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Journal articles on the topic 'Animated films'
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1
Sabri, Sabri, and Vani Dias Adiprabowo. "Nonverbal Communication Through Visual Storytelling of Leaving Home Animated Films." Proceedings Of International Conference On Communication Science 2, no. 1 (2022): 181–86. http://dx.doi.org/10.29303/iccsproceeding.v2i1.99.
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This study aims to describe visual storytelling in the animated film Leaving Home as a nonverbal communication medium that provides education to the audience. The power of nonverbal communication as a form of visual storytelling in the animated film Leaving Home is the researcher's motive to examine how a nonverbal animation can be interpreted universally. The nonverbal communication of the animated film Leaving Home embodies writing into moving images. An animator must have the ability to visual storytelling to make the imagination in telling stories (synopsis-text) into scripts (visual-written). An animator, also an animation film creator, must understand the rules of scriptwriting to communicate the message implied in his work. An excellent visual understanding will help an animator visualize the picture's language into an exciting story. The technique of conveying visual storytelling stories in animation sometimes finds obstacles in understanding the story due to improper use of visual language. This research uses qualitative methods to uncover the phenomenon of nonverbal communication through visual storytelling in the animated film Leaving Home to explain in more detail. The results showed that nonverbal communication is omnipresent, including nonverbal aspects of each communicative action. In the interactions seen in the story of the animated film Leaving Home, all its nonverbal channels come into play. This study also represents the imagination visualized in animated films as more hyperbolic. After conducting a study of nonverbal visual storytelling communication in the animated film Leaving Home, it can be concluded that films with animation techniques can be presented with visual storytelling packaged in an artistic visual language. So visual storytelling can be a literacy animation technique in conveying information and opening up opportunities for animation creators to communicate nonverbally to the audience.
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Zainal, Rizuan, and Mohd Asyiek Mat Desa. "The Benefit of Using Emotion in 3D Animation Film: Pre-Production Stage." PaperASIA 41, no. 1b (2025): 255–70. https://doi.org/10.59953/paperasia.v41i1b.162.
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Pre-production is the first phase of a 3D animated film; hence it is a critical initial process in the production of a 3D animated film. Elements such as ideas, storytelling, scripts, dialogue, storyboard, animatic, character development, and background design development need to be implemented perfectly. Thus, the process in the pre-production phase will determine the final outcome of the entire film that will be shown to the audience. Malaysia's 3D animated film ticket collection in 2009 and 2016, reached RM6.2 million and RM18 million. The data shows the developments taking place in the local animated film industry. However, this study has been able to identify that the position of the local animated film genre is not the preferred choice among Malaysian audiences. The local animated film genre ranking became the third choice of audiences over action and comedy genres from 2009 to 2019. Therefore, the main focus of the study was on the pre-production process as a determinant of the success of 3D animated films. Special emphasis on the emotional element as a factor in the interest of the audience. The study methodology involved document analysis and semi-structured interviews with ten active animation practitioners in Malaysia. The results showed that relatability and emotional elements play an important role in producing 3D animated films that can attract the attention of the audience. The study also found that there were factors that led to a lack of response to local 3D animated films among adult audiences. Overall, the study provides important insights to researchers and local animation production experts to enhance the appeal of local 3D animated films. In addition to helping the Malaysian 3D animated film industry grow. The importance of emotion and relatability in the pre-production process will garner greater support from the adult audience.
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Gorcevic, Admir R., Samina N. Dazdarevic, and Amela Lukač Zoranić. "DYSPHEMISMS IN ANIMATED FILMS." Folia linguistica et litteraria XII, no. 35 (2021): 175–94. http://dx.doi.org/10.31902/fll.35.2021.9.
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Current research focuses on an observational investigation of dysphemistic words and phrases in contemporary animated films. The language of animated films varies from other genres and styles, and this divergence from conventional language presents an important sociolinguistic problem. The main reason for the study is an assumption that authors and script writers of animated films use dysphemisms in this specific language style, despite the fact that they should be avoided. The study's methodological foundation is a corpus analysis which deals with three different corpora: the primary corpus – selected contemporary animated films (dating from 2017 to 2020) and the secondary – a) the native language corpus (Corpus of Contemporary American English - COCA), and b) Google search engine. The following goals were pursued in this dysphemism investigation: (1) the selection of animated films for the primary corpus, (2) identification of dysphemisms in the primary corpus, (3) sociolinguistic analysis and explanation of some of the most appealing expressions from the primary corpus, and (4) to cross-check some of the dysphemisms identified in the primary corpus against the secondary corpus. The authors believe that certain number of them are exclusive to animated films and cannot be found in the native discourse. The analysis has confirmed that the language of animated films contains dysphemisms, and that their number and nature vary from film to film. The most common dysphemisms can be found in all animated films, but those containing the most profane language are characteristic only for South Park. Further investigation revealed that certain number of dysphemistic expressions identified in the primary corpus can only be found in animated films and not in the natural discourse.
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Ward, Paul. "Animating with Facts: The Performative Process of Documentary Animation in the ten mark (2010)." Animation 6, no. 3 (2011): 293–305. http://dx.doi.org/10.1177/1746847711420555.
