Journal articles: 'Animated short'

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Bannan, Patrick, and Thomas Netzband. "The animated short." ACM SIGGRAPH Computer Graphics 40, no. 2 (2006): 4. http://dx.doi.org/10.1145/1181091.1181097.

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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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Kusumawardhani, RR Mega Iranti, and Muhammad Cahya Mulya Daulay. "Indonesian Traditional Story Content in Animated Short Film." IMOVICCON Conference Proceeding 1, no. 1 (2019): 175–80. http://dx.doi.org/10.37312/imoviccon.v1i1.20.

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cahya.daulay@umn.ac.idIn Indonesia, generation who were born in late 1970 and beginning 1980 have more access to entertainment, compared to earlier generations. They read storybooks, children magazine and comic books, and listened to stories through audio-cassette and radio. There were various contents to choose from; H.C Andersen and Brothers Grimm’s classic stories, Disney’s classic fairy tales, European and American super hero comic books, and Indonesian traditional stories. Indonesian traditional stories were introduced and brought by local children magazines and recorded stories from audio-cassette.

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Paprzycka, Katarzyna. "Using Short Animated Presentations (SAPs) in Teaching Elementary Logic." Teaching Philosophy 27, no. 4 (2004): 325–36. http://dx.doi.org/10.5840/teachphil200427445.

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Halim, Steven, and Christine Mersiana Lukmanto. "Animating and Designing Movements for Turtle Figure in 3D Animated Short Film Entitled “TUKIK”." IMOVICCON Conference Proceeding 2, no. 1 (2021): 111–18. http://dx.doi.org/10.37312/imoviccon.v2i1.55.

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One of the most important elements in an animated film to convey a message to the audience is animating a character. Character movement in a scene is very necessary to show what is happening and what the character is experiencing in a scene that is being witnessed by the audience. This research will raise the animating process of the turtle character in a 3D animated short film entitled "TUKIK". There are two scenes that will be discussed; a scene when the turtle is swimming in the ocean and the movement when the turtle is trapped by the waste at the beach. In the design process, various principles of animation and movement of turtles are applied based on references. The results of this research will be applied to the movements of the turtle characters in the animated awareness film called "TUKIK".

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Abdul Ghani, Dahlan, and Muhammad Naim Bin Supian. "Exploring 3D Character Modeling Technique in Malaysian Short Animated Film." Journal of Engineering and Applied Sciences 14, no. 17 (2019): 6213–22. http://dx.doi.org/10.36478/jeasci.2019.6213.6222.

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Slowik, Mary. "Simultaneous Narration and Ethical Positioning in Three Short Animated Films." Narrative 21, no. 1 (2013): 46–64. http://dx.doi.org/10.1353/nar.2013.0002.

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Muylle, Merel, Thomas G. G. Wegner, Sarah Bernolet, and Robert J. Hartsuiker. "English norming data for 423 short animated action movie clips." Acta Psychologica 202 (January 2020): 102957. http://dx.doi.org/10.1016/j.actpsy.2019.102957.

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Walsh, Thomas. "Animating Joyce: Tim Booth’s Ulys." Animation 7, no. 1 (2012): 83–99. http://dx.doi.org/10.1177/1746847711428855.

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According to Paul Wells, the lengthy and intimate relationship of the animation auteur to the animated text is similar to the writing process, and the animated form’s sense of its own artifice highlights the transformative aspects of adapting literary sources for the cinema. It is this expression of interiority, translation and textual process that makes the animated film a perfect vehicle for an adaptation of James Joyce’s Ulysses (1922), which utilizes multiple narrators to construct and deconstruct representations of urban, Dublin society in the early 20th century. It is the purpose of this article to consider Tim Booth’s animated short Ulys (1998), which is in part a commentary on Joyce’s writing authorship, and also an adaptation of Joyce’s novel. The author considers Booth’s use of animation to recover the ‘image-schemas’ that underpin Ulysses, and the ‘small spatial stories’ that inform human cognition of both the literary and animated text.

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Chiu, Hsien-Yuan, and Wei-Lin Chu. "Analysis of the Narrative Types of “Metaphor” in Animated Short Films." Art and Design Review 07, no. 04 (2019): 206–24. http://dx.doi.org/10.4236/adr.2019.74017.

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Álvarez-Sarrat, Sara. "The Spanish Animated Short Film at the Turn of the Century." Hispanic Research Journal 15, no. 1 (2014): 75–87. http://dx.doi.org/10.1179/1468273713z.00000000075.

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Fyne, Robert. "Doing Their Bit: Wartime American Animated Short Films, 1939-1945 (review)." Film & History: An Interdisciplinary Journal of Film and Television Studies 35, no. 1 (2005): 78. http://dx.doi.org/10.1353/flm.2005.0012.

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Tang, Tan, Junxiu Tang, Jiayi Hong, Lingyun Yu, Peiran Ren, and Yingcai Wu. "Design guidelines for augmenting short-form videos using animated data visualizations." Journal of Visualization 23, no. 4 (2020): 707–20. http://dx.doi.org/10.1007/s12650-020-00644-z.

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Purwaningsih, Dominika Anggraeni, and David Haryanto Ruswandi. "Designing Anthropomorphic Cat Family Characters in 2D Animated Short Film “Hanyut"." IMOVICCON Conference Proceeding 2, no. 1 (2021): 54–63. http://dx.doi.org/10.37312/imoviccon.v2i1.57.

