGI are simulated believable images that denote meanings to communicate encoded cultural ideologies to kids within and outside Nigeria. It is hoped that this study would make better appreciation of Nigerian Animated films and encourage Animators to make more. Findings: The findings in this study, is that, the use of CGI in object and character representation in Nigerian Animated films as regards reality simulates the simulacra nature of a typical African worldview and bring to life a historical antecedent. It submits that CGI boosts the visual and aural representation of the Nollywood film narratives which allow the viewer to recognize the already established meanings of the codes used in film text. Unique Contribution to Theory, Practice and Policy: It also recommends that Animation should be used for promotion and preservation of fast fading Igbo cultures
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Wulandari, Wulandari, Khairil Khairil, and Siswanto Siswanto. "Media Promotion of the Faculty of Computer Science, Bengkulu University, based on Multimedia." Jurnal Komputer, Informasi dan Teknologi (JKOMITEK) 1, no. 1 (2021): 62–69. http://dx.doi.org/10.53697/jkomitek.v1i1.141.
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Multimedia is one of the existing information technology products. Multimedia has the power to attract interest in which multimedia combines various media sources such as text, images, sound, animation, and video and so on. Multimedia can be used in the fields of marketing, industry, commerce, entertainment, and education. Therefore, the writer will make an animated video as a promotion for the Faculty of Computer Science at the University of Dehasen Bengkulu using the Adobe After Effects CS6 application and assisted by the Adobe Illustrator CS6 and Adobe Photoshop CS6 applications. With the creation of promotional media for the Faculty of Computer Science, University of Dehasen Bengkulu in the form of animated videos, it is intended that it can help or be an alternative to promote the departments are in the Faculty of Computer Science, University of Dehasen Bengkulu to the public.
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Uzuegbunam, Chikezie, and Chinedu Richard Ononiwu. "Highlighting Racial Demonization in 3D Animated Films and Its Implications: A Semiotic Analysis of Frankenweenie." Romanian Journal of Communication and Public Relations 20, no. 2 (2018): 5. http://dx.doi.org/10.21018/rjcpr.2018.2.256.
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This article focuses on a semiotic analysis of Frankenweenie, one of Disney Picture’s 3D animated films. Anchored within the psychoanalytic film theory, the aim was to highlight how animated films, as colorful and comic as they are, can demonize a certain group of people. Studying how animated films can do this can lead to an important understanding because children’s exposure to modelled behavior on television and in movies has the potential to influence a wide range of attitudes and behaviors, cause victimization, alter their perceptions of reality, reinforce stereotypes and make them acquire such negative emotions as fear and anxiety, and behaviors like retaliation and passivity. The possibility of these adverse effects is even of greater concern in Africa and similar contexts which are at the receiving end of cultural products such as films that emanate from the West. The findings suggest that the negative portrayal of ‘people of color’ or other characters that represent them, by American film producers and directors seems to be a reoccurring phenomenon. Significantly, from an African perspective, this study corroborates scholars’ position that Disney has continued to portray ‘people of color’ negatively over the years.
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Yasa, Nyoman Miyarta. "TANDA VERBAL PADA FILM ANIMASI “El Empleo”." Jurnal Nawala Visual 2, no. 1 (2020): 45–53. http://dx.doi.org/10.35886/nawalavisual.v2i1.77.
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"El Empleo" is a silent animated film that won 102 Awards. This animated film is only equipped with sound effects, so that makes it alive. This film is very important to be investigated when viewed from the uniqueness that is located in a strange visual, humans are used as tools and objects around their residence. This animated film, communicates messages through verbal signs However, not everyone understands the meaning of the sign. Therefore, the problem that arises in this research is about how the verbal signs are displayed in the animated film " El Empleo ". The purpose of this study is to analyze in-depth in the first, middle and end scenes of verbal signs, the intent that the animator communicates in the animated film. The method used is qualitative interpretative with the foundation of Charles S. Pierce's semiotics theory. The results of this study are verbal signs in the form of icons of men living as bosses; human symbolized as a seat, vehicle (taxi), traffic signs, and as a toilet mat; index contained in the expression of the face of the character/character that indicates power and oppression. In conclusion, at the level of verbal signs in the first, middle, and final scenes, they can be divided into icons depicting a man living a boss; humans as subordinates are symbolized as seats, vehicles, traffic signs, even as footwear in front of the toilet door, the index looks at the boss's facial expression, and subordinates that indicate oppression. The purpose and objectives as a symbolic message that signifies power are not always owned, but on the contrary the power will be oppressed.
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Ulanovich, Oksana. "Diminutives in the Translation of Film Speech of Characters in Children’s Animated Films." Philology & Human, no. 3 (September 8, 2022): 62–76. http://dx.doi.org/10.14258/filichel(2022)3-05.
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Diminutive forms of the Russian language are considered by the author of the article from the perspective of their functional-semantic syncretism and communicative-pragmatic potential, manifested in everyday communication with children in the Russian-speaking environment and in the film speech of characters in children’s animated films. The tendency of the prevalence of diminutive forms in Russian-language translations of children's animated films over those in the English-language originals, discovered by the author, is qualified by the author as a translation strategy of emotive replacement. Emotive replacement allows one to solve a number of translation tasks during the process of children’s films localization. These are: stylization of film speech in translation and lending the dialogues of film characters a child-centric coloring, expressivization of film speech through imparting additional effects of irony, appraisal, implicit aggression and jesting.
