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Hosseini-Shakib, Fatemeh. "The hybrid nature of realism in the Aardman Studio's early animated shorts." Thesis, University of Brighton, 2009. https://research.brighton.ac.uk/en/studentTheses/a40cef4d-f7d3-4be6-a074-94d7a4846dda.
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This study investigates the complex operation of realism in the representational make-up of animated films of the Aardman studio. It focuses on ten early films made in a three-dimensional clay/puppet medium. All the films are based on ‘real’ soundtracks, gathered via secretly recorded conversations of ordinary people in everyday situations or by direct interview. The key argument is that these stop-motion films show a hybrid composition of realist strategies and approaches, in terms of their adaptation of realist aesthetics as well as their subject matter. It is argued that their aesthetic make-up is associated with, or copied, from certain modes of live-action documentary film such as observational style and interviews. The thesis contends that realism in these films is of a complex nature. It studies and illustrates different aspects of realism in the corpus, with particular emphasis on three films chosen for specific case study.
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Cecil, Amber. "Mental Process Narrative Film: Design Techniques for Visualizing Character Psyche in Animated Shorts." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1285009380.
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Godoy, Adriana Cristina de. "As imagens na sala de aula: produção de conteúdo visual no ensino de História e Geografia local." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/59/59140/tde-19022014-173117/.
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A pesquisa envolve uma escola da Rede Pública Municipal de Ribeirão Preto-SP que participou de um Projeto denominado Curtas de Animação, promovido pelo Núcleo de Cinema de Animação de Campinas-SP e financiado pelo Instituto Algar, no ano de 2010. Um dos produtos finais gerados nessa escola foi um curta de animação de quatro minutos e onze segundos de duração. O referido projeto teve duas fases. A primeira incluiu vários alunos do Ensino Fundamental que foram envolvidos por pesquisas e aulas sobre a localidade. Aspectos históricos, culturais e relacionados ao meio ambiente foram priorizados. Na segunda fase, participaram treze alunos e esta pesquisadora (que atuava como professora de História na escola). Junto com a equipe do Núcleo de Cinema de Animação de Campinas, esse grupo iniciou um processo de produção de um curta de animação denominado pelos alunos como Ribeirão Preto - terra do café. A pesquisa foca no contexto do estudo da imagem e da produção imagética feita pelos próprios alunos no Projeto. As questões principais são: Como a leitura e a produção de material imagético pelos alunos podem colaborar (ou não) com o aprendizado e o interesse pelo estudo da História e Geografia local? Passado o tempo da realização do projeto, o que ficou do conhecimento de História e Geografia da localidade para os alunos participantes? A pesquisa busca estudar como a produção de material pelos alunos pode colaborar na aprendizagem de conhecimentos da História e Geografia local, possibilitada pelo Projeto Curtas de Animação, além de descrever e compreender todas as etapas do processo de produção do curta de animação, analisar, sob a ótica dos alunos, quais os impactos na aprendizagem dos conhecimentos de História e Geografia local e compreender as habilidades na leitura de imagens diversas. O referencial teórico abrange tanto as pesquisas realizadas no âmbito do estudo das imagens como as pesquisas relativas ao seu uso no ensino de História e Geografia. Três questionários abrangendo as três fases do processo de produção do curta de animação foram aplicados a quatro alunos participantes do Projeto. O resultado dos mesmos é analisado à luz das referências, com foco na questão do Ensino de História e Geografia local. A imagem faculta a percepção do espaço em suas mudanças e permanências, semelhanças e diferenças, tendo em vista seu uso para o estudo da localidade. No entanto os livros didáticos não viabilizam este uso, devido ao fato de estamparem representações de espaços, muitas vezes, distantes da realidade do aluno, principalmente daquele que não vive nos grandes centros urbanos. Os resultados obtidos procuram apontar para uma abordagem da questão das imagens no Ensino de História e Geografia, passando pelo pensar sobre a imagem, por si, e pelo caminho percorrido pelo seu uso e assimilação como documento histórico e das representações da paisagem geográfica, assim como da sua produção em sala de aula.<br>The present research involved a school from the public network of the city of Ribeirão Preto, which took part in a Project called Curtas de Animação (Animated shorts) in 2010. The project was promoted by the Núcleo de Cinema de Animação de Campinas SP (Center of Animation Movies of Campinas SP) and sponsored by Algar Institute. One of the final products at the aforementioned school was an animated short four minutes and eleven seconds long. The project consisted of two phases. In the first phase, several middle school students had classes and carried out researches about the municipality. The focus was on historical, cultural and environmental aspects. The second phase had the participation of thirteen students and the researcher (who worked as a History teacher at the school). Along with the staff of the Núcleo de Cinema de Campinas, this group began the production of an animated short named by the students Ribeirão Preto terra do café (Ribeirão Preto the land of coffee). This research focuses on the context of such production. The main questions are: How can reading and producing visual material help (or not) students to learn and get interested in studying local History and Geography? After the project ended, what knowledge of the local History and Geography remained for the participating students? The research looks at how the production of material by the students, as it was made possible through the Project Curtas de Animação, can help the learning process and improve the knowledge about local History and Geography. It also describes and explains all the steps in the process of the production of the animated short; analyses, from the students perspective, what were the impacts on the acquisition of knowledge about the local History and Geography and looks at the skills used for reading different images. The theoretical frame of reference covers both researches on the use of images, as well as the ones about the use of images in History and Geography classes. Three questionnaires covering the three steps of the production process of the animated short were applied to four students who participated in the Project. The results were analyzed according to the references, with special emphasis on the issue of teaching local History and Geography. Images provide a perception of the way the space shifts or stays the same, of its similarities and differences, in view of their use for studying the locality. However, textbooks do not enable this use, since they often picture representations of spaces that are far from the students reality, especially from those who do not live in large urban centers. The results seek an approach for the use of images in teaching History and Geography by reflecting about the image itself and about the path taken during its use and its assimilation as a historical document or a representation of the geographical landscape, as well as its production in the classroom.
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Kochan, Elizaveta. "Creating a Short Animated Film with Cloth Characters." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/526.
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This creative thesis involved making an animated short film from scratch, dubbed “Laundry Day” for the time being. The film follows two sentient clothing characters, a hoodie and a pair of pants, who need to get out of their owner’s room to get to the laundry room after accidentally being left behind. Please watch the short here and use the password “goodiehoodie”:
https://vimeo.com/415387205
This was a time consuming, challenging, and multifaceted project, but provided an accurate glimpse into how feature animation is made. The process of making any project like this is commonly called a pipeline, and can be simplified to seven categories: Story, Character, Environment, Animation, Effects, and Rendering. This paper will go into each of these and explain the technical and creative challenges I had to overcome to reach the final product.
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Tronerud, Nathanael D. ""Maly Trebacz"| An original score for a short animated film." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1524171.