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This article examines how animated films re-present and re-interpret real world occurrences, people and places, focusing on an area that has been overlooked to date: the process of performance and how this manifests itself in animated documentary films. Not simply a notion of ‘performance’ as we might understand it in an ‘acting’ sense (someone playing a role in a re-enactment), but that of the animator performing specific actions in order to interpret the factual material. The central questions addressed are: how does an understanding of ‘performance’ and the related term ‘performativity’ help us to frame animated/nonfictional acting? What ontological questions are raised by thinking about notions of acting in animation (and the performance instantiated in the very action of animating)? How do viewers relate to, interpret or ‘believe in’ animated films that are asserting real/factually-based stories? The article uses a recent film, the ten mark, as a case study to explore possible answers to these questions.
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Zhao, Wei Jun, and Ying Ying Wu. "The Impacts of CG Technology on Architectural Designs in Animated Films of the U.S.A." Advanced Materials Research 468-471 (February 2012): 2806–11. http://dx.doi.org/10.4028/www.scientific.net/amr.468-471.2806.
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In the digital animated films of the U.S.A, the frontier technology is CG (Computer Graphics). This paper, based on the study of American CG animated films, analyzes the unique architectural designs in these films and further points out that CG has brought unprecedented impacts on the traditional animated films. Thus, the architectural designs have been changing in the animated films of the U.S.A..
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Sun, Zhentao. "What Does CGI Digital Technology Bring to the Sustainable Development of Animated Films?" Sustainability 15, no. 14 (2023): 10895. http://dx.doi.org/10.3390/su151410895.
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This study examines the impact of the use of CGI digital technology on the sustainability of animated films. The study shows that because of the powerful virtual capabilities of CGI digital technology, CGI animated films that use CGI digital technology have a huge box office advantage over non-CGI animated films that do not use CGI digital technology, greatly increasing the profitability of animated films and expanding the scope for their sustainability. This study found that CGI digital technology enables animated films to achieve the same visual realism as live-action films, breaking down the barriers to viewing traditional animation and greatly enhancing the competitiveness of animated films. These results show that CGI digital technology has had a profound positive impact on the sustainable development of animation.
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Deng, Yasheng. "Analysis of Shanhaijing Elements in Ancient Chinese Mythological Animated Films." Highlights in Art and Design 4, no. 2 (2023): 170–73. http://dx.doi.org/10.54097/hiaad.v4i2.13498.
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Ancient Chinese mythology plays an important role in the classic work of Shanhaijing. This thesis aims to explore the inheritance and innovation of mythological elements in animated films by analysing the elements of Shanhaijing in ancient Chinese mythological animated films. Through the observation and study of several ancient mythological animated films, this paper finds that the elements of Shanhaijing have been widely used in animated films, such as the portrayal of birds and beasts, mountains and rivers, gods and immortals, and other images. In addition, the animated films have also adapted and created the Shanhaijing stories, incorporating them into new storylines to meet the needs of modern audiences for animated films. This paper argues that the success and popularity of animated films based on ancient myths is due to the use and re-creation of the elements of the Shanhaijing, which makes these ancient myths take on a new vitality.
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Karatimur Çutsay, Birnur. "AESTHETIC APPROACHES IN STOP MOTION ANIMATED FILMS." E-journal of New World Sciences Academy 15, no. 1 (2020): 88–98. http://dx.doi.org/10.12739/nwsa.2020.15.1.d0254.
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Frølunde, Lisbeth. "Animated war." Convergence: The International Journal of Research into New Media Technologies 18, no. 1 (2012): 93–103. http://dx.doi.org/10.1177/1354856511419918.
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In this feature article two DIY (do-it-yourself) film projects are examined from perspectives of resemiosis (transformations in meaning-making) and the textual production practices of contemporary multimedia authorship. These practices are considered as evolving in a complex media ecology. The two films analysed are Gzim Rewind (Sweden, 2011) by Knutte Wester, and In-World War (USA, expected 2011) by DJ Bad Vegan. The films are currently in production and involve many collaborators. Both films have themes of war and include film scenes that are ‘machinima’ – real-time animation made in 3D graphic environments – within live action film scenes. Machinima harnesses the possibilities of reappropriating digital software, game engines, and other tools available in digital media. War-related stories are resemiotized in the machinima film scenes as meanings are transformed in the story’s shift from a war game context to a film context. Thus machinima exemplifies how DIY multimedia storytellers explore new ways to tell and to ‘animate’ stories. The article contains four parts: an introduction to machinima and the notions of resemiosis and authorial practice; a presentation of DIY filmmaking as a practice that intertwines with new networked economics; an analysis of the two DIY film projects; and a discussion of implications including issues relating to IP (intellectual property) and copyrights when reappropriating digital assets from commercial media platforms.
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Gao, Changyue. "New Chinese Style: A Case Study of Chinese Domestic Animated Films." Scientific Journal Of Humanities and Social Sciences 7, no. 3 (2025): 8–13. https://doi.org/10.54691/ejtexe48.
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As the Chinese domestic animated films expounds the practical significance of patriotism as an important narrative tool, this paper discussed Chinese domestic animated films from many aspects, combined with Chinese traditional culture to rewrite traditional stories. It analyzes about 39 typical local animated films and their artistic characteristics since the new era. Comparing with American ‘Chinese-Style’ animated films, domestic animation adheres to local characteristics, achieves high-quality dissemination through the synergy of globalization and localization, which explains Chinese cultural values and highlights ideological influence. As it provides theoretical and practical references for the sustainable development of local animated films in cultural inheritance, which contained the artistic innovation and international exchanges.
