Journal articles: 'Animated shorts'

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Hsien-Yuan, Chiu, and Lin Ta-Long. "Repetitive Narrative Techniques Depicting Confrontation in Animated Shorts." Art and Design Review 08, no. 03 (2020): 127–38. http://dx.doi.org/10.4236/adr.2020.83009.

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Lucille Mok. "Performance as Narrative in Two Norman McLaren Animated Shorts." Music and the Moving Image 10, no. 1 (2017): 3. http://dx.doi.org/10.5406/musimoviimag.10.1.0003.

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Mihailova, Mihaela. "Animated personalities: cartoon characters and stardom in American theatrical shorts." Celebrity Studies 11, no. 3 (2019): 381–83. http://dx.doi.org/10.1080/19392397.2019.1676312.

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Whatley, Edward. "Sources: The Animated Film Encyclopedia: A Complete Guide to American Shorts, Features and Sequences, 1900 – 1999." Reference & User Services Quarterly 51, no. 3 (2012): 290. http://dx.doi.org/10.5860/rusq.51n3.290.

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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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Kumar, Rahul. "Cartoons in Hard Times: The Animated Shorts of Disney and Warner Brothers in Depression and War 1932–1945." Historical Journal of Film, Radio and Television 38, no. 3 (2018): 678–80. http://dx.doi.org/10.1080/01439685.2018.1459030.

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Beach, Robert L. "Animated Personalities: Cartoon Characters and Stardom in American Theatrical Shorts. DavidMcGowan. U of Texas P. 313 pp. $34.95 paperback." Journal of Popular Culture 53, no. 3 (2020): 770–73. http://dx.doi.org/10.1111/jpcu.12917.

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Khalid, Farisa. "Book review: Cartoons in Hard Times: The Animated Shorts of Disney and Warner Brothers in Depression and War, 1932–1945." Animation 14, no. 1 (2019): 73–75. http://dx.doi.org/10.1177/1746847719829838.

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Van De Peer, Stefanie. "Dan Bashara, Cartoon Vision: UPA Animation and Postwar AestheticsDavid McGowan, Animated Personalities: Cartoon Characters and Stardom in American Theatrical Shorts." Screen 61, no. 2 (2020): 336–38. http://dx.doi.org/10.1093/screen/hjaa018.

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Ringel, Paul. "Schoolhouse Rock! for a New Generation." Public Historian 43, no. 1 (2021): 82–101. http://dx.doi.org/10.1525/tph.2021.43.1.82.

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The animated Schoolhouse Rock! shorts that ABC ran between Saturday morning cartoons from 1973 through 1985 (and again in the 1990s) formed many children’s understanding of civics and US history. The Schoolhouse Rock! cartoons, however, were better at celebrating the accomplishments of the United States than presenting varied perspectives or addressing difficult historical issues. So what lessons can this program offer to twenty-first century historians seeking to offer children a more inclusive and nuanced story of the past? This article uses oral histories, promotional materials, and corporate records to examine the process of making these wildly popular models of public history. It also hypothesizes how a Schoolhouse Rock! for the 2020s could bridge scholarly and public discussions about the relationship between civics and history, while simultaneously creating diverse and critical historical narratives that are (hopefully) as engaging and memorable to young consumers as the original series was for their parents.

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VanCour, Shawn, and Chloe Patton. "From Songfilms to Telecomics: Vallée Video and the New Market for Postwar Animation." Animation 15, no. 3 (2020): 207–28. http://dx.doi.org/10.1177/1746847720964886.

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From 1948–1952, Rudy Vallée, a successful performer whose career spanned radio, film, recorded music and stage entertainment, expanded his operations into the burgeoning US television market with the launch of his independent production company, Vallée Video. One of hundreds of forgotten companies that arose during this period to meet growing demand for programming content, Vallée Video offers an important case study for understanding animation workers’ role in postwar television production. Drawing on corporate records and films preserved in the Rudy Vallée Papers at California’s Thousand Oaks Library and the UCLA Film and Television Archive, the authors’ analysis documents Vallée’s use of freelance artists and external animation houses for work ranging from camera effects for illustrated musical shorts to animated commercials and original cartoon series. These productions demonstrate the fluid movement of animation labor from theatrical film to small screen markets and participated in larger aesthetic shifts toward minimalist drawing styles and limited character animation that would soon dominate mid-20th century US television.