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Jakarta is often, if not regularly, being hit by a natural disaster in a form of floods. Floods have affected not only human but also domestic animals like cats, chickens, and pigeons, especially in Kampung Pulo. There are not many films out there that show the struggles and sufferings of animals during floods which is why author and team decided to make an animated film about it titled “Hanyut”; how are their conditions; how can they survive the events. In the scope of the film preproduction, author decided to focus on character design which is designing the cat family characters in the 2D animation film “Hanyut”. The designs will be limited on character designs for the cat family that consists of the mother cat and her two kittens. Although anthropomorphic, these cat characters can not talk and walk on 4 feet (quadrupedal), but have similar personalities and emotions as human beings. Moreover, the research design will be limited on the drawing style, basic shapes, body proportions, as well as hair and eye colors that will be used on the characters. Data collection for this qualitative research was done by literature reviews, on-site observations, observations on animation films, and surveys about the characters’ appearances to be used during the character designing process. By doing this research, the writer wants to create the cat family corresponding to the story plot and can attract people’s sympathy with the characters’ characterizations.

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Saputra, Nanda, Irnie Victorynie, Syarifah Rahmi, Syarifah Siregar, Dina Komalasari, and Suhendi Syam. "The Use of Animated Film Media to Improve the Ability of Writing Short Stories in Elementary School." Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences 4, no. 2 (2021): 3005–15. http://dx.doi.org/10.33258/birci.v4i2.2013.

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This research originated from the low skills of grade IV SDN (public school) 1 Sigli students in writing short stories. Learning media to write short stories is an alternative means of delivering material to students through animated film media. This study aims to determine the improvement of short story writing skills using animated film media in fourth grade students of SDN 1 Sigli. This research is a classroom action research (CAR) which was conducted in three cycles. Each cycle consists of four stages, namely planning, implementing, observing, and reflecting. The subjects of this study were 24 students of grade IV SDN 1 Sigli, consisting of 12 female students and 12 male students. The data collection technique was done by using tests, observations, and field notes. The data analysis used was a comparative descriptive analysis technique. The results of data analysis showed that the acquisition of student learning outcomes with an average value in cycle I: 60%, cycle II: 80%, and cycle III: 91%. Thus it can be concluded, the use of animated film media can improve students' short story writing skills, and teachers always improve their skills in using instructional media. This can be seen from the cycles obtained by students in each cycle.

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Sulistiyono, Arif. "Punakawan Sebagai Inspirasi Penciptaan Film Pendek Animasi Bertema Pendidikan Karakter." Journal of Animation & Games Studies 2, no. 2 (2017): 173. http://dx.doi.org/10.24821/jags.v2i2.1420.

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Educational animation is an animated product produced specifically for the purpose of learning. Its popularity in helping students understand and remember information presented increased since the advent of computer graphics technology. The lack of an increase in the production of animated short films in Indonesia resulted in at least encountered the works of domestically-made animation education. Stimulation of creation of animated works based on the local culture should be a concern for creators to produce Indonesian animated film. This has encouraged the idea of research and the creation of the works to add alternative work spectacle for children to be more varied. The work produced will be expected to become one of the benchmarks for the creators of short animated films in Indonesia. The short animated film themed character education and have the characterization and design characteristics based on local wisdom is still a little bit. Production work is still dominated by elements that showed the humorous aspects of violence as like a common thing to do. It is extremely dangerous due to the development of the child's personality or character will indirectly entertained spectacle dominated by the less educated. Therefore bring back figures Punakawan as "teacher" character education in the form of short animated films for the sake of growth is necessary to be realized next generation character education in Indonesia.Keywords: educational animation, punakawan, moral educationAbstrakAnimasi edukasi adalah sebuah produk animasi yang diproduksi khusus untuk tujuan pembelajaran. Popularitasnya dalam membantu peserta didik memahami dan mengingat informasi yang disajikan meningkat sejak munculnya teknologi komputer grafis. Kurangnya peningkatan produksi karya film pendek animasi di Indonesia mengakibatkan sedikitnya dijumpai karya-karya animasi edukasi buatan anak negeri. Rangsangan penciptaan karya animasi berbasis pada budaya lokal sepatutnya menjadi perhatian bagi para kreator dalam menghasilkan film animasi Indonesia. Hal inilah yang mendorong ide penelitian dan penciptaan karya guna menambahkan karya alternatif tontonan bagi anak-anak supaya lebih bervariatif. Karya yang dihasilkan nantinya diharapkan mampu menjadi salah satu tolok ukur bagi pencipta-pencipta film pendek animasi di Indonesia.Film pendek animasi yang bertemakan pendidikan karakter dan memiliki ciri penokohan dan desain berbasis kearifan lokal masih sangat sedikit. Produksi karya masih didominasi oleh unsur-unsur humoris yang mempertontonkan aspek kekerasan sebagai layaknya hal yang umum dilakukan. Hal ini sangat berbahaya dikarenakan perkembangan kepribadian atau karakter sang anak secara tidak langsung akan didominasi oleh tontonan hiburan yang kurang mendidik. Oleh karena itu memunculkan kembali tokoh-tokoh Punakawan selaku “guru” pendidikan karakter dalam wujud karya film pendek animasi sangatlah perlu direalisasikan demi pertumbuhan pendidikan karakter generasi penerus bangsa Indonesia dikemudian hari. Kata kunci: Animasi edukasi, punakawan, pendidikan karakter

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Adis, Fransisca, and Yohanes Merci Widiastomo. "Designing Emotion Of Characters By Referencing From Facs In Short Animated Film “RANA”." ULTIMART Jurnal Komunikasi Visual 9, no. 2 (2018): 31–38. http://dx.doi.org/10.31937/ultimart.v9i2.747.