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Kalmakurki, Maarit, and Marley Healy. "‘Who wants the pressure of being super all the time?’: Mid-century modern fashions and their influence on costume development in The Incredibles and Incredibles 2." Film, Fashion & Consumption 11, no. 1 (2022): 91–108. http://dx.doi.org/10.1386/ffc_00041_1.
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In this article, we examine period fashions in character costumes in the two Pixar/Disney computer-animated films, The Incredibles and Incredibles 2. These films have a strong mid-century modern design influence interwoven into the films’ narratives and aesthetic designs. The films have previously raised interest in fashion studies, due to their superhero concept. However, an analysis of the characters’ everyday dress is also valuable for understanding the influence of fashion and pop culture references on contemporary animated film costuming and how those elements embed within the technological development of digital characters’ clothing. We employ historical and visual analysis to highlight the integration of design elements of period-appropriate fashions into character costumes. Additionally, we examine the relationship between animation software development and the films’ design aesthetics to inspect how technological advancements support the behaviour of cloth, narrative progression and characters’ personal emotional arcs by reviewing industry articles as well as animator and designer interviews from the making of the films. This is a unique case study that explores the influences and inspiration of period-specific fashion in constructing costumes for computer-animated films, which are ostensibly set in an environment also inspired by the period and specific cultural zeitgeist.
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Zhang, Xijin, and Gaofeng Mi. "A Narrative Comparison Between the Animated Films Frozen and White Snake." Arts Studies and Criticism 3, no. 2 (2022): 192. http://dx.doi.org/10.32629/asc.v3i2.915.
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Although the theme of the American animated film Frozen series and the Chinese animated film White Snake series are the same, they present completely different narrative structures. This paper makes a comparison between the two series of animated films from three aspects: narrative strategy, emotional clues and characters' personalities, and finds out some common narrative features of female-themed animated films under cultural differences, to further explore how animated films depict female images in the new era.
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Agustin, Nurul, Ivo Yuliana, and Miftakhul Hidayah. "MEMAHAMI NILAI MORAL DALAM FILM ANIMASI NUSSA DAN RARA SEBAGAI TAYANGAN YANG LAYAK DITONTON ANAK SEKOLAH DASAR." Jurnal Muassis Pendidikan Dasar 1, no. 1 (2022): 77–87. http://dx.doi.org/10.55732/jmpd.v1i1.7.
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Animated films are moving images that contain messages in each scene. Animated film, played by 2 children's characters named Nussa and Rara. The animated films Nussa and Rara are watched by all people, from children to adults. The animated films Nussa and Rara are very interesting for children to watch, so adults can also watch it in order to choose films that are suitable for children to watch. This research was conducted to understand the moral values and the presence or absence of moral values in the animated film Nussa and Rara for children. The moral values contained in the animated film Nussa and Rara are categorized into various relationships. From the relationship between humans and God, human relationships with others, human relationships with the surrounding environment and human relationships with oneself. This research method uses qualitative descriptive research which is a descriptive method, namely by describing a real event. The results of this study are: 1) Of the four selected animated films contain moral values. 2) Of the four animated films, Nussa and Rara, which were selected, contained moral values with different kinds of relationships. 3) The animated film Nussa and Rara deserves to be watched among elementary school children.
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Brown, William J., and Terry R. Lindvall. "Green Cartoons: Toward a Pedagogy of the Animated Parable." Animation 14, no. 3 (2019): 235–49. http://dx.doi.org/10.1177/1746847719881701.
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The use of short animated films to address important social issues and societal needs has a rich tradition. These cartoons follow a stream of ecological propaganda in a variety of films that promote pro-environmental values and beliefs. After surveying films for both the cinema and television, the authors focus on exploring short animated films as pedagogical texts that teach pro-environmental beliefs and encourage ordinate behaviors in entertaining ways. They then discuss the application of the entertainment–education communication strategy through animated films as a means to advance environmental education. In particular, they view short animated films as pedagogical tools that function as exemplary or revelatory parables.
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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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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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Liu, Peng. ""Hand-drawn +3D" Disney Animation Film Artistic Adherence and Technological Innovation." Highlights in Art and Design 4, no. 3 (2023): 17–18. http://dx.doi.org/10.54097/hiaad.v4i3.05.
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Throughout the long development of Disney's animated films for more than half a century, after experiencing the brilliance of the "hand-drawn animation era" and the downturn and hesitation of the "3D animation era", Disney opened up a new era of animated films with the new "3D+ hand-drawn" technology. Its breakthrough in production technology and the inheritance of animation art make it represent the highest level of today's animated films. This paper will try to explore the technical breakthrough and artistic inheritance of Disney's animated films through the brief tracing of Disney's animation production tradition, taking Frozen and Zootopia as examples.
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Łangowska, Paulina. "Media Representations of Speech Disorders in Characters from Selected Films for Children." Przegląd Badań Edukacyjnych 2, no. 43 (2024): 71–86. http://dx.doi.org/10.12775/pbe.2023.028.
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Research so far shows that animated films are present in children's lives from an early age. Young audiences are looking for role models, which often take the form of characters from animated films. The aim of the research presented in this article was to reconstruct media representations of speech disorders specific to characters in selected animated films aimed at children. The author used archive searching as a data collection method and content analysis as a method to analyse the collected material. The paper presents results of a speech disorder analysis of 18 children from Poland. Research shows that the most common speech disorder in animated films is lisping, followed by rhotacism and pararhotacism; there is also a relationship between animated characters' speech disorders and their charakcter traits.