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Huang, Jing. "The Effects of Animation on the Socialization of 5-6 Years Old Chinese Children — Finding Dory." Theory and Practice in Language Studies 6, no. 10 (2016): 1945. http://dx.doi.org/10.17507/tpls.0610.08.
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Animated films undoubtedly play important roles in Children growth. Disney movie, as a typical American media product, enjoys a growing global popularity and influence the young audience particularly in family values or even in their socialization. Finding Dory is a popular animation among children especially aged 5-6 and it presents children of this age 1. how to face failure and 2. how to balance self-benefit and supporting friends. This paper samples Chinese kids aged from 5-6 with qualitative analysis to reveal the effects of Finding Dory on the socialization of particular aged children. Although the research is limited by children’ language proficiency and parent’s personal guidance, but it definitely set implications on how to make full advantages of those animated movies to pattern socialization for children at this particular age.
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Koldau, Linda Maria. "Sound effects as a genre-defining factor in submarine films." MedieKultur: Journal of media and communication research 26, no. 48 (2010): 13. http://dx.doi.org/10.7146/mediekultur.v26i48.2117.
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Submarine films can be regarded as a genre with a specific semantic and syntactical structure that heavily depends on the acoustemological nature of submarine warfare. The sound design in submarine films therefore has decisive dramatic and emotive functions. The article presents the sound effects most specific to submarine films and discusses the creative potential they offer both as diegetic sounds bound to submarine existence and as emotive cues with an immediate effect on the audience.
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Kocyigit, Adem, Erhan Ozturk, Kadir Ejderha, and Guven Turgut. "Effect of different sound atmospheres on SnO2:Sb thin films prepared by dip coating technique." Modern Physics Letters B 31, no. 31 (2017): 1750288. http://dx.doi.org/10.1142/s0217984917502888.
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Different sound atmosphere effects were investigated on SnO2:Sb thin films, which were deposited with dip coating technique. Two sound atmospheres were used in this study; one of them was nay sound atmosphere for soft sound, another was metallic sound for hard sound. X-ray diffraction (XRD) graphs have indicated that the films have different orientations and structural parameters in quiet room, metallic and soft sound atmospheres. It could be seen from UV–Vis spectrometer measurements that films have different band gaps and optical transmittances with changing sound atmospheres. Scanning electron microscope (SEM) and AFM images of the films have been pointed out that surfaces of films have been affected with changing sound atmospheres. The electrical measurements have shown that films have different I–V plots and different sheet resistances with changing sound atmospheres. These sound effects may be used to manage atoms in nano dimensions.
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Bendix, Regina. "The Sound of Music zwischen Mythos und MarketingWalt Disney and Europe: European Influences on the Animated Feature Films of Walt Disney." Journal of American Folklore 116, no. 459 (2003): 123–24. http://dx.doi.org/10.2307/4137951.
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Cooley, Kevin. "Past the End of the Catbus Line: Mushishi’s Apparitional Actants." Animation 14, no. 3 (2019): 178–90. http://dx.doi.org/10.1177/1746847719875034.
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After evaluating some of the limitations in the reception of Hayao Miyazaki’s films as advocacy for climate change reform, the author suggests the need for a new path in animation toward animating the nonhuman. He nominates the anime series Mushishi as the ideal trailblazer for a more ecologically sound and posthumanistically inclined future. Mushishi envisions a fairly realistic turn-of-the-20th-century Japan in which beings called ‘ mushi’, simple organisms that are neither plant nor animal nor Miyazaki-esque fantastic spirit, exist alongside small agrarian communities. Using Mushishi and its barely animated titular beings as a test case, he argues that animation’s allusory–illusory nature and depiction of nature can combat the central tenets of anthropocentrism, generating a visually figurative ontology in which humans and nonhuman animals, subjects and objects, and characters and landscapes are democratically leveled down to symbolic totems, all rendered unreal through the filter of cartooning.
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Baranowski, Andreas M., Rebecca Teichmann, and Heiko Hecht. "Canned Emotions. Effects of Genre and Audience Reaction on Emotions." Art and Perception 5, no. 3 (2017): 312–36. http://dx.doi.org/10.1163/22134913-00002068.
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Laughter is said to be contagious. Maybe this is why TV stations often choose to add so-called canned laughter to their shows. Questionable as this practice may be, observers seem to like it. If such a simple manipulation, assumingly by inducing positive emotion, can change our attitudes toward the film, does the opposite manipulation work as well? Does a negative sound-track, such as screaming voices, have comparable effects in the opposite direction? We designed three experiments with a total of 110 participants to test whether scream-tracks have comparable effects on the evaluation of film sequences as do laugh-tracks. Experiment 1 showed segments of comedies, scary, and neutral films and crossed them with three sound tracks of canned laughter, canned screams, and no audience sound. Observers had to rate the degree of their subjective amusement and fear as well as general liking and immersion. The sound-tracks had independent effects on amusement and fear, and increased immersion when the sound was appropriate. Experiment 2 was identical, but instead of canned sounds, confederates of the experimenter enacted the sound-track. Here, the effects were even stronger. Experiment 3 manipulated social pressure by explicit evaluations of the film clips, which were particularly influential in comedies. Scream tracks worked as well as laugh tracks, in particular when the film was only mildly funny or scary. The information conveyed by a sound track is able to change the evaluation of films regardless of their emotional nature.