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Facial expression is one of some aspects that can deliver story and character’s emotion in 3D animation. To achieve that, we need to plan the character facial from very beginning of the production. At early stage, the character designer need to think about the expression after theu done the character design. Rigger need to create a flexible rigging to achieve the design. Animator can get the clear picture how they animate the facial. Facial Action Coding System (FACS) that originally developed by Carl-Herman Hjortsjo and adopted by Paul Ekman and Wallace V. can be used to identify emotion in a person generally. This paper is going to explain how the Writer use FACS to help designing the facial expression in 3D characters. FACS will be used to determine the basic characteristic of basic shapes of the face when show emotions, while compare with actual face reference. Keywords: animation, facial expression, non-dialog

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Greenberg, Raz. "How Animation Won Over the Lightning Sketch: Re-Evaluating Humorous Phases of Funny Faces." Animation 13, no. 2 (2018): 162–74. http://dx.doi.org/10.1177/1746847718783641.

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The short film Humorous Phases of Funny Faces, released in 1906 and directed by J Stuart Blackton (1875–1941), is considered to be one of the earliest examples of cinematic animation. This article aims at examining the film’s influence from another perspective, beyond its pioneering use of film camera: the author argues that Blackton’s film has also laid the foundation for common design principles in subsequent animated productions, particularly in the design of animated characters. The analysis of Blackton’s film aimed at supporting this argument is based on Scott McCloud’s seminal book Understanding Comics: The Invisible Art (1993) and this article offers a modified method of McCloud’s ‘Vocabulary of Comics’ to demonstrate how Blackton has introduced the basic building-blocks of animated characters’ design that are common to this day: designs that rely on an emotional, universal core upon which culture-specific items are overlaid. Moreover, through appearance and performance of his animated characters, Blackton broke the design process of animated characters into such building blocks, emphasizing their importance.

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JING, MA, and Takhoon Kim. "Analysis of the Script Composition of the Animated Short Film Pantie Bird." TECHART: Journal of Arts and Imaging Science 5, no. 1 (2018): 29–31. http://dx.doi.org/10.15323/techart.2018.2.5.1.29.

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Ono, Satoshi, Kensuke Morinaga, and Shigeru Nakayama. "Animated Two-Dimensional Barcode Generation Using Optimization Algorithms – Redesign of Formulation, Operator, and Quality Evaluation." Journal of Advanced Computational Intelligence and Intelligent Informatics 13, no. 3 (2009): 245–54. http://dx.doi.org/10.20965/jaciii.2009.p0245.

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To improve on our previously proposed but problem-plagued innovation for generating animated and illustrated Quick Response (QR) codes, this paper proposes a method which formulates the animated QR code generation problem as an optimization problem rather than as a set of still QR code decoration problems. The proposed method also uses optimization operators designed for this problem and quality evaluation to maintain natural, smooth movement. Experiments demonstrate that the proposed method can generate animated QR codes involve a maximum of eight illustrations moving inside the code which maintaining decoding feasibility and smooth illustration movement.Erratum Due to a wrong manipulation during the correction of the proofs of the above paper, the running head title (short title) was incorrect. The correct running head title should have read as "Animated Two–Dimensional Barcode Generation."

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Novela, Chanel Maria, and Andrew Willis. "Procedural Animation Algorithm For Sasandu Playing Performance in 3D Animated Film 'Bako'." IMOVICCON Conference Proceeding 1, no. 1 (2019): 229–43. http://dx.doi.org/10.37312/imoviccon.v1i1.25.

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Many techniques can be implemented to create a 3D animation; one of them is procedural animation. Procedural animation is a type of animation in which all movements are created using programming  languages or scripting. This technique is very effective to animate repetitive movements. Therefore, the motion created using procedural algorithms in “Bako” 3D animation short film is playing musical  instruments. Phyton is used as the scripting language, with Sasandu as the musical instrument. Sasandu is a unique musical instrument of the island of Rote that is starting to go extinct. Playing the Sasandu is relatively difficult to animate manually, as we have to keep synchronizing it with the melody and tempo of the music. In the attempt of creating a fluid and believable animation of the finger striking, the rig should also be adjusted to mimics the structure of the hand and the human joints. Also, the logic of the algorithm created should be able to create a proper strumming movement with the tone and timing. This is to make sure that the resulting animated movements are correct according to the song's notations.

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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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Nurwati, Nurwati, Yudi Santoso, and Ratna Kusumawardani. "TRAINING IN MAKING ANIMATED SHORT FILMS AS AN EFFORT TO PROVIDE SOFT SKILLS IN THE ICT FIELD TO STUDENTS OF MEDIA KASIH ORPHANAGE FOUNDATION." ICCD 1, no. 1 (2018): 211–16. http://dx.doi.org/10.33068/iccd.vol1.iss1.32.

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The use of animation media is one of the many problems in learning in schools. Over time, the existence of supporting media for learning by using various basic media based on information technology such as short films with short duration of time is actually one of the alternatives to handle the saturation of the unpleasant conditions of students in teaching and learning activities. However, the use of animated film media is only used to present students' work. The use of Microsoft Power Point as a medium to create animated short films applies a scientific approach in which applying a scientific attitude and good knowledge is not enough if it is not supported by activities involving pycnomorphic or skills. This is so that training participants can experience positive development both in terms of knowledge and skills and it is hoped that scientific attitudes will arise to solve problems so that they are ready to face the times in their golden age.

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Ainiyah, Kurniyatul, Nurul Hidayah, Faradilah Putri Damayanti, Indana Nuril Hidayah, Juniardi Nur Fadila, and Fresy Nugroho. "Rancang Bangun Film Animasi 3D Sejarah Terbentuknya Kerajaan Samudra Pasai Menggunakan Software Blender." JISKA (Jurnal Informatika Sunan Kalijaga) 5, no. 3 (2020): 164. http://dx.doi.org/10.14421/jiska.2020.53-04.