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Rudy, Rudy, Felix Immanuel Simanjuntak, and Zetro Panigoro Simanjuntak. "MULTICULTURAL VALUES IN DISNEY ANIMATED FILMS." Apollo Project: Jurnal Ilmiah Program Studi Sastra Inggris 11, no. 2 (2022): 97–110. http://dx.doi.org/10.34010/apollo.v11i2.6826.
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This qualitative research focuses on the discussion of multiculturalism which is essential to do because in the current digital era, people are increasingly active moving from one place to another. Consequently, more and more countries are inhabited by people from different kinds of ethnic groups, cultures, races, etc. and multicultural values are indeed necessary to be applied. As the issue of cultural diversity has been broadly discussed, it is also found in Disney animated films. This study applied the semiotic approach to analyze data in the forms of dialogs as well as scene images obtained from the observation of Disney animated films. The results of study suggested that multicultural values can refer to respect and peace which play an essential role in multicultural society. The study also revealed that the observed animated films could represent multiculturalism through the portraits of animated film characters, traditions and customs as well as philosophy from different cultures. Keywords: multicultural values, multiculturalism, Disney animated films, cultural diversity
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Wang, Jingyan. "In Early Chinese Animated Films: The Presentation of Life View." Scientific and Social Research 3, no. 6 (2021): 182–86. http://dx.doi.org/10.36922/ssr.v3i6.1298.
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The theme of Chinese animated films gives a rich orientation as we reach the post-epidemic age. Re-examining the expression of life in early animated films can assist encourage the viewer to build a positive outlook on life in the face of the epidemic’s impact. Chinese animated films express people’s entire view of life to some extent after experiencing the ups and downs of development, stagnation, and RE development. At the same time, in early Chinese animated films, the concept of a life full of fighting spirit and passion helps to guide the viewer in developing a positive sense of life in the post-epidemic era.
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Song, Zirong, and Wenjing Deng. "Aesthetic Evolution of Female Characters in Animated Films." Philosophy and Social Science 1, no. 1 (2024): 78–84. http://dx.doi.org/10.62381/p243115.
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Human aesthetic ideas on beauty are the result of long-time sexual selection. These aesthetic ideas are not only determined by human instinctive preferences, but also by social factors. The social, cultural, and historical differences between China and the United States lead to the differences in female characters portrayed in animated films. By examining the female characters presented in animated films in China and the United States since, this paper reveals the aesthetic evolution of female characters in Chinese and American animated films from the perspective of feminism, and discusses the social, cultural, and historical reasons. Our findings suggest that although both China and America tended to categorize their female animated figures simply into “demon” or “angel” groups before 1990, the improvement of women’s social, economic and political status has made female characters more diverse and dominant in the films. In comparison, American animated films is universal and adopts a stronger feminist approach, presenting us female characters of diverse races and ethnicities.
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Sapukh, Tatiana V., and Anna A. Nikitina. "FEATURES OF ANIMATED FILMS SUBTITLING BASED ON THE EXAMPLE OF THE STRANGE PLANET ANIMATED SERIES." Sovremennye issledovaniya sotsialnykh problem 16, no. 1 (2024): 139–51. http://dx.doi.org/10.12731/2077-1770-2024-16-1-412.
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Background. Subtitling as a type of audiovisual translation has gained great popularity in recent decades. Compared to other types of audiovisual translation, the production of subtitles for films, TV series, and animated films takes less time and requires fewer financial costs. Purpose. The purpose of this article is to identify the difficulties faced by a translator in the subtitled translation of animated films. To do this, it is necessary to identify the essence and features of subtitling; identify the difficulties that translators may face in the process of subtitled translation; determine strategies for subtitled translation of animated films. Materials and Methods. To solve the tasks set, both theoretical and practical research methods were used: analysis of literature on translation theory and audiovisual translation as a special aspect of translation studies; analysis and interpretation of strategies for subtitled translation of the Strange Planet animated series. Results. The results of the study showed that audiovisual translation is a special type of translation, which includes the adaptation of texts with a complex structure combining elements coming through different channels of perception. Animated films also belong to such texts. The paper lists the features of their subtitling using the example of translating the Strange Planet cartoon series from English to Russian. Practical implications. The results of the research can be used in the practical activities of the translator, when compiling subtitles for animated films.
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Fajri, Riyadhul, T. Rafli A, Munar, and Dedy Armiady. "Pelatihan Desain Karakter dengan Modeling 3D Kepada Siswa SMA Negeri 1 Jeunieb Kabupaten Bireuen." Aceh Journal of Community Engagement (AJCE) 1, no. 1 (2022): 6–12. https://doi.org/10.51179/ajce.v1i1.1398.
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Indonesia has a source of inspiration in character creation because it has a unique and diverse culture. Of course, in the creation of characters extracted from cultural sources, the Indonesian nation has enormous potential. Character development can start from comics, games, novels or movies. Then it can be reduced to merchandise, 2D/3D movies, mobile games, consoles, board games. In an animated film, human or animal characters are one of the most important elements. Character is a filler role from the story of an animated film. It is even now an advantage that characters in animated films can be registered as Intellectual Property. The Intellectual Property of the characters and their derivatives may be commercialized. The purpose of the 3D character design training is to train the participants (students) ability to create animated characters so that they can compete nationally and even internationally. This 3D Character Design was created using Blender, a free opensource software. In this training, participants are also given knowledge about 3D character topology modeling so that it is easy to animate. Because character design depends on its purpose whether it's just a model for concept art or an object model to animate
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Lyu, Shuhang. "An Analysis of Transmedia Storytelling of Chinese Animated Films Based on the Perspective of Media Mix." Communications in Humanities Research 13, no. 1 (2023): 270–75. http://dx.doi.org/10.54254/2753-7064/13/20230354.