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McGowan, David. "Walt Disney Treasures or Mickey Mouse DVDs? Animatophilia, Nostalgia, and the Competing Representations of Theatrical Cartoon Shorts on Home Video." Animation 13, no. 1 (2018): 53–68. http://dx.doi.org/10.1177/1746847717752585.

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Theatrical-era short animation has often acquired a complex, even contradictory, textual identity: most cartoons were originally produced for a general audience, but were then marketed almost exclusively towards children as repeats on television. The rise of DVD has further complicated the status of these films. On the one hand, the format has facilitated the release of a lot of rare animated material, most notably within a series of multi-volume special editions entitled the Walt Disney Treasures, explicitly aimed at the previously marginalized adult viewer. However, Disney has also produced lower priced, ‘family friendly’ discs featuring many of the same cartoons. Unlike the Treasures volumes, the latter sets tend to censor problematic content and generally lack contextualizing bonus features. The choice to watch one of these collections over the other can thus have a significant impact upon one’s interpretation of the collected films. Thomas Elasasser argues that film culture – embodied most fervently by the devoted cinephile (and, for the purposes of this study, the equivalent figure of the animatophile) – has often failed to recognize itself as a product of generational memory. It is frequently implied by such groups that DVD special editions are the most ‘authentic’ because they privilege the original cinematic experience, without acknowledging the degree to which the format itself serves to remediate its contents. For instance, while the Treasures discs generally present the films uncut – sometimes ‘restoring’ footage unseen since the 1930s and 40s – these are often prefaced with mandatory disclaimers providing historical context for contentious elements such as racism. The sheer volume of material that these collections provide, including opportunities for binge-watching with ‘play all’ functions, similarly alters the portioned availability of these texts in the theatrical sphere. This article will suggest that both the special edition and ‘family friendly’ DVD options ultimately reflect a nostalgic struggle to appropriate and define the present and future reception of the films, rather than to truly reclaim the past.

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Powell, Sarah. "The Animated Film Encyclopedia: A Complete Guide to American Shorts, Features and Sequences, 1900‐1999 (2nd edition)201286Graham Webb. The Animated Film Encyclopedia: A Complete Guide to American Shorts, Features and Sequences, 1900‐1999 (2nd edition). Jefferson, NC: McFarland 2011. vi + 509 pp., ISBN: 978 0 7864 4985 9 £110/$125 Available in the UK, Europe, the Middle East and Africa from Eurospan." Reference Reviews 26, no. 2 (2012): 46. http://dx.doi.org/10.1108/09504121211205304.

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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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Sandi, Supriyadi. "Perancangan Animasi Stopmotion Pangeran Diponegoro Berbasis Sinematografi." Jurnal Komunikasi 10, no. 2 (2019): 145–52. http://dx.doi.org/10.31294/jkom.v10i2.6181.

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Nowadays animated films are developing rapidly in Indonesia. Animated films are in demand because they are entertaining, but rarely found educative animated films that tell about history. In general, historical documentation is only based on thick textbooks, and the placement of photos of heroes on classroom walls is generally not interesting for students to enjoy. This encourages researchers to make an animated film that has historical and educational value. With appropriate cinematography, a film can have high artistic value. In addition, the film can also convey information and implied messages that can be used as lessons in life. To attract students, stopmotion technique was chosen. This stopmotion animation is created by applying the sine matography technique so that what will be conveyed in this animated film can be conveyed well to the audience. All of this aims to make the animation look livelier, smoother in its movements, and produce a more attractive appearance and is liked by the audience. It is better to make a stopmotion animation in a detailed storyboard design, so there are no mistakes when making motion, camera angles, type shots, and video translation. Stopmotion filmmaking is inseparable from photography and cinematography

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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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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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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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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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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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Krivulya, Natalia G. "The Origins of the First Sound Animation: Songs Series by the Fleischer Brothers." Journal of Flm Arts and Film Studies 10, no. 1 (2018): 119–31. http://dx.doi.org/10.17816/vgik101119-131.