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Steele, Daniel, Edda Bild, Cynthia Tarlao, and Catherine Guastavino. "Soundtracking the Public Space: Outcomes of the Musikiosk Soundscape Intervention." International Journal of Environmental Research and Public Health 16, no. 10 (2019): 1865. http://dx.doi.org/10.3390/ijerph16101865.
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Decades of research support the idea that striving for lower sound levels is the cornerstone of protecting urban public health. Growing insight on urban soundscapes, however, highlights a more complex role of sound in public spaces, mediated by context, and the potential of soundscape interventions to contribute to the urban experience. We discuss Musikiosk, an unsupervised installation allowing users to play audio content from their own devices over publicly provided speakers. Deployed in the gazebo of a pocket park in Montreal (Parc du Portugal), in the summer of 2015, its effects over the quality of the public urban experience of park users were researched using a mixed methods approach, combining questionnaires, interviews, behavioral observations, and acoustic monitoring, as well as public outreach activities. An integrated analysis of results revealed positive outcomes both at the individual level (in terms of soundscape evaluations and mood benefits) and at the social level (in terms of increased interaction and lingering behaviors). The park was perceived as more pleasant and convivial for both users and non-users, and the perceived soundscape calmness and appropriateness were not affected. Musikiosk animated an underused section of the park without displacing existing users while promoting increased interaction and sharing, particularly of music. It also led to a strategy for interacting with both residents and city decision-makers on matters related to urban sound.
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Tan, Siu-Lan. "Investigating Sound Design in Film: A Commentary on Kock and Louven." Empirical Musicology Review 13, no. 3-4 (2019): 149. http://dx.doi.org/10.18061/emr.v13i3-4.6723.
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Kock and Louven (in this issue) examined the effects of music, sound effects, full sound design (music and sound effects) and no sound on self-reported measures of immersion and suspense in real time, as viewers watched very brief original films. This commentary discusses the method, analysis, and implications of their findings within the broader context of the state of the art of film music research, and future directions for investigations in this area.
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Bendix, Regina. "The Sound of Music zwischen Mythos und Marketing, and: Walt Disney and Europe: European Influences on the Animated Feature Films of Walt Disney (review)." Journal of American Folklore 116, no. 459 (2003): 123–24. http://dx.doi.org/10.1353/jaf.2003.0004.
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Sun, Lin. "Research on the Application of 3D Animation Special Effects in Animated Films: Taking the Film Avatar as an Example." Scientific Programming 2022 (September 10, 2022): 1–7. http://dx.doi.org/10.1155/2022/1928660.
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Nowadays, 3D animation special effects are used more and more frequently in film and television works. The integration of its animation special effects enhances the visual impact of the film and makes it easier to resonate with the audience. Movies that use three-dimensional animation special effects have a more prominent performance in both visual effects and artistic expression. Taking the film Avatar as an example, this study is committed to providing a reference for the research of three-dimensional animation effects in Chinese film and television works through the analysis of the practical application effects of three-dimensional animation effects. Three dimensional technology provides technical support for film and television special effects, which has achieved unprecedented development. It combines reality with virtualization, brings virtualization to the screen, and then presents it to the audience, contributing to the progress of Chinese film and television art.
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Efimova, Natalia Nikolaevna. "Sound Editing in Screen Works." Journal of Flm Arts and Film Studies 7, no. 2 (2015): 73–81. http://dx.doi.org/10.17816/vgik7273-81.
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The article pinpoints peculiarities of sound editing in movies basing on analysis of partitions of popular films of40-90s; the most frequent principles of sound track arrangement are examined for the first time. The stuff selection is conditioned by measure of popularity of screen works in question. Due to talent of such famous composers as I. Dunaevsky, S. Prokofiev, A. Khachaturian, A. Pakhmutova, A. Petrov et al and their ability to hear plastic imagery, to comprehend filmic atmosphere music plays an extremely important part in these films. Many songs from these films are still in circulation even now. Thorough sound design and editing are of great significance in film production. The author comes to conclusion, that rondo as a musical form and leit-motif as a principle of musical stuff development form a dominant principle of sound stuff arrangement. The two fundamentally tighten the structure of the film. Since original music affords to accentuate sound effects in the most adequate way, it seems perfect to call to a composer for creating original music. The author assumes, that the choice of sound arrangement principle in cinema depends on deliberate conception of the film, wrought out by the helmer, composer, and supervising sound editor. The screen works property is closely bound with attentive partition editing.
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Sherman, Sarah, Jeni Harden, Dawn Cattanach, and Sharon T. Cameron. "Providing experiential information on early medical abortion: a qualitative evaluation of an animated personal account, Lara’s Story." Journal of Family Planning and Reproductive Health Care 43, no. 4 (2017): 269–73. http://dx.doi.org/10.1136/jfprhc-2016-101641.