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<p> This project report will provide a description and analysis of the original musical score, as composed and arranged by the author, for the short animated film <i>Mały Tre¸bacz,</i> which was produced in collaboration with the film's director, Monica Kozlowski. It will detail the process of the music's composition, including those decisions which were made whilst scoring the picture, the reasons and justifications for so doing, a scene-by-scene analysis of the film and accompanying music, background information concerning the film's origins and influences (including the historical origins of the narrative), the role of the film's score in communicating the story of the film to the audience, how certain choices in scoring impacted the direction of the film's narrative, and a short discussion of the major themes and musical motifs heard within the score (including its incorporation of the <i>Hejnal mariacki</i>).</p>
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Galpin, Kennedy L. "DuIK Bassel in Usage in After Effects and an Animated Short Film." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/480.
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This thesis was made with the goal of creating a 2D short film in the end, with mainly using a program that is not normally used for character animation: Adobe After Effects. With the usage of an originally French plugin called DuIK Bassel (v16.0.9), I was able to create a model in Adobe Photoshop and then put it into After Effects. When the files were imported, the plugin would then assist in the rigging process, wherein I would be able to create the character’s rig and make the 2D model within the program. This document discusses the entire creation of the short film that I progressed through, from the storyboarding, character creation, rigging process, and putting the elements together.
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Jung, Myung-Chul. "A shadow of an idea /." Online version of thesis, 2008. http://hdl.handle.net/1850/7923.
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Bergstrom, Ander. "Lockers /." Online version of thesis, 2008. http://hdl.handle.net/1850/7791.
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Jin, Rui. "Memoir of a marionette /." Online version of thesis, 2008. http://hdl.handle.net/1850/8039.
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Lee, Pei-Cheng. "Longshi /." Online version of thesis, 2009. http://hdl.handle.net/1850/8744.
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Giles, Zachary. "Do you hear what I hear /." Online version of thesis, 2009. http://hdl.handle.net/1850/8827.
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Legwaila, Karabo. "Thokolosi /." Online version of thesis, 2008. http://hdl.handle.net/1850/8015.
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Liu, Ting. "The lantern /." Online version of thesis, 2009. http://hdl.handle.net/1850/9550.
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Kim, Yumi. "Chasing the moon /." Online version of thesis, 2009. http://hdl.handle.net/1850/8691.
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Ramadan, Hadeel M. "Jan. 25 ( Story of a Girl )." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/71871.
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The work presented in this thesis explores the possibility to integrate two dimensional drawings with three dimensional animated characters in 3D computer graphics. The goal was to preserve the effects of the cartoonish artistic style and produce a strong emotional and moving story without realistic animation feel.
Inspiration of the storyboard was based on a true story from the Arab Spring events that occurred in several Arab countries, I focused my work on the context of Egypt.<br>Master of Fine Arts
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Araújo, Marília Santos de Quadros. "Retextualização de curta-metragem de animação no ensino fundamental: desenho pedagógico para a produção escrita de contos de mistério." Universidade Federal do Pampa, 2016. http://dspace.unipampa.edu.br:8080/xmlui/handle/riu/959.
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Dissertação Marília_RETEXTUALIZAÇÃO DE CURTA-METRAGEM DE ANIMAÇÃO NO ENSINO FUNDAMENTAL DESENHO PEDAGÓGICO PARA A PRODUÇÃO ESCRITA DE CONTOS DE MISTÉRIO .pdf: 10524457 bytes, checksum: 53ca7d58029e1f070ef286ec01288396 (MD5)<br>Made available in DSpace on 2017-02-10T13:01:16Z (GMT). No. of bitstreams: 2
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Dissertação Marília_RETEXTUALIZAÇÃO DE CURTA-METRAGEM DE ANIMAÇÃO NO ENSINO FUNDAMENTAL DESENHO PEDAGÓGICO PARA A PRODUÇÃO ESCRITA DE CONTOS DE MISTÉRIO .pdf: 10524457 bytes, checksum: 53ca7d58029e1f070ef286ec01288396 (MD5)
Previous issue date: 2016-09-23<br>Esta pesquisa foi realizada durante o curso de Mestrado Profissional em Ensino de Línguas, visando a elaboração de um produto pedagógico que será disponibilizado para profissionais da educação, com o intuito de contribuir para o processo de ensino-aprendizagem. Esse trabalho disserta sobre a produção escrita de contos de alunos do Ensino Fundamental através da prática da retextualização de um filme de curta-metragem de animação, dada a importância de investimento pedagógico em atividades que se preocupem com a aprendizagem relativa à produção escrita nas aulas de Língua Portuguesa. Por isso, os objetivos pedagógicos específicos desse trabalho são realizar produções escritas com adequação ao gênero trabalhado; ampliar o uso de recursos linguísticos nas produções escritas; socializar os contos produzidos. Já para a elaboração do produto pedagógico, sua aplicação teve como finalidade avaliar o engajamento de estudantes frente à proposta com filmes de curta-metragem de animação; acompanhar o progresso do desenvolvimento da produção escrita dos alunos ao longo da execução da proposta e redesenhar a proposta didática aplicada, visando ao seu compartilhamento em um site pedagógico voltado para esse fim. Essa proposta é um material de ensino autoral e foi aplicada com alunos de sétimo ano do Ensino Fundamental, em uma escola da rede municipal de Bagé, Rio Grande do Sul, os quais apresentavam baixo rendimento na produção escrita. Depois da aplicação, foram feitos aprimoramentos no material de ensino, pois trata-se de uma pesquisa-ação, conforme conceito de Tripp (2005), em que, além do material pedagógico, a prática do professor-pesquisador também é revisitada. Para falar de retextualização, foi utilizado o conceito de Marcuschi (2010). Quanto aos resultados, pode-se dizer que, durante o acompanhamento do desenvolvimento da produção escrita dos alunos, percebeu-se um progresso satisfatório quanto à adequação ao gênero trabalhado, ampliação do uso de recursos linguísticos na escrita desses alunos e a constatação da socialização dos contos produzidos para além do método de socialização planejado. Além disso, houve engajamento dos alunos frente à proposta e, com base na sua aplicação, foi possível redesenhar o material de ensino desenvolvido para compartilhá-lo em meio virtual.<br>This research was carried out during Professional Master's Program in Language Teaching, aiming at the elaboration of a pedagogical product which is going to be available to educational professionals in order to contribute to teaching end learning process. This paper descants about short stories writing of Elementary students through an animated short film retextualization practice, according to the significance of a pedagogical investment in activities that concerns the writing learning in Portuguese Language classes. Therefore, this paper specific pedagogical objectives are producing writings that are adequate to the studied genre; enlarge the linguistic resources use in students writings and socialize the short stories produced. For the pedagogical product elaboration, its enforcement aimed at evaluating students engagement towards the animated short films proposal; see the students writing progress along the proposal accomplishment and redesign the applied didactic proposal in order to share it in a pedagogical website with this intent. This proposal is an authorial teaching material and it was applied with elementary seventh grade students, in a municipal web school in Bagé, Rio Grande do Sul that showed low productivity at writing. After the enforcement, some enhancements were made in the teaching material, because it is an action research, according to Tripp's Concept (2005), in which, besides the pedagogical instrument, teacher-as-researcher's practice is also revised. Marcuschi's concept (2010) was used to discuss retextualization. Concerning the results, it is possible to say that during the observation of students writing development it was noticed a satisfactory progress regarding the adequacy to the studied genre, the enlargement of the use of linguistic resources in these students' writing and the finding of socialization of the produced short stories, beyond the planned socialization method. In addition to this, there was student engagement towards the proposal and, base on its application, it was possible to redesign the teaching material developed to be shared in a virtual media.<br>This research was carried out during Professional Master's Program in Language Teaching, aiming at the elaboration of a pedagogical product which is going to be available to educational professionals in order to contribute to teaching end learning process. This paper descants about short stories writing of Elementary students through an animated short film retextualization practice, according to the significance of a pedagogical investment in activities that concerns the writing learning in Portuguese Language classes. Therefore, this paper specific pedagogical objectives are producing writings that are adequate to the studied genre; enlarge the linguistic resources use in students writings and socialize the short stories produced. For the pedagogical product elaboration, its enforcement aimed at evaluating students engagement towards the animated short films proposal; see the students writing progress along the proposal accomplishment and redesign the applied didactic proposal in order to share it in a pedagogical website with this intent. This proposal is an authorial teaching material and it was applied with elementary seventh grade students, in a municipal web school in Bagé, Rio Grande do Sul that showed low productivity at writing. After the enforcement, some enhancements were made in the teaching material, because it is an action research, according to Tripp's Concept (2005), in which, besides the pedagogical instrument, teacher-as-researcher's practice is also revised. Marcuschi's concept (2010) was used to discuss retextualization. Concerning the results, it is possible to say that during the observation of students writing development it was noticed a satisfactory progress regarding the adequacy to the studied genre, the enlargement of the use of linguistic resources in these students' writing and the finding of socialization of the produced short stories, beyond the planned socialization method. In addition to this, there was student engagement towards the proposal and, base on its application, it was possible to redesign the teaching material developed to be shared in a virtual media.
