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Journal articles on the topic 'Animation Aesthetics'
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1
Cui, Huaguo, Lingling Ding, and Dong-yeul Jang. "Simulation Analysis of Aesthetic Effects of Context in Film and Television Animation Based on Unity 3D." Tobacco Regulatory Science 7, no. 5 (2021): 2549–58. http://dx.doi.org/10.18001/trs.7.5.1.24.
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Film and television animation generally belongs to the art form of film and television category, but it also contains a large number of characteristics of art visual communication. To explore the research scope of visual communication of film and television animation aesthetics, we may as well start from the perspective of methodology. If the methodology of aesthetics is also applicable to the study of film and television animation aesthetics, we can choose the most commonly used methodology in literature and art and aesthetics to analyze the aesthetic application of film and television animation works from different angles, such as “symbolic research method”, “psychoanalysis method”, etc., so as to find the key to the existence of the aesthetic significance of film and television animation works.
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Rutherford, Leonie. "Australian Animation Aesthetics." Lion and the Unicorn 27, no. 2 (2003): 251–67. http://dx.doi.org/10.1353/uni.2003.0024.
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Johns, Francis R., Craig Vigilante, Michael J. Buckley, Peter C. Johnson, and John M. Close. "The Relationship of Facial Animation to Smile Aesthetics." American Journal of Cosmetic Surgery 15, no. 1 (1998): 7–10. http://dx.doi.org/10.1177/074880689801500103.
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The aesthetics of a smile have been shown to be related to the symmetry of the smile, the curvature of the upper lip, and the arc of curvature of the lower lip to the incisal edges of the upper teeth. The present study quantitatively compares the magnitude of facial animation (as determined by the Johnson Maximal Static Response Assay) to the aesthetics of a smile in 25 subjects. The assay (software) calculates two-dimensional facial movement changes from the frontal view, as measured by the relative change in position of seven facial landmarks. Smile shape and lip fullness were also categorized. Lip fullness was the only variable found to correlate with the aesthetics of a smile. The magnitude of facial movement, smile shape, and gender did not correlate with aesthetic ratings.
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Mohamed, Fauzi Naeim, and Nurul Lina Mohd Nor. "Puppet Animation Films and Gesture Aesthetics." Animation 10, no. 2 (2015): 102–18. http://dx.doi.org/10.1177/1746847715587425.
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Farley, Rebecca. "Review: Art in Motion: Animation Aesthetics." Media International Australia 91, no. 1 (1999): 177–78. http://dx.doi.org/10.1177/1329878x9909100119.
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Furstenau, Marc. "Figure and Force in Animation Aesthetics." Canadian Journal of Film Studies 31, no. 2 (2022): 117–20. http://dx.doi.org/10.3138/cjfs-2022-0018.
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Largier, Niklaus. "Praying by Numbers: An Essay on Medieval Aesthetics." Representations 104, no. 1 (2008): 73–91. http://dx.doi.org/10.1525/rep.2008.104.1.73.
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In this essay I argue that the imitation of examples of sainthood in the practice of prayer is the formal basis of a medieval aesthetics that focuses on the animation and the phenomenology of sensation and emotion. Quoting from this tradition and drawing on the mechanical character of such techniques of animation, nineteenth and twentieth-century authors and filmmakers——Flaubert, Huysmans, and Buññuel——explore the aesthetic possibilities of these religious practices. Thus, they recover and illustrate a history of the evocation of sensation and emotion through images and texts, which in the medieval context can be best described as a highly formal art of "praying by numbers."
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Koch, Gertrud. "Film als Experiment der Animation." Zeitschrift für Medien- und Kulturforschung 3, no. 1 (2012): 11–24. http://dx.doi.org/10.28937/1000106350.