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BackgroundAn animated film has been created to provide information to women requesting early medical abortion (EMA). The 9 min film, Lara’s Story, was created using one woman’s personal account of her experience. This study evaluated the views of women who had recently undergone EMA on the film and its potential usefulness in providing experiential information to women requesting EMA.MethodWomen who had undergone EMA within the past month were recruited. They were shown the film and interviewed in a semi-structured style. Interviews were recorded and transcribed verbatim. They were analysed using cross-sectional indexing and thematic analysis with an inductive approach.Results13 women were interviewed. All reported that the film gave a realistic account of EMA and most agreed that they would have wanted to watch it before EMA had it been available. Some said that it might help women who were struggling with decision-making with regard to EMA and all said that there should be unrestricted access to the film from the website of the abortion service. The women commented that the animated style of the film allowed all groups of women to relate to the story. Some commented that Lara’s experience of pain, bleeding and side effects such as nausea differed from their own and therefore felt that it would be useful to make more than one woman’s account available.ConclusionThe availability of animated audiovisual films recounting women’s experiences of EMA might be a valuable adjunct to clinical information for women seeking EMA.
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Kropova, Daria S. "Traits of Mystery (miracle play), Tragedy and Commedia Dell'Arte in a Fairy-Opera-Film." Journal of Flm Arts and Film Studies 8, no. 4 (2016): 76–83. http://dx.doi.org/10.17816/vgik8476-83.
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This article deals with a fairy-opera-film and its specifics. The author reveals traits of mystery (miracle play) in a fairy-opera-film, basing upon a notion of mystery of Carl Orffs theory, in the way as Orff meant it. Syncretism in different kinds of art, specifics of word as an art facility (meaning of a word and a word as sound) are specified. As examples the following films are taken: Bluebeard's Castle (composer Bela Bartok, filmmaker W. Golovin,1968), Iolanta (composer Pyotr Tchaikovsky, filmmaker W. Gorriker,1963) and animated musical The Snow Maiden (composer Nikolai Rimsky-Korsakov, filmmaker I. Ivanow-Vano,1952). Special attention is drawn to the opera film The Queen of Spades (composer Pyotr Tchaikovsky, filmmaker R. Tihomirov,1960). The author discloses in fairy-opera-film elements of commedia dell'arte, that is improvisation and masks. For example in films The Love for three Oranges (composer Sergei Prokofiev, filmmakers W. Titov and J. Bogatyrenko,1970) and The Magic Flute (composer Wolfgang A. Mozart, filmmaker I. Bergman,1975). The author comes to the conclusion concerning the targets and tasks of a fairy-opera-film. Through watching fairy-opera-films children should live cultural and psychological history of humanity step by step in its development through music, dance culture and drama (theater). The main task of fairy-opera-film is to save an entity of a human being, to prevent a childs mutation into either a superman (or bermensch in F. Nietzsches term) or degeneration.
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Zaytsev, Z. Ya. "Wondrous Light or “the World Inside Out” in the Author’s Animation by Valentin Olshvang." Art & Culture Studies, no. 3 (October 2021): 452–65. http://dx.doi.org/10.51678/2226-0072-2021-3-452-465.
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The article analyzes the work of an outstanding modern director of animated films, mainly author’s, Valentin Alekseyevich Olshvang on the example of his several films. The choice of films is dictated by their artistic and aesthetic, as well as technological component, where the director skillfully models the structure of his paintings, masterfully combining visual, sound and semantic series into a single whole. The subject of the study is a special interweaving of the visual and dramatic components of the director’s films, subordinated to the concept that can be described as “the world inside out”, in which the essence of love always carries destruction, and cannot be conflict-free. Through the analysis of the semantic layers of films, artistic and technological solutions of paintings, visual and expressive means used by Olschwang in the work, it was revealed that the most important aspect and factor of mediation for the release of creative imagination is the visual and technological component of the director’s creativity. It is proved the specificity of V. Olshvang’s works as characteristic for the author’s animation of the 90s of the last century — the beginning of this one. The analysis of the artistic and technological solutions of the selected paintings in the article is of particular interest for studying the work of the director, who uses various materials and methods of shooting in attempts to create a luminous, transparent image on the screen. The novelty of the research is in the consideration of V. Olshvang’s work as an original set of various visual and expressive techniques for the most accurate way of expressing the author’s idea.
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Sandi, Supriyadi. "PEMANFAATAN FILM ANIMASI SEBAGAI MEDIA PEMBELAJARAN ANAK BERBASIS FLASHMX." Jurnal Komunikasi 12, no. 2 (2021): 144–51. http://dx.doi.org/10.31294/jkom.v12i2.11239.
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Entertainment-based education can be done by teachers and parents to design learning materials about soft skills in children such as helping children. The usefulness of this animated film, has a function as an entertainment tool and as a learning medium for children so that children do not feel bored and are able to provide freshness because of the entertainment element. Of the many animated films that are shown, not many teach about something that contains the meaning of goodness, for example the attitude of helping each other. After making this film, it shows that this film has an interesting storyline and is worthy to be watched by children aged 2-8 years and contains educational values both morally and religiously and can entertain children. Children always want to help people who are having difficulties, namely by helping everyone so that they can help ease the burden of suffering from others and get a reward from the creator. The making of this animation using Macromedia Flash MX software by adding a mixture of visual effects in each scene to make it more interesting and the picture clearer
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McBane, Barbara. "Walking, Talking, Singing, Exploding…and Silence: Chantal Akerman's Soundtracks." Film Quarterly 70, no. 1 (2016): 39–47. http://dx.doi.org/10.1525/fq.2016.70.1.39.