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Svetoft, Erik. "ÄLGEN." Thesis, Konstfack, Grafisk design & illustration, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6925.
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Work process for the production of the short film ÄLGEN (2019); Technical aspects and thematics. Film synopsis: Two animals trying to entertain at a forest zoo get humiliated and decide to run away in search of freedom. At the same time a mysterious shadow haunts the countryside and a national symbol becomes an idol of worship. A short film about national identity, freedom, climate and dancing animals. Graduation project, MFA degree , Konstfack, Stockholm. 2019
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Björklund, Manne. "The Comet." Thesis, Konstfack, Grafisk design & illustration, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6352.
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Mitt examensarbete bestod av både en gestaltande och en skriftlig del. Mitt arbete handlade om att göra en animerad kortfilm. Under 10 veckor animerade jag en film som kom att heta The Comet. En film om längtan, saknad och känslan av ensamhet. Till detta skrev jag också en rapport där jag redogjorde min process, inspiration, referenser, resultat och tankar kring min utställning i samband med arbetet.<br>My degree project consisted of both a creative and a written part. My work was about making an animated short film. For 10 weeks, I animated a movie called The Comet. A film about longing, missing and the feeling of loneliness. In addition, I also wrote a report describing my process, inspiration, references, results and thoughts about my exhibition in connection with the work.
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Daševič, Ladislav. "Simulace dějů v elektrických přístrojích." Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2009. http://www.nusl.cz/ntk/nusl-217878.
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Aim of the thesis is to explain the issue of forces acting in circuit breaker caused by magnetic fields induced by short-circuit current. This thesis is focused on force affecting in concrete system of a circuit breaker. The given circuit breaker is made by OEZ Letohrad, the type Modeion BD250. In the thesis the way of creating 3-D model is shown for the purpose of creating numeric simulation by ANSYS 11. The next approach of the thesis is the description of applicating the results for DC and AC current calculations. The noted calculation is made in the programme MATLAB 6.5. The solutions are mentioned at calculations both in the graphic form and numeric specifications. Visualisation was made by using GIF graphic system animation. The individual pictures processing was done in the programme UNLEAD GIF ANIMATOR 5.
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Lin, Jhih-fong, and 林志峯. "Stage Scenario Applied in Short Animated Film Creation." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/90462008825842409237.
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碩士<br>國立臺南大學<br>動畫媒體設計研究所碩士班<br>101<br>Musical films, being one of the most entertaining movie types, are deeply influenced by the musical song and dance drama which appeared in 1930, owing to the innovation of film technology. Before, Silent films were the trend, after which, movies started to have sounds, and eventually adding music and songs, which made people want to try dance performances as well.
Not to lag behind, Walt Disney cannot wait to add music and dance into animation so as to improve its standard, making it more entertaining.
Stage scenario, a concept proposed in films by the author, is usually applied in song and dance scenes. This study attempts to explore it through some movie, animation and music video cases, focusing on the visual performance and techniques used.
This study does an overview of the application of stage effects according to the drama types and development of stage setting, and then it explores related movies and sorts out related information to be regarded as the reference for animation creation.
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Shih, Ho-Cheng, and 施和成. "Creation Discourse of Animated Short Film ”Dream Arms”." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/8je83a.
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碩士<br>國立臺灣藝術大學<br>多媒體動畫藝術學系動畫藝術碩士班<br>101<br>“Dream Arms” is a 3D animated short film in which the main character, an armless young man, tried to fulfill his ambition to become an athlete by acquiring a pair of arms. A cat hinders his attempt by snatching away those arms one step ahead. The young man goes after the cat, and scenes of fighting and stunt ensued in the chase. The study attempts to identify the fundamental elements of action films by examining and analyzing classic films in the genre.
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Cheng, Chu-Yun, and 鄭筑云. "The Influence of Short Animated on University Students’ Critical Thinking – Taking the three Short Animated Films of Pixar Animation Studio as Examples." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/w8pwsu.
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碩士<br>國立彰化師範大學<br>資訊管理學系數位內容科技與管理碩士班<br>105<br>The purpose of this study is to access the effectiveness of the university students’ critical thinking and disposition after experimental watching of the Pixar short animated. Check short animated effectiveness of the university students’ critical thinking disposition and critical thinking skill.
A quasi-experimental method was conducted with 6 classes of freshman to junior in CTUST and NCUE. One class was assigned as an experimental group (1A, 2A, 3A) with 109 students; the second class was controlled group (1B, 2B, 3B) whit 111 students, total is 220 students.
In this study, using Pixar short animated of <Piper>, <Sanjay’s super team> and <La luna>. Disposition experimental group watching the short animated and controlled group watching story content pictures and text. Use the "critical thinking dispostition" and "critical thinking skill" as the evalustion tool, after the experiment implementation, to quantify the statistical analysis of college students in the critical thinking of the implementation of the effect of differences.
In this study, we used independent samplet test, paired samplet test, covariance analysis, Johnson Neyman for data analysis, the results show that watching the short animated can really better than watch the story content picture and text. There are some significant positive effects on the way in which the short animated has a significant positive impact on the "critical thinking disposition" of college students, and the effectiveness of the experimental group in terms of "critical thinking skills" The control group, can see that through the implementation of the way to watch the animated short film, really can partially enhance the university's critical thinking ability.
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Lehman, Christopher Paul. "Black representation in American animated short films, 1928–1954." 2002. https://scholarworks.umass.edu/dissertations/AAI3056252.