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Indonesian people's knowledge about the history of kingdoms in Indonesia was decreased. Now the existence of history books was shifted by the rapid development of technology. Realized this, many educational institutions were involved in technology to their learning media. To support that, the writer will use technology to create a learning media, named 3D short animated films. This kind of film turned out to attract the publics' attention, ranging from children to adolescents. The animated film will be designed with the theme of the first Islamic kingdom in Indonesia, named the Samudra Pasai kingdom with a duration of approximately 3 minutes. this animated film was made by Blender software version 2.79. The design of this animation aims to increase knowledge as well as learning media for students about the history of the Indonesian people, especially the history of Samudra Pasai kingdom.

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Zulkarnain, Alfiansyah, Nita Virena Nathania, Putu Widyayana Putra, and Priscilla Agatha. "Applying Balinese Philosophy "Rwa Bineda" Concept on Character & Environment Design in 3D Animated VR Short Film "Gede"." IMOVICCON Conference Proceeding 1, no. 1 (2019): 167–74. http://dx.doi.org/10.37312/imoviccon.v1i1.18.

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A distincitve and unique conceptual character and environtment design, especially in animated films, is important as to seperate itself from plaethora of generic animated films out there. A deep understanding of local culture and how the philosophy shaped its culture could create a new way to visualize its world, and a more faithful representative of its world. In this modern era, concept about the dichotomy of positive and negative aspects is often overshadowed by western thinking of dominance, that one must defeat the other. Eastern thinking about this issue is somewhat different, whereas the balance between the positive and negative is a common concept in Asian cultures and society. The Balinese understood this concept as Rwa Bhineda or two opposition, where both the aspects in life must co-exist in harmony.  This paper will examine how the Rwa Bhineda concept could become a theoritical foundation to design characters and environments, using animated short “Gede” as the subject matter. The story of “Gede” is based on the myth of Barong and Rangda as both mythical characters are the physical forms of Rwa Bhineda concept. We will see how the concept is applied on the worldbuilding, character proportions, gateway designs, lands layout, and character and environment visual elements. In the end, we can conclude that a good understanding of local wisdom could produce a new approach in character and environmental design.

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Madrid. "Paradox in A/r/tography: Collective Short Animated Film-Making for Social Inclusion." Visual Arts Research 38, no. 2 (2012): 58. http://dx.doi.org/10.5406/visuartsrese.38.2.0058.

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Al Owaifeer, Adi, Shaimaa Alrefaie, Zainah Alsawah, Abdulaziz Al Taisan, Ahmed Mousa, and Sameer Ahmad. "The effect of a short animated educational video on knowledge among glaucoma patients." Clinical Ophthalmology Volume 12 (May 2018): 805–10. http://dx.doi.org/10.2147/opth.s160684.

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Phillips, Richard, Nafhesa Ali, and Claire Chambers. "Critical collaborative storying: making an animated film about halal dating." cultural geographies 27, no. 1 (2019): 37–54. http://dx.doi.org/10.1177/1474474019858693.

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This article works at the intersection of creative, participatory and critical research. It explores an emergent qualitative methodology that is creative and participatory but not is always as critical as it might be: collaborative storytelling or storying. Understandings of critical collaborative storytelling and (more generically and inclusively) storying are developed through an account of a series of storying workshops. In these workshops, a group of young British Muslims made a short animated film titled ‘Halal Dating’. In their animated film, the participants explored an otherwise hard-to-name part of their lives: sexual relationships. Thus, in addition to its methodological interest, this article may appeal to readers with more substantive interests in religion, young people, gender and sexuality.

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Wijaya, Fenny, and Dyah Gayatri Puspitasari. "Perancangan Komunikasi Visual Film Animasi Pendek “Sitiha dan Sisiti”." Humaniora 1, no. 2 (2010): 489. http://dx.doi.org/10.21512/humaniora.v1i2.2890.

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The purpose of this research is to acquire, collect and analyze data needed to realize the design of short animated 3D films with a folklore theme which is presented with a visually appeal to interest spectators, especially children, so the moral message can be conveyed. The research method is to survey directly to the field, namely the cultural center of Indonesia TMII, playground and library. In addition to the literature media such as books, magazines and journals and supported with references from the internet media relating to the topic. Results to be achieved are for the moral message conveyed in this animated folklore film can be received and understood by the audience, especially children. Conclusion at the present time, visual communications media such as movies and television shows are very popular among children. So by using the medium of animated films, children will be more interested and may like local folklore again, since local productions are not of lesser quality than the outside impressions.

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Ford, Kat, Mark A. Bellis, Kate R. Isherwood, and Karen E. Hughes. "Perceptions of a short animated film on adverse childhood experiences: a mixed methods evaluation." BMJ Open 11, no. 8 (2021): e050398. http://dx.doi.org/10.1136/bmjopen-2021-050398.