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Chantal Akerman's sound strategies are defining elements of a unique film language noted for effects that feel close to direct experience and seem to approximate the passing of real time. Drawing from a range of Akerman's films, from Saute ma ville (1968) to No Home Movie (2015), five categories of sound that are of special interest in Akerman's films are considered: walking, talking, singing (music), exploding, and silence. Local examples are analyzed to give a sense of how, within these five categories, Akerman cultivated an overall tactic of desynchronization – often separating layers of sound from one another within the soundtrack, and always working the soundtrack as a whole against the visual image track – to amplify effects of immediacy and temporal complexity, and to generate layers of meaning powerfully but indirectly.
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Muhammad, Rozie, and Eka Prasetya Adhy Sugara. "SEJARAH PEMBANGUNAN MASJID AGUNG PALEMBANG DALAM VIDEO ANIMASI 3 DIMENSI." GESTALT 1, no. 2 (2019): 227–40. http://dx.doi.org/10.33005/gestalt.v1i2.29.
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Palembang Grand Mosque is one of the oldest mosques in Palembang. The shape of this historic building has a lot of architectural rich heritage which holds noble values and information important for the development of cultural and scientific understanding, so it needs to be protected, preserved and told its history in order to foster awareness of national identity and national interests, especially for young people. One form of disseminating information is to utilize animated video media. The use of video in the form of 3-dimensional animation can bring up visual images that look more real to stimulate the imagination of the audience so that it can be carried into the atmosphere of a more lively storyline. This research uses the stages of Pre-production which includes research information, determines visual concepts, letter concepts, color concepts and manuscript, the Production stage which includes sketching, modeling, texturing, animating and rendering and then Post-production which includes by providing transitions , video effects, sound effects, dubbing, music, giving text, color grading and ending with the final rendering. The results of this study are a video animation as information media about the history of the construction of the Great Mosque.
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Hocquet, T., P. Mathieu, Y. Simon, and C. Guilpin. "Second-sound detection of thermal effects at low temperature." Journal of Physics D: Applied Physics 26, no. 8 (1993): 1286–97. http://dx.doi.org/10.1088/0022-3727/26/8/020.
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Muthalib, Hassan. "From mousedeer to alien creatures." Animation in Asia 23, no. 1 (2013): 41–65. http://dx.doi.org/10.1075/japc.23.1.04has.
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Cinema in the Malay Archipelago can be said to have first come into being with the wayang kulit (Malay shadow play) due to the similar apparatus utilized, i.e., a white screen; the projection of moving images with the accompaniment of dialogue, sound effects, and music. Wayang kulit can also be designated as the first “animated cartoon” because the shadow puppets’ arms and mouth are made to move through manipulation of the articulating parts as in the technique of cutout animation. The main difference between the two art forms is that while wayang kulit movements are created in real time, cutout animation would be laboriously created frame by frame under an animation camera. None of the traditional art forms of Malaysia was any inspiration for early animators (as Chinese shadow puppets had been for the making of Lotte Reiniger’s The Adventures of Prince Achmed, a silhouette animation film made in 1926). The inspiration was only to emerge very much later in the works of film and animation school students’ almost a half century after the first animation film was made in the country.
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Gyoba, Jiro, and Yuika Suzuki. "Effects of Sound on the Tactile Perception of Roughness in Peri-Head Space." Seeing and Perceiving 24, no. 5 (2011): 471–83. http://dx.doi.org/10.1163/187847511x588728.
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AbstractThe aim of this study is to investigate whether or not spatial congruency between tactile and auditory stimuli would influence the tactile roughness discrimination of stimuli presented to the fingers or cheeks. In the experiment, when abrasive films were passively presented to the participants, white noise bursts were simultaneously presented from the same or different side, either near or far from the head. The results showed that when white noise was presented from the same side as the tactile stimuli, especially from near the head, the discrimination sensitivity on the cheeks was higher than when sound was absent or presented from a different side. A similar pattern was observed in discrimination by the fingers but it was not significant. The roughness discrimination by the fingers was also influenced by the presentation of sound close to the head, but significant differences between conditions with and without sounds were observed at the decisional level. Thus, the spatial congruency between tactile and auditory information selectively modulated the roughness sensitivity of the skin on the cheek, especially when the sound source was close to the head.
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Reynolds, Herbert. "Aural gratification with Kalem films: a case history of music, lectures and sound effects, 1907-1917." Film History: An International Journal 12, no. 3 (2000): 417–42. http://dx.doi.org/10.2979/fil.2000.12.3.417.
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Cho, Hyung, Vincent Kotsubo, and Gary A. Williams. "Finite-size Kosterlitz–Thouless transition of 4He films in packed powders." Canadian Journal of Physics 65, no. 11 (1987): 1532–33. http://dx.doi.org/10.1139/p87-244.
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The Kosterlitz–Thouless transition of 4He films adsorbed in packed powders is studied using a third-sound technique. We have extended the powder-grain diameter to a larger size (50 μm Al2O3) and to a smaller size (150 Å Carbolac II) than in our previous work. The results show that finite-size effects are very pronounced in the Kosterlitz–Thouless transition and can be observed even up to micrometre-length scales.