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In recent years, Chinas animation industry has drawn on the experience of some developed countries in the process of development. For example, Japan has already formed an animation industry and disseminates its works through various media through transmedia storytelling to obtain better communication effects. There are still some problems with transmedia storytelling and media mix in Chinese animation. This study uses a content analysis and ethnographic approach to compare Chinese and Japanese animation movies in terms of the number of transmedia and the effect of transmedia communication. In order to analyze the problems of Chinese animated films in transmedia communication, as a further extension of transmedia theory in animation, this paper summarises the problems of Chinese animated films in transmedia communication based on previous theories of transmedia communication as well as research on Chinese animation, and suggests that Chinese animated films should perhaps learn from Japanese animation films to increase their interaction with other media, and to become part of the media mix of Chinese animation. According to statistics, it was found that the number of Chinese animated films spread transmedia in 2019 was much lower than that of Japanese animation films, which means that if Chinese animated films are seen as part of a media mix , there are still have problems with Chinese animated films. Improving the linkage of animation films with other media to increase the number and effectiveness of their transmedia dissemination may be the solution.
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Graham, James A., Hope Yuhas, and Jessica L. Roman. "Death and Coping Mechanisms in Animated Disney Movies: A Content Analysis of Disney Films (1937–2003) and Disney/Pixar Films (2003–2016)." Social Sciences 7, no. 10 (2018): 199. http://dx.doi.org/10.3390/socsci7100199.
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The purpose of this content analysis was to examine how death depictions in animated Disney films has changed in the past 14 years and the coping mechanisms used to process death within these films. A content analysis from 2005 was used to investigate the influence of Disney films on children’s concepts of death based on 23 death scenes from 10 full-length Disney Classic animated films from 1937 to 2003 and 10 death scenes from 8 selected full-length Disney and Pixar animated films from 2003 to 2016. Our goal was to compare the findings across the two studies. Similar to the original study, the portrayal of death focused on five categories: character status; depiction of death; death status; emotional reaction; and causality. We expanded on the original study and more research by examining coping mechanisms used to process death within a selection of these films. Our findings indicated that some scenes from animated Disney and Pixar films obscure the permanence and irreversibility of death and often fail to acknowledge deaths emotionally. Our conclusions showed that Disney’s and Pixar’s portrayal of death in newer films might have more positive implications for children’s understanding of death than Disney Classic animated films.
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Apriliyanti, Desy, Juniardi Nur Fadila, and Fresy Nugroho. "3D ANIMATION DESIGN "SCIENCE, LANTERNS TO HEAVEN" USING THE POSE-TO-POSE METHOD." JITK (Jurnal Ilmu Pengetahuan dan Teknologi Komputer) 8, no. 1 (2023): 46–55. http://dx.doi.org/10.33480/jitk.v8i1.2231.
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In today's era, technology and communication have experienced very rapid development. Islamic values raised through the media are an effort in people's lives today. Including through the media of 3D animated films that rely on entertaining audio-visuals and messages conveyed through animated films can also be easily captured by the audience. In addition, the selection of animated films is based on the number of animated films circulating on social media such as YouTube and other electronic media, and this film can affect the attention of many people. Animated film designed by the author with the theme of the importance of studying can lead to Allah SWT's heaven. Making this animated film will use Blender software version 2.80. The method used is "Pose-to-Pose" by determining each key pose movement to produce a good movement. Using this method makes the work more effective or faster; if there is an error in the pose, it can be easily corrected. The design of the 3D animated film entitled "Science, Lantern Towards Heaven" is expected to be useful for the audience and take the moral message in it, which is to increase enthusiasm for learning or studying
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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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Wang, LiChao, and Mohd Asyiek Mat Desa. "Dissemination and Interpretation of Animated Films in Intercultural Communication in China." International Journal of Religion 5, no. 10 (2024): 5419–28. http://dx.doi.org/10.61707/mr2bkd32.
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As an important carrier for displaying local culture and national image, animated films play a key role in inheriting and innovating Chinese culture and cultivating national self-consciousness and cultural confidence. However, in the process of cross-cultural communication, Chinese animated films face problems such as an imperfect communication mechanism, insufficient cultural adaptability, and limited international influence.By analyzing these problems, this paper explores the specific communication mechanism and path of animated films in cross-cultural communication. It is found that there are problems such as improper balance between localization and internationalization of cultural content, lack of marketing strategy, and single communication channel in cross-cultural communication of Chinese animated films.Through case studies and empirical research, this paper proposes a series of strategies to optimize the dissemination mechanism, including enhancing the international adaptability of cultural content, adopting diversified dissemination channels, and strengthening marketing and branding in order to enhance the international competitiveness and cultural influence of Chinese animated films.The research in this paper provides concrete practical guidance and theoretical support for better dissemination and development of Chinese animated films in the context of globalization.
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Haydarova, Nigora Tohirjonovna. "Problems of Character Creation in Animation Films of Uzbekistan." Webology 19, no. 1 (2022): 1587–92. http://dx.doi.org/10.14704/web/v19i1/web19106.
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The article analyzes characters and features of their creation in Uzbek animated films of the times of independence. It also lists the reasons for referring to the characters of the past in modern Uzbek animated films in recent years. And also provided suggestions for creating an image that meets the requirements of the time in today's modern process.