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With the invention of moving pictures, the creators sought to supplement them with sound. Even before the invention of cinemat, E. Reynaud in the optical theatre gave performances in which moving images were combined with sound. It was pre-cinema experience, which represented the theatre model of audiovisual show. The attempts to synchronize the dynamic images and sound were taken by T. Edison, S. Meshes, L. Gaumont, O. Kellum, E.Tigerstedt, J. Engel, G. Phocht and J. Massol. However, the systems suggested by these inventors were not perfect. An important step towards creation of a sound film was the appearance of the optical sound recording system Phonofilm designed by Lee de Forest. In 1923, he became acquainted with Brothers Fleischer, outstanding American animators. Together with H. Riesenfeld and E. Fadiman they organized Red Seal Pictures Corporation and began to shoot Ko-Ko Song Car-Tunes, which consisted of a series of animated shots Sing-alongs (featuring the famous bouncing ball). It was a kind of multimedia shots, as there was no plot, no character and no narrative structure. They were created basing on popular songs, but did not illustrate them. The Sing-alongs shots were produced for the audience to sing their favorite songs before the session, while reading the text of the songs from the screen. The animated ball bouncing on the syllables helped them to follow the rhythm of the melody. These films became the prototype of the modern karaoke and music animated shows. The series were released from May 1924 till September 1927. The Fleshers created more than 45 shots, more than 19 of which using the Phonofilm. The first sound animated shots where the images were synchronized with the sound and recorded on the same media, were released in 1925. The film Come to Travel on My Airship was the first where the speech was heard, and in the shot My Old House in Kentucky the Fleischers managed to synchronize the speech with the facial expressions of cartoon characters as they were speaking. When the animating and shooting technology changed, the film structure underwent changes too. Detailed animation parts with the story content appeared. The text animation became variable as well. Since the 1930s, the shots have included scenes with singers and jazz-bands. The animated film series Ko-Ko Song Car-Tunes shot by the Brothers Fleischer established the principle of movement and sound synchronism in the animation. They not only out paced the sound films by P. Terry and W. Disney, which were considered to be the first sound animation films for a long time, but also proved that the sound animation had been possible and the thirty-year era of the silent animation came to an end.

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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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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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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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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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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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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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Cariou, Warren. "Sweetgrass Stories: Listening for Animate Land." Cambridge Journal of Postcolonial Literary Inquiry 5, no. 3 (2018): 338–52. http://dx.doi.org/10.1017/pli.2018.10.

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This article examines Indigenous stories that reveal how the land communicates to humans through medicinal plants. The intention is to address a blind spot in new materialist theory, which Zoe Todd has criticized for its lack of attention to Indigenous forms and practices of relational materialism. The main focus of this essay is Indigenous narratives about the sacred plant sweetgrass (known as (wihkaskwa in Cree; wiingaashk in Anishinaabemowin). Reading Robin Wall Kimmerer’s meditation Braiding Sweetgrass and Drew Hayden Taylor’s novel Motorcycles and Sweetgrass, and watching Jessie Short’s 2016 film Sweet Night, I argue that these artists portray sweetgrass as an intermediary between humans and the land, strengthening Indigenous cultural sovereignty and deepening human relationships by reminding people of their shared embodiment and their shared spiritual-territorial connection. The plant is revealed in these works as a teacher, operating through its scent, texture, and literal rootedness to teach humans about their own connectedness to particular living places.By working at the level of sensation rather than linguistic signification, the sweetgrass is also shown to have an immediate and embodied effect upon the characters in these works. In particular, it offers itself as a gift, and as a conduit of love. I argue that the repeated image of the sweetgrass braid in these works is not exactly a metaphor, but is instead a profound conjoining of the earth and the human body, both submitted to the care of human hands. To braid the earth’s fragrant hair is to treat it in the most intimate way, as a family member or a beloved. It is this human activity of braiding that clarifies the kinship aspect of sweetgrass, showing us that it is not a thing, but a relation. The reciprocity of this relationship shows an Indigenous ethic of engagement with the living material world.

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Journal articles on the topic 'Animated shorts'

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