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Black representation in American animated short films circularly evolved between 1928 and 1954. Blackface minstrelsy at first figured heavily in black representation. The increasing prominence of African-American movie stars and technological improvements in animation led to extremely diverse animated black images in the late 1930s and early 1940s. With the decline of African-American film roles in the 1950s, however, animators fell back to minstrelsy-derived black images. Animated black characterization emerged as blackface changed in the first sound cartoons from a generic cartoon design to an image restricted to black characters. In the early 1930s, cartoon studios began to significantly differentiate black characters from animal characters. Studios focused upon developing characters with strong personalities in the mid-1930s, but black characterizations were mostly derivative of blackface minstrels and black actors. African-American artistic expressions influenced animation during World War II but did not affect the studios' black images. From 1946 to 1954, studios ignored African-American artistry and reverted to past styles of black imaging.
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SHEN, SONG-YUN, and 沈頌芸. "Exploring rhetoric of short animated films with family topics." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/83749060322150387172.
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碩士<br>南臺科技大學<br>數位內容與應用設計碩士班<br>105<br>Abstract
An understanding of rhetoric of film can be used to create an appreciation for films through inverse operation, and it can also be used in the making of films to construct the most appropriate arrangement for the expression of drama, to enhance the audience’s understanding of the film, or to inspire them. This study aims to analyze the commonly used forms of rhetoric of film and its functions in family-related animated shorts and to hereby explore its manifestations and meanings.
This study adopted content analysis to evaluate the rhetoric of film used in five three-to-ten minute animated family shorts; the definitions of rhetoric of film in Li Xianjie’s 《Film Rhetoric: Mirror and Discourse》 and Ge Yuqing’s 《Animated Film Narrative Art》 were used as the basis for the development of the rhetoric of film categorizations.
Our findings showed that the commonly used forms of rhetoric of film are “Close-up,” “Repet,” and “Hyperbole.” The application of rhetoric of film is very useful for revealing and constructing the overall imagery of a film; an understanding of the application of rhetoric will thus enable deeper understanding of and discussion on the imagery expressed in films and perhaps even effect changes in the psychological state of the audience. In terms of the construction of images, the use of rhetoric of film could enhance the beauty and visual richness of a picture. The implicit meanings represented by each type of rhetoric could deepen the audience’s impression of a film and provoke a deeper level of thought, thus increasing the film’s value.
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JIANG, BING-SHIAN, and 江秉憲. "Study on Physiognomy and Personality of Characters in Animated Short Films." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/vu47gx.
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碩士<br>國立雲林科技大學<br>視覺傳達設計系<br>106<br>With the upgrading of digital media technology and the increase in the number of students of the digital media science department in universities and colleges, the number of animation creators is also on the rise year after year. The characters accurately convey the story plots and the charm of their roles to the audience is the core purpose of the animated creator making the animation. A character must have physiognomy and appearance in consistent with the plots setting, and then the character personality can be accurately conveyed, To sum up, the research purpose in this study include: 1. Knowing what personality types of characters in animated short films; 2. Knowing the facial features of characters with different personality; 3. Knowing the correlation between the facial feature and the personality of characters.
Part of research methodology, this study divided the personalities of characters in animated short films into 8 typical types and the facial forms into 7 types. Using the focus group interview, the corresponding relationship between personality and facial form was discussed. Afterwards, 30 testees were invited by purpose sampling to allocate the five sense organs to the eight typical types of personalities through the character creation system. The data acquired were then used for one-way analysis of variance.
The research finding showed that The facial forms fitting for the personality of leading characters include heart face shape, rectangular face shape and square face shape; the facial forms for amiable characters include oval face shape and round face shape; the facial forms for adventurous characters include diamond face shape, oval face shape, pear face shape and round face shape; the facial forms for peacockish characters include heart face shape, diamond face shape and rectangular face shape; the facial forms for reserved characters include rectangular face shape and square face shape; the facial forms for modest characters include rectangular face shape , oval face shape, pear face shape and round face shape; the facial forms for apathetic characters include rectangular face shape; and the facial forms for melancholic characters include diamond face shape and pear face shape. The most predominant facial part of the leading characters was the brow angle; the amiable characters, the mouth shape; the adventurous characters, the brow angle; the peacockish characters, the upper lip and mouth shape; the reserved characters, the nose tip width and mouth shape; the modest characters, the mouth shape; the apathetic characters, the eye size, nose tip width and upper lip; and the melancholic characters, the brow angle. The conclusion and suggestions can be provided as the reference for animated character design.
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HONG, PEI-CHE, and 洪培哲. "Exploring digital technology and its creations through the short animated film, 《Fisherman》." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/mw8gtg.
Full textAbstract:
碩士<br>國立臺南藝術大學<br>動畫藝術與影像美學研究所<br>105<br>Using the animated work “Fisherman” to explore the applications of digital technology, we analyze the relevance of individual creative experiences and animation studies of digital imagery in personal creations. We also discuss the process of creating animations using digital technology. This discussion includes topics related to creative concepts and methods, in addition to creative thinking, pre-production, the use of digital production to complete hand drawings, and the challenges and changes that are encountered throughout this process. Finally, we conclude by discussing the observations of animators on future development of digital technology in Taiwan’s animation environment.
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Lin, I. Chen, and 林藝真. "Create Description and Stud of the Abstract animated Short film—“The microbe”." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/64018944267327720491.
Full textAbstract:
碩士<br>國立臺南藝術大學<br>動畫藝術與影像美學研究所<br>100<br>By short film“The microbe”to explore abstract animation`s technique and specificity in the animation field. This thesis consists of five main structures. Firstly, explore the origin of abstract animation background and personal creative process. The second chapter , explain“Ephemera”creative motivation, and further analysis of the characteristics of abstract animation, as well as study the relationship between music and pictures. The third chapter organizes the design and visual style of this work, including the music analysis and the production process. The fourth chapter is research and analysis on the aesthetic of the abstract animation, and creation under the context. The fifth chapter is thinking about abstract animation situation as an animation in the modern, how to obtain an audience, as well as the future development of abstract animation.
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Wu, Shiu-Hua, and 吳綉華. "Study on the Criteria of Color Language of the Animated Short Film." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/97226181212867040890.
Full textAbstract:
博士<br>亞洲大學<br>數位媒體設計學系<br>104<br>Recently, the animation industry has been classified as one of the eight kinds of key-development projects in order to actively promote the digital content industry in Taiwan. However, animation is considered one of modern visual art creations. Color existed in the creation of each film has an important impact, and also directly affect the reveal of animation theme, and shape the image of animated characters and render the atmosphere of scene as well as environment. It relates to affect the ornamental value and appeal of animation, and even to express the meaning of animated story, etc. Therefore, in the development process of the animation industry, how to effectively use the color language of animation, and to fully convey the concept of story as well as character emotional in animation creation, and to become one of the important key-methods to effectively enhance the soft power of animation industry. However, many discussions and analyses previous studied on animation, most of them more emphasis on the story plot and the application of the lens. Currently, on studying of animated films, the method of systematic analysis and discussion carried on the theme of animation color performance is still quite limited.