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Zhao, Chunyang. "Innovative Visual Expression in Contemporary Chinese Animated Films: A Case Study of White Snake." Lecture Notes in Education Psychology and Public Media 72, no. 1 (2024): 1–6. http://dx.doi.org/10.54254/2753-7048/72/2025nd0003.
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Abstract: In recent years, Chinese animation films have begun to move towards revival, and a large number of domestic animation works with traditional styles have been loved by audiences. These animated film works integrate contemporary expression on the basis of traditional aesthetic style, which makes Chinese animated films gain recognition again. In the process of the development of domestic animation films, one should think about how to reflect contemporary spiritual values with excellent national elements. This paper discusses the innovative expression of Chinese traditional art style in animated films from three aspects. By studying the audiovisual approach of the animated film White Snake released in 2019, this paper finds that the films unique national characteristics of picture expression inherits and carries forward the essence of traditional culture on the basis of traditional aesthetic style. It concludes that Chinese animation films should adhere to the road of innovation and development in the future creative process, and organically combine traditional culture with contemporary aesthetics.
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Kong, Li. "Research on National Cultural Consciousness Construction and Strategy of Chinese New Mythological Animated Films--Taking Nezha: Birth of the Demon Child as an Example." Communications in Humanities Research 11, no. 1 (2023): 165–72. http://dx.doi.org/10.54254/2753-7064/11/20231409.
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Chinese neo-mythological films are emerging as a new genre of cinema, attracting more and more creators and audiences. Taking Nezha: Birth of the Demon Child, a representative of the new mythology animated films, as an example, this paper analyses the national cultural awareness embodied in the characterisation and social identity of Chinese new mythology animated films through a documentary research method, and points out that Chinese new mythology animated films can only be better developed if they take into account the nation-al culture and the characteristics of the times. That is, on the basis of preserving the tradi-tional group memory of the nation, creative adaptations are made using a modern vision to gain contemporary popular recognition. The author believes that valuing the uniqueness and value of China's new mythological films in the construction of national cultural awareness will lead to more masterpieces in the future, contributing to the development of the Chinese film industry and even the world's animated films.
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Li, Xin, and Ning Wang. "Research on Development Strategies of British Animated Films." Philosophy and Social Science 1, no. 3 (2024): 71–77. http://dx.doi.org/10.62381/p243311.
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This article aims to explore the development strategies of British animated films, analyze their history, current situation, and challenges faced, and propose corresponding strategic suggestions. British animated films boast a rich and colorful history, with early paper-cutting animation and stop-motion animation forms exhibiting unique characteristics. However, in the global market, the share of British animated films is limited, and there is a certain gap compared to giants like Disney and Pixar in the United States. Nevertheless, we also see opportunities amidst the challenges. Through in-depth research and analysis of the development of the British animated film industry, we hope to contribute new ideas to the prosperity and development of this industry and provide valuable reference for relevant practitioners. Therefore, this article will focus on how to promote the British animated film industry to achieve greater scale and broader success and explore effective strategies that may be adopted to facilitate the achievement of this goal.
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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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Garbar, Svitlana. "THE USE OF ANIMATED FILMS IN THE FORMATION OF NATURAL SCIENCE COMPETENCE OF CHILDREN OF PRIMARY SCHOOL AGE." Scientific Bulletin of Uzhhorod University. Series: «Pedagogy. Social Work», no. 1(50) (May 31, 2022): 56–58. http://dx.doi.org/10.24144/2524-0609.2022.50.56-58.
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The article describes the essence of the concepts of «natural science competence», «formation of natural science competence of children of primary school age», «animated films»; analyzed the potential for the use of animated films; the criteria for the selection of animated films from the point of view of their suitability for use as a means of forming the natural science competence of children of primary school age have been determined. Research methods: theoretical (analysis of literature on research problems), empirical (pedagogical observations, creation of special diagnostic situations). It was found out that animated films perform outstanding educational, cognitive, developmental and educational functions. The criteria for the selection of cartoons from the point of view of their suitability for use in the formation of natural science competence of children of primary school age have been determined. Children's animations that should be used in working with children are highlighted. The system of thematic planning of viewing of animated films for children of primary school age is proposed, which provides for three stages of work: preparatory, revision, reflective. The levels of natural science competence of children of primary school age were clarified, which made it possible to distinguish low, medium and high. The expediency of using animated films as a means of forming the natural science competence of children of primary school age is experimentally substantiated, which makes it possible to supplement classes with various information and encourage children to learn the surrounding reality.
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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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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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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/10.54254/2753-7064/1/iceipi_185.
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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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Zhen, Chen. "From “The Heavenly Palace” to “Nezha’s Demon Child Descends” and the Visual Transmission of Traditional Chinese Culture." ERUDITE: Journal Of Chinese Studies And Education 5, sp (2024): 144–57. http://dx.doi.org/10.37134/erudite.vol5.sp.9.2024.
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Movies belong to the artistic international language, which is the carrier of many cultural symbols and can play an important role in the dissemination of national culture. For a long time, many Chinese films have not organically combined artistic, commercial, and Eastern charm factors. Based on this, this article will start with Chinese animated films. Firstly, it will analyze the application process of excellent traditional culture in Chinese animated films and the challenges and problems in the application and dissemination of excellent traditional cultural elements in Chinese animated films. Secondly, it will analyze the application of excellent traditional cultural elements in the two animated films "Da Nao Tian Gong" and "Nezha's Demon Child Comes to Earth". Finally, it will propose strategies to promote the influence and dissemination of Chinese excellent traditional culture, I hope to further enhance the attention and scope of the dissemination of excellent traditional Chinese culture through the use of film media and animation forms.