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ObjectivesAn evaluation of a short animated film on adverse childhood experiences (ACEs) to explore attitudes and sentiment towards the film including, for a subsample of professionals, associations between attitudes and personal experience of ACEs.DesignMixed-method exploratory design.SettingProfessionals and the general public.ParticipantsA short online survey with 239 professionals. Interaction and user sentiment towards with the film on social media (Twitter, YouTube).Primary and secondary outcome measuresSurvey: participants’ attitudes towards the film including feelings invoked, learning gained and ACE count prevalence. Twitter user and YouTube viewer sentiment (positive, negative or neutral) and interaction (likes, retweets or comments) with the film.ResultsAttitudes to the film were positive: 94.1% and 93.7%, respectively, agreed that it provided a helpful explanation of ACEs and trusted that the film was credible. Of those who reported ACE exposure, 88.9% agreed that those with ACEs would benefit from watching the film. Despite 50.6% reporting that the film had made them feel sad or upset, the majority (66.4%) reported they found the film hopeful or encouraging. Across 358 publicly available tweets from 313 users, 39.1% of tweets expressed positive sentiment, with only 1.4% negative (59.5% neutral). However, there was no association between tweet sentiment and interaction. Thirteen YouTube versions of the film received 171 812 views, 97.3% (n=889/914) ratings were positive (ie, ‘thumbs up’).ConclusionsDespite being emotionally arousing, many professionals reflected positive impacts of the film including a perceived increased ability to discuss ACEs. Public sentiment demonstrated a positive reaction to and acceptability of the film. Understanding the professional and public response to materials developed to increase ACE awareness, such as the film explored here, is important given the growing number of international movements which seek to increase ACE awareness, prevent ACEs and mitigate their lifelong negative effects.

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Alfatra, Febri Faizin, Mahendradewa Suminto, and Pandan Pareanom Purwacandra. "Penciptaan Film Animasi “Chase!” Dengan Teknik “Digital Drawing”." Journal of Animation and Games Studies 5, no. 1 (2019): 033–56. http://dx.doi.org/10.24821/jags.v5i1.2799.

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A short animation that combines several personal experiences and surroundings into a simple yet entertaining story. Although the story is presented simply, visualization is made unique and flexible with digital two-dimensional animation techniques. This animated film is titled “CHASE!” Which means chasing, taken from the core of the film which tells the story of a young man who chases a mysterious woman who turns out to be a transvestite.The animated film “CHASE!” Lenght 3 minutes 45 seconds, make the story made shorter and directly to the point at the core of what will be delivered. The number of shots reached 45 shots with a total of 5400 frames of HDTV 1920 x 1080 px 24 fps (frames per second). In the process of making this film also applied 12 principles of animation. Making an animated film “CHASE!” uses a digital process in it. For animating, 2D drawing frame by frame technique are used digitally by using computers, background images are also digitally created without leaving the artistic value of traditional drawing techniques using hands.Keywords: Film, 2D Animation, Personal Experience, Digital

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Marshall, Sandra K., and Annabel J. Cohen. "Effects of Musical Soundtracks on Attitudes toward Animated Geometric Figures." Music Perception 6, no. 1 (1988): 95–112. http://dx.doi.org/10.2307/40285417.

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We investigated the effects of musical soundtracks on attitudes to figures in a short animated film. In a preliminary study and in the main experiment, subjects saw the film accompanied by one of two soundtracks or with no soundtrack, or they heard one of the two soundtracks alone. In the main experiment, Semantic Differential judgments on Activity and Potency dimensions, obtained for the music, predicted effects of the soundtracks on corresponding ratings of the film as compared to ratings in a no soundtrack condition. As well, ratings on the Activity dimension of the film characters themselves were altered by the soundtracks. It is hypothesized that congruent auditory and visual structure directs the encoding of particular visual features of the film. In addition, associations generated by the music provide a context for the interpretation of the action in the film. As a result, stimulus features and concepts that are initially encoded as disjunctive conjoin in perception and memory.

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Vučurović, Milica N. "An ethnotaxonomic classification of cultural thought among internet porn users, interpreted in the context of Japanese animated pornography." Issues in Ethnology and Anthropology 11, no. 1 (2016): 193. http://dx.doi.org/10.21301/eap.v11i1.9.

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The simple drawing style of Japanese animated pornography (hentai) and the incomplete messages transmitted through the handling short video clips instead of complete pornographic films or series on the Internet create a space in which users can reinterpret the content themselves and assign it meanings different to those originally intended by anime creators, the subculture or suggested by researchers. Based on the porn categories specific to the hentai genre, and keeping in mind the context and content of complete animated Japanese pornographic films, and the attitudes of their users, I will analyze the perspectives of users of short videos of both animated and feature porn on the internet. Through the use of an ethnotaxonomic approach, cognitive schemes and relations between categories have been uncovered. The self-reliance and distance of “alternative” subcultures represented through masturbation, sexual inferiority due to hypermasculine messages conveyed by big black penises as well as violence which does not allow the victim passive regression represented through the abuse of a teenage girl who is supposedly 18 years old, represent messages which correspond with the yaoi, tentacle rape and lolicon subgenres, as well as a subjective perspective in which any user behavior on the internet is legitimate, because of the users’ view that society doesn’t protect them, but protects those who supposedly do not deserve it. The oppressive force and villain of hentai narratives in pornographic feature films is the hyper-passivity of (not) allowing instant gratification, which aligns with the value assigned to the speed and availability of information in the “virtual” field.

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Moncayo Romero, Mario. "Analysis of the generation and consumption of animated audiovisual content in Ecuador." Espirales Revista Multidisciplinaria de investigación 3, no. 27 (2019): 187. http://dx.doi.org/10.31876/er.v3i27.567.

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Introduction With the passage of time, audiovisual productions are increasingly demanded by the public and these are part of the cultural industry of any country. However, there is a noticeable change in the production of these since currently the topics of interest are very diverse. ObjectiveAnalyze the generation of animated content in Ecuador Materials and methodsThe following article presents a short analysis on audiovisual production from the documentary and systemic review. ResultsA critical interpellation with this framework of action allows to verify that production is favored to date DiscussionThe cultural industry replaces everything common for original and innovative facts Conclusionscountries undergo rapid cultural changes in the wake of globalization

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Lorents, Albert, and Alfiansyah Zulkarnain. "Animation Design in an Animated 3-Dimensional Film Adapted from a Children's Story by Monica Wihardja." IMOVICCON Conference Proceeding 2, no. 1 (2021): 177–81. http://dx.doi.org/10.37312/imoviccon.v2i1.83.