Twenty-five pieces of films which were the finalists of Annual Best Animated Short Film of the OSCAR Awards ranged from 81st to 85th at the last five years were analyzed in this study. Then the author performs the content analysis (CA) through the method of focus group interviews (FGI). To summarize and verify the questionnaire, the validation of experts and scholars and statistical analyses including independent t test (t test), one-way analysis of variance (ANOVA), structural equation modeling (SEM), and important performance analysis (IPA) were carried on. And those of successful animation film how to convey the thought and imagery of animation creators via the performance index of color language were explored.
After analyzed through the methods including FGI and CA, these results showed that there were 18 kinds of color performance criteria (CPCs) designed by creators, which existed in three dimensions such as character style (CS), story structure (SS) and scene environment (SE) in 25 animations. And the CS dimension had five CPCs containing the recognition, cohesion, empathy, sense of the times, and constant passion, etc. There were six CPCs such as the differences, story line, crunch, conception code, mind symbol, and focus function, in the SS dimension. Then the rest of seven CPCs including the reflection, edge silhouette, light effect, regional, contrast, appeal, and color cloud, were located in the SE dimension. After analysis performed in 2,093 samples, the results clearly indicated that the reliability and validity of questionnaire existed in three dimensions including CS, SS and SE had achieved to the acceptable level. And the 18 observed variables in three dimensions had a good discrimination power. After statistical analyses using independent t test and ANOVA, the results showed that the differences of research did not relate to the description performed by different people, whereas it had apparently relevance including the test group of students attending different university, education system, and professional background. In addition, the author also found that the films whether acquired the prize, there were no significant difference. To evaluate the effect of CPI discovered by this study on animation, the method of SEM was further carried out. After SEM analyzing, the results showed that the overall fit indices of the model of CPI of animation should be acceptable level. At the same time, the values of relationship coefficient of the three dimensions containing CS, SS, and SE in animation also fitted to the rule of SEM. Finally, another statistic method of IPA was further applied to assess the application potential of animated color performance in future. After IPA analysis, the author found that about 53.33% of index values of CPI of observed variables in 25 animations were over the total average value of three dimensions. It showed that the importance of CPI of animation was generally affirmed in these films.
In conclusions, these data clearly prove that the mode of criteria of animation color language discovered by this study has a practical value of reference and potential of application. It also provides the design consultation for the animated creator, enhances the resonance of animation viewer, and then effectively promotes the upgrade of animation industry and achieves to the goals of education learning of digital media design in the future.
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Chen, Bo-Yu, and 陳柏宇. "The Study of the Endings of Animated Short Stories — The Animation "Rocking Horse"." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/q8975a.
Full textAbstract:
碩士<br>國立雲林科技大學<br>數位媒體設計系<br>103<br>The endings of animated short stories has quite a lot of influence. For unexpected endings has always been a key to impressed audience. In this study, I am going to work for the ending of the stories in order to have more audience favorite. Apply the ending that surprised people to Animated Short Stories- Rocking Horse. First of all, to do research of animated short story structure during the literature review. And to analyzed the animated short stories ending of Pixar. Therefore, to conclude with a design method by animated short stories.
How to analyze the ending of animated short stories based on animated short stories' structure theory by Sullivan, K. & Schumer, G. & Alexander, K. (2008). And using Text Analysis for fifteen animated shorts of Pixar. In conclusion, there are eight mode to structure the endings. Three of them are repetitive used. However, to do questionnaires after complete the storyboard of Rocking Horse. While the result show that the most surprised ending is "the relationship reversed between main character and secondary character" has get 80% of the audience favorite. So according to this way as a method to build Rocking Horse a surprise ending. And most of audience approve this study from outcome exhibition. Meanwhile, this study provide an eight endings from Pixar animated short stories and also supply the process that how to build story ending to anyone who interested.
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PAN, SI-YA, and 潘思雅. "The Empirical Study of Color Script and Emotional Communication in Animated Short Films." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/xr287m.
Full textAbstract:
碩士<br>南臺科技大學<br>視覺傳達設計系碩士班<br>106<br>Colors can affect the atmosphere of animated films and connect the plot as a whole. They are even more important to the animated short films which have to deliver the stories and emotions to the audiences in a much shorter time. Thus in the process of an animated production, the color script becomes an important element to control the overall atmosphere of the animated film.
First, this study tried to analyze the influence of how colors affect emotions and the importance of color scripts for animated films through the literary references. It categorized the most commonly used color scripts and explained their uses and how to apply them. Then through experimental methods, it created three versions of an animated short film. They are: Version A – original script (regular group); Version B: color script (enhanced group); Version C: monotone script (controlled group). The different feelings after watching the film are evaluated by using SAM (The Self-Assessment Manikin) to analyze the emotional differences of the elementary school children’s three dimensionalities - Pleasure, Arousal and Dominance.
The result of the study shows that there is no obvious differences towards Pleasure and Dominance for the children, but a significant difference towards Arousal. Version B (enhanced group) has a higher emotional reaction than version A (regular group) and version C (controlled group). “Do age and gender affect the emotional differences between the versions?” Yes, obvious differences are detected for Arousal and Dominance. Thus it proves that the use of color script will affect the degree of emotional feelings.
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LEE, HUNG-KEN, and 李宏耕. "A Strategic Research on Narrative Manifestation and Creative Realization of Animated Short Film." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/y5r679.
Full textAbstract:
博士<br>國立臺北科技大學<br>設計學院設計博士班<br>107<br>This thesis aims to explore the narrative creation strategy of animated short films, apply the narrative theory to the thinking strategies of animated short film narratives, and analyze the practical guidelines for the practice of animation works with team management theory. The main body of the thesis is divided into three parts:
The first part reviews the concepts of narrative theories and team management theories, and finds that the level of narration and focalization theory assist in shaping character role; the narrative structure theory points out the decomposition of story content and expression design; and the Team Mental Models (TMMs), Input-Process-Output (I-P-O) and Input-Mediator-Output-Input (IMOI) can help the creative team master the efficiency of realizing ideas.
The second part discusses the manifestations of narrative space, narrative time and focus point in the animated film from the external position of the viewer. The content analysis is based on the French TV “Minuscule” and the four Oscar best animated films. The camera shot, character action and sounds are the most important design elements that affect expression of space, time and character focalizations.
The third part studies the creator's inner thinking to explore the mental models of creating short animation. Through the experience analysis of the experts and the reflection feedback of the student teams, and using the IQA qualitative analysis method to clarify the creative context of animated short film and discuss the cognitive differences between these two groups. The research found that the two groups of participants have agreed on five common affinities, core value, character performance, art design, production management and sound elements. However, experts value the target audience, and student teams are more concerned about the available resources and teamwork.
This thesis attempts to break away from the discussion of animation production. In addition to focusing on the design research of animation narrative expression, it also introduces the basis of narratology, psychology and philosophical theory into animation researches. The empirical research that introduces the theory of team management deduces the three-stage thinking structure of the initial, create and realization of ideas. The research results suggest the training courses for animation narrative expression should be designed based on the point-line-facet coordination model. The guidelines of create an animated short film are through the three-stage thinking: initial-what, create-how and realize-team.
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Tsao, Yi-Ting, and 曹議庭. "Discussion on the Journey of Memory and Dream by the Animated Short Film “Wormhole”." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/91589492979362243643.