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Sarzi-Ribeiro, Regilene Aparecida, and João Victor Kurohiji Bonani. "EXPERIMENTAÇÕES ARTÍSTICAS NA ANIMAÇÃO OCIDENTAL: BEGONE DULL CARE." Arteriais - Revista do Programa de Pós-Gradução em Artes 5, no. 8 (2020): 72. http://dx.doi.org/10.18542/arteriais.v5i8.8918.
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ResumoO presente artigo tem como tema a animação experimental e suas características, campo repleto de inovações técnicas e artísticas que é mantido à margem dos estudos sobre o cinema animado. Portanto, tem como objetivos definir certas características de uma animação experimental e identificar e descrever traços e características do que se considera uma animação experimental no curta animado “Begone Dull Care” (1949) de Norman McLaren (1914-1987) e Evelyn Lambart (1914-1999) através de uma pesquisa teórica, bibliográfica e descritiva do tipo qualitativa, de natureza básica/pura a partir da coleta de dados e análise documental que compreende a identificação, verificação e apreciação de documentos (bibliográficos e obras audiovisuais) com determinados fins, como análise de conteúdo por meio da descrição do filme de animação “Begone Dull Care” (1949). Diferente da animação comercial que tem como objetivo comercial agradar o público sem a preocupação da satisfação artística ou pessoal dos animadores dos estúdios, e buscar soluções formais que facilitem a produção em larga escala dos filmes animados, a animação experimental vai se distinguir por experimentações técnicas e estéticas que desafiam os limites da linguagem e ampliam seu potencial expressivo. Com caráter de vanguarda, voltada à criação artística e à experimentação, a animação experimental terá desenvolvimento na Europa do início do séc. XX. Artistas como McLaren e Oskar Fischinger exploraram técnicas que ampliam o potencial plástico das animações. O termo incorporou diversas nomenclaturas ao longo dos anos como animação independente ou de autor. “Begone Dull Care” é produto desse espírito que desafia o tradicional através de experimentações. Nele, McLaren utiliza o método de animação direto sobre a película e sincroniza cores e formas gráficas animadas pelo som de jazz. McLaren e Lambart adotam formas simplificadas e abstratas para maior liberdade de criação e, durante tal processo empírico, incorporam imprevistos, acidentes e materiais não convencionais como potencializadores da expressividade através de suas experimentações com a materialidade do filme.AbstractThe present article has as its theme the experimental animation and its characteristics, a field full of technical and artistic innovations that is kept aside from the studies on animated cinema. Therefore, it aims to define certain characteristics of an experimental animation and to identify and describe traits and characteristics of what is considered an experimental animation in the animated short film Begone Dull Care in Norman McLaren’s (1914-1987) and Evelyn Lambart (1914). Bibliographical and audio-visual works with a specific purpose, such as the identification, verification and evaluation of documents (bibliographical and audiovisual works), of a basic / pure nature, based on data collection and documentary analysis, as content analysis through the description of the animated film “Begone Dull Care” (1949). Unlike commercial animation that aims to please the public without the concern of the artistic or personal satisfaction of studio animators, and seek formal solutions that facilitate the large-scale production of animated films, the experimental animation will be distinguished by technical experimentation and aesthetics that challenge the limits of language and amplify its expressive potential. With avant-garde character, focused on artistic creation and experimentation, the experimental animation will be developed in Europe at the beginning of the century. XX. Artists like McLaren and Oskar Fischinger explored techniques that amplify the plastic potential of animations. The term has incorporated several nomenclatures over the years as independent or author animation. “Begone Dull Care” is a product of this spirit that challenges the traditional through experimentation. In it, McLaren uses the direct animation method on the film and synchronizes colors and graphic shapes animated by the sound of jazz. McLaren and Lambart adopt simplified and abstract forms for greater freedom of creation and, during such an empirical process, incorporate contingencies, accidents and unconventional materials as enhancers of expressiveness through their experimentation with the materiality of the film.
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Dannemann, Martin, Michael Kucher, Eckart Kunze, et al. "Experimental Study of Advanced Helmholtz Resonator Liners with Increased Acoustic Performance by Utilising Material Damping Effects." Applied Sciences 8, no. 10 (2018): 1923. http://dx.doi.org/10.3390/app8101923.
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In aero engines, noise absorption is realised by acoustic liners, e.g., Helmholtz resonator (HR) liners, which often absorb sound only in a narrow frequency range. Due to developments of new engine generations, an improvement of overall acoustic damping performance and in particular more broadband noise absorption is required. In this paper, a new approach to increase the bandwidth of noise absorption for HR liners is presented. By replacing rigid cell walls in the liner’s honeycomb core structure by flexible polymer films, additional acoustic energy is dissipated. A manufacturing technology for square honeycomb cores with partially flexible walls is described. Samples with different flexible wall materials were fabricated and tested. The acoustic measurements show more broadband sound absorption compared to a reference liner with rigid walls due to acoustic-structural interaction. Manufacturing-related parameters are found to have a strong influence on the resulting vibration behaviour of the polymer films, and therefore on the acoustic performance. For future use, detailed investigations to ensure the liner segments compliance with technical, environmental, and life-cycle requirements are needed. However, the results of this study show the potential of this novel liner concept for noise reduction in future aero-engines.