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Discrimination is an issue that often occurs in Indonesia. It is undeniable that religious discrimination is one form of such discrimination. Marapu religion, is a traditional religion adhered to by the people of Sumba. Discrimination against followers of the Marapu religion is one form of discrimination that occurs in the Sumba region. Adherents of the Marapu religion in Sumba experience different treatment, especially in the field of education. Therefore the short 3D animation project raises this issue, aiming to raise public awareness about religious discrimination that still often occurs in Indonesia.The design method in Meha's short 3D animation project uses literature study sourced from books, articles and research journals and interview studies regarding the reconstruction of book content and the cultural context of Sumba and Marapu which will be raised in this final project. The final form of this project is a 3D short animated film with a duration of six minutes. In the process, visual content keywords are emphasized, namely Enlightened and Heavenly, which are references in visual design in making animation

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Najafi, Hossein. "Displacement of self-continuity: An heuristic inquiry into identity transition in a 3D motion-capture-based animated narrative short film." Animation Practice, Process & Production 8, no. 1 (2019): 165–88. http://dx.doi.org/10.1386/ap3_00010_1.

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This practice-led artistic research considers how a fictional allegory might be employed to examine issues of acculturation, displacement and identity transition. Using the story of a refugee family, the study explores through artistic practice the implications of identity reconstruction inside the body of a new culture. The animated short film Stella is designed to serve as a provocative vehicle for considering the social implications of identity loss and transition. Methodologically, the project is shaped by an heuristic inquiry. Inside this journey, the researcher generates a narrative that draws upon experience and theory. The artist creates an experimental animation in which the self of the artist is investigated through iterations of creative explorations. These experimental explorations not only span the conceptual and storytelling side of the creative process but also touch upon technological achievements. In this process a relationship results that elevates both the self (the writer/director/animator) and the body of knowledge, through the process of making and reflection. Beyond its contribution to understanding processes and implications of acculturation, displacement and identity transition, the project’s technological significance lies in its propensity to extend the application and demonstrate the potential of performance capture (using motion capture technology), 3D laser scanning and photogrammetry.

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van het Schip, Colette, Kei Long Cheung, Stan Vluggen, Ciska Hoving, Nicolaas C. Schaper, and Hein de Vries. "Spoken Animated Self-Management Video Messages Aimed at Improving Physical Activity in People With Type 2 Diabetes: Development and Interview Study." Journal of Medical Internet Research 22, no. 4 (2020): e15397. http://dx.doi.org/10.2196/15397.

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Background Web-based tailored interventions are a promising approach to help people with type 2 diabetes successfully adopt regular physical activity. Spoken animation seems to be effective regardless of the characteristics of the user and may be a relevant strategy to communicate complex health information Objective The objectives of our study were to evaluate (1) pretesting communication elements and user appreciation, and (2) the applied behavior change techniques of the previously designed spoken animated video messages in a tailored self-management program for people with type 2 diabetes. Methods We conducted semistructured interviews with patients with type 2 diabetes recruited from general practices located in different socioeconomic status urban neighborhoods. Based on the pretesting key communication elements of Salazar’s model, we asked participants about the spoken animated video messages’ attractiveness, comprehensibility, acceptance, believability, involvement, and relevance and to what extent the video messages motivated them to become more physically active. We also assessed participants’ intention to use the spoken animated video messages and to recommend them to others. To evaluate participants’ appreciation of the different applied behavior change techniques, we conducted a post hoc analysis of the qualitative data using the MAXQDA program. Transcripts were coded by 2 coders using iterative qualitative content analysis methods to uncover key health communication issues. Results Of 23 patients who expressed an interest in participating, 17 met the inclusion criteria and 15 took part in the interviews. The positive appreciation of the comprehensibility, believability, and personalization was supported by participants’ statements on behavior change techniques and other communication elements. Reinforcement of and feedback on participants’ answers were positively evaluated as was the simplicity and concreteness of the spoken animated video messages. Most participants indicated reasons for not feeling motivated to increase their physical activity level, including being already sufficiently physically active and the presence of other impeding health factors. Conclusions Spoken animated video messages should be simple, short, concrete, and without the use of medical terminology. Providing positive reinforcement, feedback on participants’ answers, examples that match user characteristics, and the possibility to identify with the animation figures will enhance involvement in the health message. To connect more with patients’ needs and thereby increase the perceived relevance of and motivation to use an animated video program, we suggest offering the program soon after diabetes mellitus is diagnosed. We recommend piloting behavior change techniques to identify potential resistance.

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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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Yuan, Chunrong, Irene Cheng, Anup Basu, and Hanspeter A. Mallot. "Optic-Flow Based Motion Analysis for Animation." International Journal of Virtual Reality 9, no. 4 (2010): 49–53. http://dx.doi.org/10.20870/ijvr.2010.9.4.2789.