Full textAbstract:
碩士<br>崑山科技大學<br>視覺傳達設計研究所<br>100<br>Super-reality is the abnormality in reality; it is the product of irrational logic hardly comprehensive and sympathetic for people. Dream is the prelude before the wish comes true. When one fails to balance and find an outlet for the bursting emotions in subconsciousness, escape and concentration action tends to occur in the dream easily. For super-reality and dream land, the similarity lies in exploring human desires in their minds through the psychoanalytical process, which produces the first impact of creation- exploration in dreams. Image is a kind of simulacrums in visual sense. It carries the meaning of symbols that can be rejected and transformed into language delivered by vision in accordance with personal emotions. As for multiple media animation, it is one of the creative expression techniques with highly experimental spirit. On the other hand, cross creative forms combine the material and the media. Both of image and multiple media animation possess the experimental property in delivering language via visual sense, leading to the second impact in creation phase- integration of expression techniques. Moreover, image perspective accounts for the influence of narrative structure on the angle people regard events. It observes viewpoint by objective and subjective lens instead of human eyes. Meanwhile, montage refers to multiple iterative reconstruction that endows fresh implication on the images by right-and-left permutation and combination. There is interconversive relationship between image perspective and montage. By means of the characteristics of the lens’ language, image events are narrated from different viewpoints, which forms the impact in the third phase—visual perspective reconstruction.
The experimental animation “Wormhole” is an approach that launches communication between the self and the mind. It pass through the past, now, and future in process of saving memory in the brain. Conversion of time and space not only endows true feelings but also covers imaginary space. We have many facets to analyze and probe into in regard of super-reality’s pursuit of the unknown world and the inner feelings. Through the three phases before creation, we expect to correct the creative thoughts via rational “conflict” to endow the animated short film with the most sincere emotions by visual language.
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Chang, ChunTse, and 張軍策. "The Research of Storyboard in Short 3D Computer Animated Film ─ Using "Golden Memory" as Examples." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/37527703929904432027.
Full textAbstract:
碩士<br>國立臺灣藝術大學<br>多媒體動畫藝術學系動畫藝術碩士班<br>100<br>When script is transformed into images of storyboard, no matter whether it is in the animations or movie format, it plays the key role in determining the preproduction phase. While drawing the storyboard, it requires pre-pondering about the process from the stationary to dynamic which evaluates the composite thinking in an integrated visual presentation, aesthetics and film editing, and these can ensure the ensuing production phase in reaching preset goal of efficiency as well as cost saving. Based upon the above, this research emphasizes the storyboard drawing during preproduction for short 3D animated film and adopts the content anyalysis and interview method prior proceeds further. First of all, documentation exploration will be carried out in conjunction with theoretical and short films renowned both domestically and abroad, to sort out principles for storyboard drawing. Then two versions of the self-edited stories “Golden memory” will be drawn into storyboards and five experts will verify afterward. The finding of this research reveals that B version of three directions of “Golden memory” exhibits the “narration”, “emotion of the role” and “surrounding atmosphere” was better. “Horizontal lens” has been widely used and complimentary to the Montage techniques which can effectively deliver the value of the story in “Golden memory” via three levels like visual perception, significance and strategy.
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Kuo, Yao-Jung, and 郭曜榮. "The Study of the Redundancy of Character Action and Camera Shot in 3D Animated Short." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/97318957611420422129.
Full textAbstract:
碩士<br>國立彰化師範大學<br>資訊管理學系所<br>101<br>It is not undoubted that the animation industry, with increasing market share stably, would become more flourishing in the world. The main purpose of the animation is conveying the message with the character action and camera shot. The director would be relevant to show his ideas, the redundancy method would be included to promote the effective. Therefore, this study intended to find the relationship between the redundancy of character action and camera shot in two short animated films. In order to analyze objectively, the Content Analysis method quantitative and qualitative is used; the focus is used to increase the reliability and validity of the result.
The result showed that the redundancy of the character action and camera shot exist in the animated films, and concluded as following: (1) Avoiding to unfocuse for audience and obscure the main idea of the film, the performance of animation frame usually has a single character play. (2) The frequencies of the redundancy in character action increased as the story developed. (3) The full shot in camera shot always is using, and collocate with eye level angle. (4) A redundancy of the camera shot ,company with redundancy of the character action, could convey different messages simultaneously (5) A set of redundancy of the character action would contain many sets of the redundancy of the camera shots, therefore, the camera arrangement would be using sets of shot in the character action design. (6) Even if the presents of the redundancy of the character play are alternated, the audience could realize the meaning of the character action with no doubt on account of the few changes of camera shot.
The research of the redundancy of character action and of camera shot is few in Taiwan, thus, this study will make a research to understand this issue. And this paper also calculated the average in each group of APR contains 2.1 to 2.5 shot redundancy and each group of action performances contains 5.3 to 7.5 APR for the future research and development.
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Chen, Chia-Ying, and 陳家瑩. "A Description of the Animated Short ”Ruins of Heart” to Research and Study on Poetic Films." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/37449704787819375121.
Full textAbstract:
碩士<br>國立臺南藝術大學<br>動畫藝術與影像美學研究所<br>100<br>The Art of an animation work is about time, film, performance, and esthetics. For independent animation creating is to reflect the artist himself. The animation short "Ruins of Heart" 's main story is about lonely and losing of love. It represents the distance to disillusion the love, and makes the visual of this short looking poetic. Therefore, in the Chapter one, I discussed how my study of animation in the graduate school, in the idea, and art style became the starting of animated short film creation. The second chapter, I analyzed the visual art, story composition, and the work skills of my film “Ruins of Heart.” Chapter third discuss the techniques of visual performance on films. The final chapter is a summary of previous chapters and a comment of my personal sentiment of animated creation, especially to talk about the animation filmmakers in Taiwan how to find way out to the future as conclusion.
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WU, LI-LI, and 巫莉琍. "Description of the Character Animation 《Mr.cat & Maid》and Study on Expression in short animated series." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/91345516031139808405.
Full textAbstract:
碩士<br>國立臺南藝術大學<br>動畫藝術與影像美學研究所<br>104<br>This paper is description of the Character Animation《Maid & Mr. cat》and study on expression in short animated series.
The first chapter is about the creative experiences and background of author. In the Second chapter, Author made an analysis of the literature and animations. The third chapter is explanation of the story of《Maid & Mr. cat》and the creative process. Finally, the last chapter is about the self-reflection and thinking about the direction and future of the short animated series.
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Ramos, Luís António Gomes Tarrafa. "Production of 3D animated short films in Unity 5 : can game engines replace the traditional methods?" Master's thesis, 2017. http://hdl.handle.net/10400.14/22820.
Full textAbstract:
In 3D animation cinema, the elements of a scene are created by artists using computer
software. To generate the final result, there must be a conversion (rendering) of the threedimensional
models to two-dimensional images (frames) that will later be joined together and
edited into a video format.
3D animation films have traditionally been rendered using pre-rendering engines, a time
consuming and expensive process that usually requires the use of multiple computers rendering
at the same time (render farms), renders which may need to be repeated if the results are not
ideal.