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Erdoğan Çakar, Banu. "The cultural codes transmitted to the audience through animated films in Soviet Kyrgyz cinema." SHS Web of Conferences 206 (2024): 01026. https://doi.org/10.1051/shsconf/202420601026.
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The primary objective of this study is to identify the animated films produced in Kyrgyz cinema during the Soviet Union era and to reveal the cultural values transmitted to children through these films. The population of the study consists of animated films produced in Kyrgyz cinema during the Soviet period. It was determined that 30 films were produced between 1978 and 1991. Using a purposive sampling method, 13 films were selected as the sample of the study, with each film representing a different year. The study employed semiotic analysis and qualitative content analysis methods. The analysis revealed that visual codes in the films include Kyrgyz national clothing, the “boz-üy” (the traditional Kyrgyz yurt), national motifs used in living spaces, and traditional musical instruments as symbols. It was found that the animated films produced in Kyrgyz cinema during the Soviet period conveyed significant social and cultural values related to both Soviet ideology and Kyrgyz national culture. When the values presented in the animated films were compared with UNESCO’s universal values, the value of responsibility appeared most frequently, while no storyline corresponding to the values of honesty or simplicity was identified.
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Gu, Xue. "Study on the Modernity of Character Design in Mythical Animation Films." Highlights in Art and Design 2, no. 3 (2023): 94–97. http://dx.doi.org/10.54097/hiaad.v2i3.8092.
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The modern character image in the mythological animated film is more in line with the aesthetic and value concept of the audience in the modern society, and easier to arouse the audience's resonance and emotional resonance. Through the modern character images in mythological animated films, the audience can better understand and recognize the traditional culture and mythological stories, but also better understand and reflect on the development and changes of contemporary society. However, the excessive dependence on Western culture, the low level of recurring character images and the loss of traditional national elements are the limitations of mythological animated films in presenting modern roles. Based on Chinese traditional national culture and role building, mythological animated films introduce new creative design and emphasize the emotional communication of characters.
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Regina, D., and W. Christopher Rajasekaran. "New Paradigm of Education: A Review on Analyzing the Effectiveness of Vocabulary Learning Through Animation Movies in English Language Classrooms." Journal Human Research in Rehabilitation 14, no. 1 (2024): 59–65. http://dx.doi.org/10.21554/hrr.042405.
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Vocabulary is often overlooked by educators, yet it is one of the most important aspects of language learning. It is essential for all four language abilities, as it is linked to writing, reading, speaking, and listening. Without comprehensive vocabulary knowledge, students may not be successful in acquiring English as a language. One potential way for English language students to improve their vocabulary is to use multimedia sources like animated movies. Animated movies can provide significant benefits to students by using visual aids that enhance comprehension and facilitate improved learning outcomes. This paper aims to understand the effectiveness of vocabulary learning and teaching through animated movies. This article investigates the efficacy and role of animated films in the acquisition of vocabulary. The articles reviewed for this paper focus on the development, analysis, and examination of animated movies for enhancing vocabulary acquisition. In addition, the paper examines the research design, method, and theory that support the use of animated films in research. The review paper implies that animation films enhance vocabulary more effectively than traditional classroom settings.
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Du, Daisy Yan. "The Manchukuo Film Association and Its Afterlives: Animated Filmmaking in Wartime and Postwar Peking." JCMS: Journal of Cinema and Media Studies 63, no. 2 (2024): 119–42. http://dx.doi.org/10.1353/cj.2024.a919194.
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abstract: Scholarship on the Manchukuo Film Association (Manying) has largely attended to documentaries, newsreels, and live-action films featuring Li Xianglan, neglecting animation. This article examines the animated film-making activities of the North China Film Company, a branch of Manying located in wartime Peking, by focusing on Chinese animator Liang Jin and a few Japanese animators such as Asada Isamu and Onozawa Wataru. With an animated filmmaking philosophy of territorialization and localization, Manying nonetheless created a de-territorialized world that enabled it to live multiple afterlives in socialist cinema, despite the institutional efforts to erase it from the history of Chinese cinema.
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Gao, Yijun. "Analysis of the Factors Influencing the Box Office of Domestic Animated Films." Advances in Economics, Management and Political Sciences 10, no. 1 (2023): 171–79. http://dx.doi.org/10.54254/2754-1169/10/20230461.
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This paper mainly discusses the influencing factors of domestic animation film box office. In the early days, the domestic animation market was mainly occupied by American animated films. Although development was difficult, domestic animation films have undergone many changes in the 21st century. To help people better understand the development status and market situation of domestic animated films, this experiment aims to study the influencing factors of box office. This experiment takes 5 influencing factors that are easy to quantify as research objects: genre, production method, duration, release schedule and rating. Data on these factors can be found online and processed. Preliminary processed data is then drawn into charts. To be rigorous, this experiment also makes linear regression analysis on some influencing factors to see the relationship between box office and factors. The study finds a moderate correlation between box office and duration, and a weak correlation between rating. 3D animated films generally outperform 2D films at the box office. Animated films that focus on "family" have lower box office receipts than films in other genres. Movies released during the summer and Spring Festival outperform those released during other seasons.