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Lyu, Lihua, Duoduo Zhang, Yuanyuan Tian, and Xinghai Zhou. "Sound-Absorption Performance and Fractal Dimension Feature of Kapok Fibre/Polycaprolactone Composites." Coatings 11, no. 8 (2021): 1000. http://dx.doi.org/10.3390/coatings11081000.
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This article introduces a kind of composite material made of kapok fibre and polycaprolactone by the hot-pressing method. The effects of volume density, mass fraction of kapok fibre, and thickness on the sound-absorption performance of composites were researched using a single-factor experiment. The sound-absorption performance of the composites was investigated by the transfer function method. Under the optimal process parameters, when the density of the composite material was 0.172 g/cm3, the mass fraction of kapok was 40%, and the thickness was 2 cm, the composite material reached the maximum sound-absorption coefficient of 0.830, and when the sound-absorption frequency was 6300 Hz, the average sound-absorption coefficient was 0.520, and the sound-absorption band was wide. This research used the box dimension method to calculate composites’ fractal dimensions by using the Matlab program based on the fractal theory. It analysed the relationships between fractal dimension and volume density, fractal dimension and mass fraction of kapok fibre, and fractal dimension and thickness. The quantitative relations between fractal dimension and maximum sound-absorption coefficient, fractal dimension, and resonant sound-absorption frequency were derived, which provided a theoretical basis for studying sound-absorption performance. The results showed that kapok fibre/polycaprolactone composites had strong fractal characteristics, which had important guiding significance for the sound-absorption performance of kapok fibre composites.
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Archer, Martin O. "Space Sound Effects Short Film Festival: using the film festival model to inspire creative art–science and reach new audiences." Geoscience Communication 3, no. 1 (2020): 147–66. http://dx.doi.org/10.5194/gc-3-147-2020.
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Abstract. The ultra-low frequency analogues of sound waves in Earth's magnetosphere play a crucial role in space weather; however, the public is largely unaware of this risk to our everyday lives and technology. As a way of potentially reaching new audiences, SSFX (Space Sound Effects) made 8 years of satellite wave recordings audible to the human ear with the aim of using it to create art. Partnering with film industry professionals, the standard processes of international film festivals were adopted by the project in order to challenge independent filmmakers to incorporate these sounds into short films in creative ways. Seven films covering a wide array of topics and genres (despite coming from the same sounds) were selected for screening at a special film festival out of 22 submissions. The works have subsequently been shown at numerous established film festivals and screenings internationally. These events have attracted diverse non-science audiences resulting in several unanticipated impacts on them, thereby demonstrating how working with the art world can open up dialogues with both artists and audiences who would not ordinarily engage with science.
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Robinson, Kelly. "An Adaptable Aesthetic: Theodor Sparkuhl's Contribution to Late Silent and Early Sound Film-making at British International Pictures, 1929–30." Journal of British Cinema and Television 17, no. 2 (2020): 172–90. http://dx.doi.org/10.3366/jbctv.2020.0518.
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The German cinematographer Theodor Sparkuhl worked at Elstree from 1929 to 1930. Accounts of this period in Britain have often emphasised the detrimental effects of the arrival of the sound film in 1928, how it sounded the death knell of film as an international medium and how the film industry struggled to adapt (economically, technically, aesthetically). However, this article shows that the international dimension of the film industry did not disappear with the coming of sound and British International Pictures (BIP) was an exception to what Robert Murphy has called the ‘catalogue of failure’ during this turbulent period in British film history. Sparkuhl indisputably contributed to this achievement, working as he did on eight feature films in just two years from around July 1928 to April 1930, as well as directing several BIP shorts. Sparkuhl's career embodies the international nature of the film industry in the 1920s and 1930s. In Germany he moved within very different production contexts, from newsreels to Ufa and the Großfilme; in Britain from big-budget films aimed at the international market to low-scale inexpensive films at BIP. As what Thomas Elsaesser has called an ‘international adventurer’, Sparkuhl cannot be contained within any single national cinema history. The ease with which he slipped in and out of different production contexts demonstrates not just his ability to adapt but also the fluidity between the different national industries during this period. In this transitional phase in Britain, Sparkuhl worked on silent, part sound and wholly sound films, on films aimed at both the international and the indigenous market, and in genres such as the musical, the war film and comedy. The example of Sparkuhl shows that German cameramen were employed not only for their aesthetic prowess but also for their efficiency and adaptability.
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Yu, Hechun, Wenchao Li, Jin Wang, et al. "Research on the Effect of Tip Surface Coatings on High-Speed Spindles’ Noise." Coatings 12, no. 6 (2022): 783. http://dx.doi.org/10.3390/coatings12060783.