Videogames, on the other hand, are reactive applications where the player may have
different possible courses of action that will generate distinct results. In those cases, it is
necessary that the engine waits for the player’s input before it calculates the following frames.
To allow for fast calculations in real time, 3D game developers use game engines that
incorporate real time rendering methods which can generate images much faster than the prerendering
engines mentioned above.
To be able to generate a large number of frames per second, there must be an
optimization of the entire scene, in order to reduce the number of necessary calculations. That
optimization is created by using techniques, practices and tools that are not commonly used by
animation cinema professionals.
Due to that optimization necessity, videogames always had a lower graphic quality than
that of animated films, where each frame is rendered separately and takes as long as necessary
to obtain the required result.
Physically Based Rendering (PBR) technology is one of the methods incorporated by
some rendering engines for the generation of physically accurate results, using calculations that
follow the laws of physics as it happens in the real world and creating more realistic images
which require less effort, not only from the artist but also from the equipment. The incorporation
of PBR in game engines allowed for high graphic quality generated results in real time,
gradually closing the visual quality gap between videogames and animated cinema.
Recently, game engines such as Unity and Unreal Engine started to be used – mostly by
the companies that created the engine, as a proof of concept – for rendering 3D animated films.
This could lead to changes in the animation cinema production methods by the studios that,
until now, have used traditional pre-rendering methods.<br>No cinema de animação 3D, os elementos de uma cena são criados por artistas através
da utilização de programas de computador. Para gerar o resultado final, é necessário fazer-se
uma conversão (render) dos modelos tri-dimensionais para imagens bi-dimensionais (frames),
que posteriormente serão unidas e editadas para um formato de vídeo.
Tradicionalmente, o rendering de filmes de animação 3D é feita através de motores de
pre-rendering, um processo demorado e dispendioso que geralmente requer a utilização de
múltiplos computadores a trabalhar em simultâneo (render farms), e que poderá ter que ser
repetido caso os resultados obtidos não sejam ideais.
Os videojogos, por outro lado, são aplicações reactivas, onde o jogador pode ter várias
sequências de acções, que poderão gerar resultados distintos. Nesses casos, é necessário o motor
de jogo esperar pela acção do jogador antes de calcular as imagens seguintes. Para possibilitar
cálculos rápidos em tempo-real, os criadores de jogos 3D usam motores de jogo que incorporam
métodos de renderização em tempo-real que conseguem gerar imagens muito mais rápido do
que os motores de pre-rendering mencionados acima.
Para conseguir gerar um grande número de imagens por segundo, é necessário existir
uma optimização de toda a cena, para reduzir o número de cálculos necessários. Essa
optimização é criada através da utilização de técnicas, práticas e ferramentas que, geralmente,
não são utiliadas por profissionais da área de cinema de animação.
Devido a essa necessidade de optimização, os videojogos sempre tiveram uma
qualidade gráfica inferior à dos filmes de animação, onde o render de cada imagem é gerado
separadamente e pode levar tanto tempo quanto for necessário para obter o resultado desejado.
A tecnologia de Rendering Baseado em Física (Physically Based Rendering – PBR) é
um dos métodos incorporados por alguns motores de rendering para a geração de resultados
físicamente correctos, usando cálculos que seguem as leis da física, tal como acontece no
mundo real e criando imagens mais realistas necessitando de menos esforço, não só da parte do
artista mas também do equipamento. A incorporação de PBR em motores de jogo possibilitou
resultados gerados em tempo-real com grande qualidade gráfica, o que gradualmente vai
aproximando a qualidade visual dos videojogos à do cinema de animação.
Recentemente, motores de jogo como o Unity e o Unreal Engine começaram a ser
utilizados – maioritariamente pelas companhias que criaram o motor de jogo, como prova de
conceito – para renderização de filmes de animação 3D. Este passo poderá levar a mudanças
nos métodos de produção do cinema de animação em estúdios que, até agora, utilizaram
métodos de pré-renderização tradicionais.
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Hsieh, Shu-Han, and 謝舒涵. "A Study on Gender Identity and Behavior for the Creation of the Animated Short Film “A Girl's Secret”." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/r559k8.
Full textAbstract:
碩士<br>國立臺灣藝術大學<br>多媒體動畫藝術學系動畫藝術碩士班<br>103<br>Since the development of human society has never stopped, gender stereotype is still a common phenomenon. By studying the gender roles in the relationship to one’s personality and physical characteristics, and gender differences between innate and acquired behavioral effects of the society, the researcher applied the revealed outcome to develop her story and animated characters. The researcher also studied relevant animations on the visual representation of a spiritual body that helps her to reinforce the expression that everyone may have an opposite gender personality in one’s inner mind.
Deriving from the researcher’s life experience, the story of the 3D animated film focuses on a girl who encounters difficult situations to change herself and make her boyfriend happy or to be herself and accept her inner voice of being a tomboy. The film aims to raise the issue of gender identity for public awareness and hope to encourage people to be themselves regardless of their gender identity.
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LAN, YU-SHU, and 藍宇淑. "The discussion of Tainan night market scenes and food expression - Animated short film "Night Market" as an example." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/3c9u9m.
Full textAbstract:
碩士<br>國立臺南大學<br>動畫媒體設計研究所碩士班<br>106<br>This study discusses night market scenes and food expression as the theme, analyzing the expression method of night market scenes and food in films and animation movies, then applying the results to personal animation.
Films which set night market as background, the context of shots are whole of night market (Long shot), stalls and the crowd (Medium shot), cooking process (Close-up). The appearance of street vendors, crowd, purchasing and eating behaviors in the footage is an indispensable element of night market. The main feature of the night market is various street foods. This study collects food-themed Japanese animation, analyzing visual performance of food. The food expression could be divided into (1) cooking process, (2) food visual, (3) cuisine on the table, (4) tasting reaction. Through the above cinematic language and food animation performance techniques to understand the basic visual point of food. After discussing and analyzing, the results became a inspiration to create 2D animation "Night Market". Organize the creative process and methods, hoping to provide reference for creators of the relevant fields in the future.
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陳仕欣. "Creation Descriptions of the Animated Short Film “ In the Woods ” and Study on Space Elements Design for Animation." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/78528769698311824487.
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Bajandas, Nathan Thomas. "A Post-mortem Analysis of Production Process: The Bricklayer's Disaster." Thesis, 2011. http://hdl.handle.net/1969.1/ETD-TAMU-2011-12-10240.
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This thesis is focused on the worthwhile lessons learned while creating a short animated film. The conventional way of teaching related to practice is to have students work on projects and learn from their own experience. This thesis strives to save the reader some of the pain, time, and effort required of this learning style, by presenting the hard learned lessons from this project. An overview of the project is provided, along with a reconstructed time-line. Also, each member of the team recounted their own dilemmas and successes on the project, and proposed potential solutions to problems encountered along the way. The findings are presented in the spirit of a post-mortem analysis, which acts to collect the knowledge obtained by those involved with a project in order to increase productivity for the next time a similar task is attempted. The postmortem approach was found to be effective in identifying, illuminating, and articulating the lessons learned concerning general, practical, team-related and problem solving issues encountered while working on a short animated film.