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Creating graphics animations is often a tedious process that requires days of content creation to make even a short video. In this work, we investigate the role of optic flow in making it easier to automate certain steps in creating animated clips. More specifically, we look into how optic flow can be used to detect and model natural events, such as, waterfall, rainfall, snowfall and so on. An algorithm that can not only detect 2D flow, but also track feature points reliably over video frames is described; followed by experimental results demonstrating its ability in motion analysis and motion synthesis. An example of the steps involved in creating a short animation is also outlined

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Hays, Timothy A. "Spatial Abilities and the Effects of Computer Animation on Short-Term and Long-Term Comprehension." Journal of Educational Computing Research 14, no. 2 (1996): 139–55. http://dx.doi.org/10.2190/60y9-bqg9-80hx-ueml.

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This study examined the effects on understanding of differing levels of visual presentations and spatial abilities with concepts involving time and motion. Subjects were presented with one of three levels of graphic presentations (no graphics, static graphics, animated graphics) which were crossed with two levels of spatial abilities (high, low). The purpose was to determine if the presentation viewed by the subjects affected levels of understanding. Results supported several predictions. As predicted, low-spatial-ability subjects receiving presentations with animation made significantly greater gains than low-spatial-ability subjects not receiving animation. On short-term comprehension, results showed that spatial ability was a statistically significant factor and on long-term understanding the type of presentation had a statistically significant effect on the subject's performance.

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Rama, Tamara, and Carmen Lloret. "Unveiling and Revealing the Mirror: Mobile Reverberations in Patrick Bokanowski’s Animated Films." Animation 14, no. 2 (2019): 83–101. http://dx.doi.org/10.1177/1746847719856997.

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The principal focus of this article is to provide an analysis of some of the most significant works by the independent filmmaker Patrick Bokanowski and the methodology he uses to create those animated films. It addresses Bokanowski’s technique of filming on various kinds of reflective surfaces as a strategy for transforming the image through optical deformation and thereby expressing his subjective vision in films and animation. He explores the practical application of creating reverberation as visual echoes, as well as the use of unusual reflections that appear in mirrors and other more unstable reflective surfaces, such as liquid mercury, and the refraction occurring in sculpted lenses, glass or water. The aim of this strategy is the pure expression of subjective experience, with the director using a camera as if it were an entirely free-moving paintbrush that inspires creativity and breaks loose from automatic camera movements. Accordingly, this study examines the dynamic, expressive potential of the language of catoptrics, taking as paradigmatic examples two of Bokanowski’s short films: La Plage (1992) and Au bord du lac (1994). The authors’ analyses of these films are aimed at demonstrating how the artist manages to bring about qualitative, transformative changes of forms and space by reflecting images on mirrors, ripples in mercury and movements of water, and by combining these elements. The system developed by Bokanowski successfully transports us to an ever-changing, poetic universe and breaks new ground in the field of animation.

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Park, Eun-Hea. "Analysis of Roles of Lighting and Background Musik for Storytelling - a Case Study of Disney's Short Animated Film." Journal of Korea Multimedia Society 18, no. 8 (2015): 988–95. http://dx.doi.org/10.9717/kmms.2015.18.8.988.

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Chen, Cheng, Jong-Hoon Yang, and Sang-Eun Lee. "A Study on the Narrative Rhythm of Pixar’s Animated Short Films from the Perspective of Linear Narrative Structure." Korean Journal of animation 17, no. 1 (2021): 145–68. http://dx.doi.org/10.51467/asko.2021.03.17.1.145.

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Daly, C. J., J. M. Bulloch, M. Ma, and D. Aidulis. "A comparison of animated versus static images in an instructional multimedia presentation." Advances in Physiology Education 40, no. 2 (2016): 201–5. http://dx.doi.org/10.1152/advan.00053.2015.

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Sophisticated three-dimensional animation and video compositing software enables the creation of complex multimedia instructional movies. However, if the design of such presentations does not take account of cognitive load and multimedia theories, then their effectiveness as learning aids will be compromised. We investigated the use of animated images versus still images by creating two versions of a 4-min multimedia presentation on vascular neuroeffector transmission. One version comprised narration and animations, whereas the other animation comprised narration and still images. Fifty-four undergraduate students from level 3 pharmacology and physiology undergraduate degrees participated. Half of the students watched the full animation, and the other half watched the stills only. Students watched the presentation once and then answered a short essay question. Answers were coded and marked blind. The “animation” group scored 3.7 (SE: 0.4; out of 11), whereas the “stills” group scored 3.2 (SE: 0.5). The difference was not statistically significant. Further analysis of bonus marks, awarded for appropriate terminology use, detected a significant difference in one class (pharmacology) who scored 0.6 (SE: 0.2) versus 0.1 (SE: 0.1) for the animation versus stills group, respectively ( P = 0.04). However, when combined with the physiology group, the significance disappeared. Feedback from students was extremely positive and identified four main themes of interest. In conclusion, while increasing student satisfaction, we do not find strong evidence in favor of animated images over still images in this particular format. We also discuss the study design and offer suggestions for further investigations of this type.

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Kosutic, Tomislav, Miran Mosmondor, Ivan Andrisek, Mario Weber, Maja Matijasevic, and Igor Pandzic. "Personalized Avatars for Mobile Entertainment." Mobile Information Systems 2, no. 2-3 (2006): 95–110. http://dx.doi.org/10.1155/2006/139614.

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With evolution in computer and mobile networking technologies comes the challenge of offering novel and complex multimedia applications and end-user services in heterogeneous environments for both developers and service providers. This paper describes one novel service, called LiveMail that explores the potential of existing face animation technologies for innovative and attractive services intended for the mobile market. This prototype service allows mobile subscribers to communicate using personalized 3D face models created from images taken by their phone cameras. The user can take a snapshot of someone's face – a friend, famous person, themselves, even a pet – using the mobile phone's camera. After a quick manipulation on the phone, a 3D model of that face is created and can be animated simply by typing in some text. Speech and appropriate animation of the face are created automatically by speech synthesis. Furthermore, these highly personalized animations can be sent to others as real 3D animated messages or as short videos in MMS. The clients were implemented on different platforms, and different network and face animation techniques, and connected into one complex system. This paper presents the architecture and experience gained in building such a system.