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The contact interface between the stator and the rotor tip of the spindle could be destructed when the spindle is rotating continually at high speed, which will cause strong noise and severe vibration. In order to reduce the sound pressure level of the noise generated by the rotating spindle, three different coating materials, that is, Al-Ti-Cr-C, Ti-C and DLC, were applied to the rotor tip surface of the spindle. The effects of the coating materials on the sound pressure levels of the rotating spindles were studied by using the treated spindles and the untreated spindles. Results showed that compared with Coating Al-Ti-Cr-C, the Coating Ti-C containing only the two main elements of Ti and C produces the smallest sound pressure level in the experiment speed range; the surface roughness of Coating DLC is smaller, but the sound pressure level of the entire spindle becomes larger than Coating Ti-C; the sound pressure level of the spindles with surface coating treatment is obviously lower than that of the spindles without coating treatment. The research results can provide basic data for the design and production of noiseless spinning spindles.
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VanCour, Shawn, and Chloe Patton. "From Songfilms to Telecomics: Vallée Video and the New Market for Postwar Animation." Animation 15, no. 3 (2020): 207–28. http://dx.doi.org/10.1177/1746847720964886.
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From 1948–1952, Rudy Vallée, a successful performer whose career spanned radio, film, recorded music and stage entertainment, expanded his operations into the burgeoning US television market with the launch of his independent production company, Vallée Video. One of hundreds of forgotten companies that arose during this period to meet growing demand for programming content, Vallée Video offers an important case study for understanding animation workers’ role in postwar television production. Drawing on corporate records and films preserved in the Rudy Vallée Papers at California’s Thousand Oaks Library and the UCLA Film and Television Archive, the authors’ analysis documents Vallée’s use of freelance artists and external animation houses for work ranging from camera effects for illustrated musical shorts to animated commercials and original cartoon series. These productions demonstrate the fluid movement of animation labor from theatrical film to small screen markets and participated in larger aesthetic shifts toward minimalist drawing styles and limited character animation that would soon dominate mid-20th century US television.
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Chen, Shaopeng. "Social Concern, Government Regulation, and Industry Self-Regulation: A Comparison of Media Violence in Boonie Bears TV and Cinematic Creations." SAGE Open 10, no. 4 (2020): 215824402096313. http://dx.doi.org/10.1177/2158244020963136.
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This article compares the TV and cinematic versions of the Chinese 3D animation Boonie Bears in terms of their representations of media violence within the context of social concern, government regulation, and industry self-regulation. These works are particularly significant among domestically produced animation with respect to their effects on children of exposure to violent programming. The first part of this article examines physical violence and verbal abuse in Boonie Bears and Pleasant Goat and Big Big Wolf, the two most influential and widely watched animated TV series in China. The second part reviews the corresponding public criticism the above two works have received and the reasons behind it. The third part of this article analyzes how and to what extent the production company has reduced the degree of children’s exposure to media violence in cinematic Boonie Bears productions (especially the first two films), which have been deemed acceptable by the majority of potential audience members.
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Schuler, Peter, H. Bob Mojazza, and Ross Haghighat. "Atomic Oxygen Resistant Films for Multi-Layer Insulation." High Performance Polymers 12, no. 1 (2000): 113–23. http://dx.doi.org/10.1088/0954-0083/12/1/309.
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A series of advanced polymer films from Triton Systems is being developed to meet the challenges of harsh space environmental effects, lighter weight requirements and superior thermal control performance demands. With support from NASA, Triton Systems Inc has developed advanced new materials for thermal control films with exceptional properties and durability in the space environment. These films known as TOR™ and TOR-LM™ are amber coloured, mechanically sound, produced in continuous rolls and have undergone substantial ground-based simulation and confirming space validation tests. These films are highly resistant to atomic oxygen erosion, and have excellent vacuum ultraviolet radiation stability in ground-based simulation tests. Two applications for these films include large inflatable structures that are either deployed in low earth orbit (LEO) or travel through a LEO orbit into higher orbits, and as outer metallized layers in multi-layer insulation (MLI) blankets. This paper discusses the processing of these advanced materials into thin films, metallization of the films and characterization of their environmental durability as well as other physical, optical, thermal and mechanical properties.
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AKKUŞ, HARUN. "MULTIPLE OPTIMIZATION ANALYSIS OF MRR, SURFACE ROUGHNESS, SOUND İNTENSITY, ENERGY CONSUMPTION, AND VIBRATION VALUES IN MACHINABILITY OF TC4 TITANIUM ALLOY." Surface Review and Letters 28, no. 09 (2021): 2150072. http://dx.doi.org/10.1142/s0218625x21500724.
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Research on machining continues increasingly today. The effects of independent variables (cutting speed, feed rate, cutting depth) on dependent variables (material removal rate (MRR), average surface roughness (Ra), sound intensity, energy consumption, and vibration) are among the most researched topics in machining. It is also important to achieve optimum results with low cost and time savings in machining. In this study, titanium alloy TC4 material was turned on CNC lathe. Taguchi L[Formula: see text] mixed level design was used in experimental design. MRR, Ra, sound intensity, energy consumption, and vibration values were measured for the determined cutting parameters. The measured values were researched experimentally and statistically. Effective parameters were determined. It was concluded that the cutting parameter that has the greatest effect on MRR, Ra, energy consumption, and vibration is the feed rate. In addition, the depth of cut was the parameter that most affected the sound intensity. Control experiments were carried out after determining the optimum machining parameters. With multiple optimization, the predictions were made with approximately 89% accuracy (92.75% for MRR, 92.49% for Ra, 89.45% for sound intensity, 92.70% for energy consumption, 96.16% for vibration).