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Matsumoto, Ryo, and 松本遼. "A Study of Female Protagonist’s Design and Acting in Japanese 2D Animation for the Animated Short Film,“THE GUERILLA FORCE 705”." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/2665hz.
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碩士<br>國立臺灣藝術大學<br>多媒體動畫藝術學系動畫藝術碩士班<br>102<br>This thesis is based on perspective view of an oversea Japanese student, studying female character design and motion effects of Japanese animation (also known as “anime”) in order to apply on my own animation production. I hope that the female protagonist in this project is unique and full with potential. Some mutual characteristics were discovered in “anime” that female character fights in an agile, dynamic fighting style instead of brutal force. It is generally known that male behaves rationally while female behaves emotionally but in “anime”, male character’s body changes form physically due to strong emotions such as anger. However, female character’s reaction is basically focused on very detailed facial expression such as eyebrow movement. This is because our audience expected women to be more dignified rather than turning muscular or morphing into a monster. These considerations were mentioned hopefully to meet expectations in creating a unique and attractive female character animation.
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TING, KUAN-CHUNG, and 丁冠中. "A Study on the Application of Environmental Ethics in Animated Short Films for the Creation of 3D Animation “Red Light Forest”." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/d747zh.
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碩士<br>國立臺灣藝術大學<br>多媒體動畫藝術學系動畫藝術碩士班<br>106<br>With environmental issues being seen, environmental ethics have become a well-known topic, and people start to notice the importance of living with nature in harmony. Also, with the growth of the social media, it’s more common for people to receive messages rapidly; using videos to deliver environmental subjects has become a common method for people. Although many of the videos take specific issue as their descriptive object, they have already used environmental ethics in their own creations.
At first, this animation creation will elaborate the definition and classification of environmental ethics, and also look into the development and extension of it. Furthermore, we will discuss the well-known animated short films which are themed with environmental issues to analyze their background and central ethics. By using Bremond’s narrative analysis, we can find out that environmental films use a lot of deterioration in order to deliver the environmental issues while improvement is used for the twist in the story. Therefore, in this animation creation, lots of deterioration will be used and improvement will be shown only once for giving the audience hope. After that, story will end in deterioration in order to bring about the audience’s respect for the issues. This animation creation will focus on the environmental issue that Taiwanese lantern culture causes, and describe the good and damage it brings to the nature. I hope that this animation creation can transmit awareness and introspection to the audience.
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"To what extent does textual reinforcement enhance an audience's comprehension and recall of plot elements in a short, animated mystery presented on video." KUTZTOWN UNIVERSITY OF PENNSYLVANIA, 2008. http://pqdtopen.proquest.com/#viewpdf?dispub=1445916.
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Silva, Elmano Diogo Pereira. "Dandedog." Master's thesis, 2020. http://hdl.handle.net/10437/11601.
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Orientação: Pedro Miguel Serrazina Picado Magalhães<br>Sentimentos. Todos nós os temos. Reprimidos, contidos lá no fundo, ou completamente explosivos, que tocam em todos os cantos de uma sala e daqueles que estão lá dentro. Como controlá-los? Será que devemos mesmo controlá-los, ou apenas não nos deixarmos controlar por eles?
Estas foram as questões base para a criação deste filme, que usa como tema a superação do sentimento de perda, sendo esse sentimento escolhido essencialmente por ter sido experienciado na primeira mão.
A partir de uma viagem, estas e muitas outras questões foram respondidas com as experiências vividas, e no fim da mesma, com duas frases, foram definidas as duas metades do filme.
Quanto maior a contenção de um sentimento, maior será a sua devastação. A libertação acontece quando o sentimento, independentemente de bom ou mau, atravessar o corpo sem controlar a mente, naturalmente, da mesma maneira que a respiração.<br>Feelings. We all have them. Repressed, contained deep inside, or completely explosive, that can touch every corner of a room and those inside it. How to control them? Should we even control them, or just not let ourselves get controlled by them?
These were the core questions for the creation of this film, which addresses the overcoming of the feeling of loss as its theme, with this feeling being specifically chosen because it was experienced at first hand.
Beginning with a trip, these and other questions were answered with that experience, and at the end of that same trip, with two phrases, the two halves of the movie were defined.
The bigger the containment of a feeling, the bigger its devastation. Liberation happens when the feeling, whether good or bad, flows through the body without controlling the mind, naturally, the same way as breathing.
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Waltz, Jeanne Hélène Emmanuelle. "Nós, os lentos." Master's thesis, 2019. http://hdl.handle.net/10437/10084.
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Orientação: Paulo Renato da Silva Gil Viveiros ; co-orientação:
José Miguel Ribeiro<br>A visual poetry essay done in animation about Time and the different representations Mankind and Science have of it. Following an artistic and scientific research, the author chooses two main metaphors, the flowing of water and competitive running, around which she builds the movie.<br>Um ensaio de poesia visual em animação, sobre o Tempo e as representações que o homem e a ciência fazem dele. A partir de uma pesquisa artística e científica, a autora escolhe duas metáforas principais, o fluir da água e a corrida competitiva, em volta das quais constrói o filme.
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Fonseca, Diogo de Araujo Franco da. "Îagûara." Master's thesis, 2020. http://hdl.handle.net/10437/11602.
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Scott, Dana Yvette. "Physical landscape as a narrative of identity construction : the development of an animation design project entitled “My time, my place”." Diss., 2012. http://hdl.handle.net/2263/29173.
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This study and the accompanying design project explore postmodern identity construction as a nomadic state of being in relation to the shared experience of space. The potential of the relationship between postmodern identity and physical space is explored both theoretically and through practical application. The main theory explored is ‘third space’, with specific reference to the concept of ‘thirdness’ as articulated by American psychoanalyst Jessica Benjamin (in Frosh&Baraitser 2009). This study examines how shared spaces can, through narrative reframed by ontology (Somers 1994), be seen as physical manifestations of the ‘third space’ as envisaged by the likes of Homi K Bhabha (1994) and Edward Soja (1996). The notion of ‘thirdness’ is used to explore the relationship between individuals and shared space. ‘Thirdness’ is also paralleled to Ubuntu. ‘Thirdness’ is investigated as a means to access shared relational spaces that provide an abundance of symbolic narratives that can be gathered and integrated into the self. This study explores how being connected through shared space has the potential to be constructive in identity formation in the wake of unstable postmodern identity. This study uses a design process adapted from Karl Aspelund (2006) as an approach to the research. In the context of this study, design is seen as more than the resulting artefact. It encompasses the thought process, the methods used and steps taken to reach a particular research outcome. This study attempts to form a synthesis between the theoretical research conducted and design praxis in the form of the design outcome. As inspiration for the design action, the design process followed in this research facilitates the exploration of theory that is perhaps unfamiliar to design discourse. The steps in the process allow the refinement of concepts, application of the theory in a practical environment (a paper making workshop) and finally, the visualisation of the theory via the design artefact (an animated short). The medium of animation is selected purposively in order to convey the interpretive narrative derived from the process. The paper produced in the workshop reflects the theory, inspires the narrative of the animation and is used to create the environment and characters of the animation, which, in turn, embody the overarching concepts of the study. Copyright<br>Dissertation (MA)--University of Pretoria, 2012.<br>Visual Arts<br>unrestricted