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Bujangga, Hendriyanto. "Improving the Listening Skills of Tadris Students in English Through the Film Animation Application." Al-Ta lim Journal 29, no. 2 (2022): 91–98. http://dx.doi.org/10.15548/jt.v29i2.686.
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This classroom action research aims to improve students' listening skills through the application of animated films. The subjects in this study were second semester students at STAIN Gajah Putih Takengon. The data in this study were obtained from observation sheets, tests and questionnaires. Based on the analysis that has been carried out, it is known that in cycle I, 68.57% of students are actively involved in learning and 70% of students are motivated and enthusiastic about learning. Whereas in cycle II, 77.14% of students were actively involved and 88.57% of students were motivated and enthusiastic about participating in learning. In the preliminary study, the average listening ability of students was 53.43%, in the first cycle the students' average listening ability increased to 59.37%, and in the second cycle the increase reached 76.71%. The results of the student response questionnaire showed that 87.5% felt happy with the application of animated films and 81.25% felt that the use of animated films had an effect on listening skills. 93.75% said it was easier to practice listening skills with animated films and 90.63% preferred learning to listen with animated films compared to other media such as tape recorders, and 93.75% disagreed with learning to listen without using audio visual aids.
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Zunia Adha Wati, Agus Setiawan, Umar Al-Faruq A Hasyim, and Suhono. "The Effectiveness of Using Animated Films in Improving Students' Mastery of English Vocabulary." Bulletin of Pedagogical Research 5, no. 1 (2025): 46–54. https://doi.org/10.51278/bpr.v5i1.1777.
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Vocabulary learning is a fundamental aspect of English language acquisition. However, many students still struggle to understand and retain new vocabulary. This study aims to examine the effectiveness of using animated films as a medium to enhance the vocabulary acquisition of eighth-grade students at MTs Nurul Falah. The research employed a quantitative method with a Time Series Design, where data were collected through pretests and posttests and analyzed using statistical tests. The research sample consisted of 45 students divided into two groups: the experimental group, which used animated films, and the control group, which used conventional teaching methods. The data analysis results showed a significant improvement in the posttest scores of the experimental group compared to the control group. The t-test produced a t-value of 6.85 with a significance level of 0.001 (<0.05), indicating that the use of animated films is effective in enhancing students' vocabulary acquisition. In addition, observational results indicated that students were more active, enthusiastic, and motivated during the learning process when animated films were used. This study supports the theory that visual-based media can enhance students' memory and understanding of learning materials. Therefore, the use of animated films can be recommended as an innovative teaching strategy for vocabulary learning in English.
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Drushel, Bruce E. "Getting animated." Queer Studies in Media & Popular Culture 9, no. 2 (2024): 115–18. http://dx.doi.org/10.1386/qsmpc_00123_2.
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Generally speaking, Queer Studies in Media & Popular Culture (QSMPC) reserves issues with an evident theme to those crafted by guest editors. Recent examples include our issues on post-human drag, material culture and transnational queerness. Occasionally, though, themes emerge in our issues, serendipitously and quite by accident. Take the current issue of QSMPC, for example. I would love to be able to tell you that we intended it to focus on queerness in animation and comics. There would be every reason to do so, given the increased willingness of filmmakers and their distributors in recent years to stretch the boundaries of appropriate subject matter in animation, much as their counterparts in live action films and television have. Instead, it was the case that a series of very good articles that happened to share that focus fell into our laps, one after the other, and we wanted to share them with you without waiting for a Special Issue.
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Mahyavanshi, Bhavneshkumar Somabhai. "The Role of Animated Films in Promoting the Indian Knowledge System: A Global Educational Perspective." International Journal of Contemporary Research in Multidisciplinary 4, no. 2 (2025): 296–98. https://doi.org/10.5281/zenodo.15256538.
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In today’s digital world, animated films have emerged as a powerful medium for sharing culture and knowledge. This research explores how animated films promote the Indian Knowledge System (IKS) globally. The Indian Knowledge System, rooted in ancient Indian texts and practices, covers various fields like philosophy, science, arts, health, and spirituality, reflecting India’s rich heritage and traditions. By focusing on animated films inspired by Indian mythology, folklore, and traditional stories, the study highlights how these films go beyond entertainment to serve as an educational tool, connecting audiences with Indian culture and history. Through the Descriptive Method and qualitative research approach, the study uses primary and secondary sources such as selected films, texts, and documents for qualitative content analysis. The research is framed through media theory (Jenkins, 2006) [4], cultural transmission theory (Tomaselli, 1996) [13], and educational theory (Bruner, 1960) [2] to understand how storytelling through animation simplifies complex concepts of IKS, making them accessible to all age groups and bridging language and cultural gaps to reach a global audience. The study emphasizes the educational value of animated films and their role in preserving cultural heritage.
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Coyne, Sarah M., and Emily Whitehead. "Indirect Aggression in Animated Disney Films." Journal of Communication 58, no. 2 (2008): 382–95. http://dx.doi.org/10.1111/j.1460-2466.2008.00390.x.
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Lawson, Andrea, and Gregory Fouts. "Mental Illness in Disney Animated Films." Canadian Journal of Psychiatry 49, no. 5 (2004): 310–14. http://dx.doi.org/10.1177/070674370404900506.
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Champoux, Joseph E. "Animated Films as a Teaching Resource." Journal of Management Education 25, no. 1 (2001): 79–100. http://dx.doi.org/10.1177/105256290102500108.
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