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SEVİNDİ, Koray. "IDEOLOGICAL DISCOURSE ANALYSIS IN SOVIET ANIMATION CINEMA." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 2 (2021): 594–605. http://dx.doi.org/10.7456/11102100/017.

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In this study, the Soviet animation cinema's ideological discourses, which showed the consequences and reflections of the political ideology of the era, were examined. In line with the findings, it was considered that these animated films constitute a kind of cultural memory that exhibits the political history and social culture of the Soviets. The article's ideological discourse analysis method was applied by considering Teun A. van Dijk's study titled Ideological Discourse Analysis. As part of this research, because ideological discourses were analyzed, only short films with propaganda content were regarded among Soviet animations, and the scope of the study was restricted. Furthermore, the date range taken about the films was the term of Soyuzmultfilm, the official animation studio of the Soviet Union. The films created by the studio, which began its actions in 1936 until the dissolution of the Soviet Union in 1991, were taken into account. The conclusions of discourse analysis were evaluated according to the headings 'self-identity', 'activity', 'goal', 'norm and value', 'position and relation' and 'resource' mentioned in the article Ideological Discourse Analysis, and the ideological discourses in Soviet animated cinema were analyzed.

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Bongers, Amanda, Berthorie Beauvoir, Nicholas Streja, Georg Northoff, and Alison B. Flynn. "Building mental models of a reaction mechanism: the influence of static and animated representations, prior knowledge, and spatial ability." Chemistry Education Research and Practice 21, no. 2 (2020): 496–512. http://dx.doi.org/10.1039/c9rp00198k.

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In chemistry, novices and experts use mental models to simulate and reason about sub-microscopic processes. Animations are thus important tools for learning in chemistry to convey reaction dynamics and molecular motion. While there are many animations available and studies showing the benefit of learning from animations, there are also limitations to their design and effectiveness. Moreover, there are few experimental studies into learning chemistry from animations, especially organic reaction mechanisms. We conducted a mixed-methods study into how students learn and develop mental models of a reaction mechanism from animations. The study (N = 45) used a pre-/post-test experimental design and counterbalanced static and animated computerized learning activities (15 min each), plus short think-aloud interviews for some participants (n = 20). We developed the tests and learning activities in a pilot study; these contained versions of an epoxide opening reaction mechanism either as static (using the electron-pushing formalism) or animated representations. Participants’ test accuracy, response times, and self-reported confidence were analyzed quantitatively (α = 0.05) and we found that, while participants showed a learning effect, there were no significant differences between the static and animated learning conditions. Participants’ spatial abilities were correlated to their test accuracy and influenced their learning gains for both conditions. Qualitative framework analysis of think-aloud interviews revealed changes in participants’ reasoning about the test questions, moving toward using rule- and case-based reasoning over model-based reasoning. This analysis also revealed that dynamic and transitional features were incorporated into participants’ working mental models of the reaction mechanism after learning from animations. The divergence of participants’ mental models for reasoning and visualization could suggest a gap in their mental model consolidation.

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Reznik, Gabriela, and Luisa Massarani. "Gender and science in animation: analysis of the Anima Mundi Festival films." Journal of Science Communication 18, no. 02 (2019): A08. http://dx.doi.org/10.22323/2.18020208.

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We used content analysis to analyse the representation of female scientists in animated short films on gender and science, selected from the Anima Mundi Festival, over 21 annual editions. In these films, female scientists are featured as ‘intelligent’, ‘dominant’ and ‘well respected’, adult, white, wearing a lab coat or uniform and working in laboratories and fieldwork. We identified a reconfiguration of the gender stereotype in films in which the female character is about to gain space and visibility. We also analysed films whose sexist foundations in the relationship between scientists and their interlocutors reinforce the reproduction of sexist and heteronormative stereotypes.

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Adam, Maya, Sharon F. Chen, Manuel Amieva, et al. "The Use of Short, Animated, Patient-Centered Springboard Videos to Underscore the Clinical Relevance of Preclinical Medical Student Education." Academic Medicine 92, no. 7 (2017): 961–65. http://dx.doi.org/10.1097/acm.0000000000001574.

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O'Day, Danton H. "Animated Cell Biology: A Quick and Easy Method for Making Effective, High-Quality Teaching Animations." CBE—Life Sciences Education 5, no. 3 (2006): 255–63. http://dx.doi.org/10.1187/cbe.05-11-0122.

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There is accumulating evidence that animations aid learning of dynamic concepts in cell biology. However, existing animation packages are expensive and difficult to learn, and the subsequent production of even short animations can take weeks to months. Here I outline the principles and sequence of steps for producing high-quality PowerPoint animations in less than a day that are suitable for teaching in high school through college/university. After developing the animation it can be easily converted to any appropriate movie file format using Camtasia Studio for Internet or classroom presentations. Thus anyone who can use PowerPoint has the potential to make animations. Students who viewed the approximately 3-min PowerPoint/Camtasia Studio animation “Calcium and the Dual Signalling Pathway” over 15 min scored significantly higher marks on a subsequent quiz than those who had viewed still graphics with text for an equivalent time. In addition, results from student evaluations provided some data validating the use of such animations in cell biology teaching with some interesting caveats. Information is also provided on how such animations can be modified or updated easily or shared with others who can modify them to fit their own needs.

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Journal articles on the topic 'Animated short'

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