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Im Zentrum steht der Begriff des Experiments, der mit Kants Begriff der Lebendigkeit als zentralem Topos der ästhetischen Erfahrung auf die 〉Animation〈 im Film bezogen wird, insoweit beide einen lebenswissenschaftlichen Kern haben. Insbesondere in einer Auseinandersetzung mit Eisensteins Poetik des 〉Plasmatischen〈 wird die experimentelle Übertragung einer lebenswissenschaftlichen Metapher in eine Ästhetik des Films diskutiert, die von der Animation ausgeht. </br></br>The paper discusses the notion of »experiment« and relates it – via Kant's concept of liveliness, which is a central topos of aesthetic experience – to »animation« in film, insofar as both essentially refer to »life sciences.« Drawing upon the example of Eisenstein's poetics of the »plasmic,« the paper discusses the transferal of a metaphor from life sciences to an aesthetics of cinema based on animation.
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Miner, Joshua D. "Experiments in Hybrid Documentary and Indigenous Model Animation." Animation 16, no. 1-2 (2021): 6–20. http://dx.doi.org/10.1177/17468477211025664.
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Nonfiction has proved to be a long-term strategy of Native/First Nations filmmakers and, as this documentary tradition moves across contemporary mediums, one corner of its experimental aesthetics has focalized around animation. This article explores hybrid documentary approaches in Indigenous model animation across techniques and styles, namely digitally-supplemented stop-motion and game-based machinima. It begins by examining three principal characteristics of Indigenous animated documentaries: (1) they engage with the politics of documentary in the context of Indigenous and settler-colonial history; (2) they use animation to record stories and express ideas not authorized by the settler archive; and (3) they communicate via embedded Indigenous aesthetics and cultural protocols. A material analysis of Indigenous animation then accounts for how three Native artists centre re-mediation and re-embodiment in their work. These artists adapt new techniques in animation to documentary as a process of decolonization, precipitating a distinct hybrid aesthetics that travels across forms to question the veracity of settler documentary. Each reconstructs histories of settler colonialism – which has always chosen to record and authorize as ‘history’ some images and narratives and not others – with model animation practices and new media platforms. Indigenous animation expresses slippages between nonfiction and fiction by creating imagined documents, which strike at the legitimacy of settler institutions.
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Li, Yanze, and Quanhong Jiang. "The development and influence of Japanese aesthetics and its manifestation in Japanese animation." SHS Web of Conferences 153 (2023): 01007. http://dx.doi.org/10.1051/shsconf/202315301007.
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This paper sorts out the evolution and development of Japanese aesthetics chronologically, summarizes the features of Japanese animation, interprets the charm of Japanese animation by linking the characteristics of Japanese culture that correspond to Japanese animation, and eventually discusses the controversial social impact of Japanese culture on China brought by Japanese animation.
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Demirbas, Banu Özge. "Relation between landscape preferences and perception in animations." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (2016): 459–63. http://dx.doi.org/10.18844/prosoc.v2i1.330.
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“Animaâ€, the word root of animation, means mediator body between soul and physical body in Latin. Similar to its meaning, the animation technique - with its current form- created by showing images fast in series depicts the bridge between individual and digital reality. It is possible to catch details to which we show instinctive tendency in the visuals that we fictionalize.In the studies in this field where techniques such as 3D, 2D, stop motion and cut out are used, ambient similarities are observed to emerge. Considering from a psychological and biological perspective, we see that landscape preferences are infuential in the determination of our reactions towards the images that we watch. Traces from the way of living of first humans can be observed in the roots of the idea that determines the positive and negative efects on an individual by a completely fictional image. Environmental tendencies and preferences of an individual are shaped with respect to his/her actions experienced formerly. Establishment of aesthetical judgements is associated with this fact. It is seen that the animation movies, commercials and TV shows are produced based on the scene preferences that are thought to afect the individual in a positive way. In this study, relation of environmental tendencies created in animations with past experiences, and efect of this experience on individual are discussed. Elements located in the scenes are in harmony with each other. In order to reinforce the visual communication and to create an efective communication channel, this harmony should be taken into account. Efects of certain approaches between personality and scene preferences on our perception and subsequent similarities between our aesthetical judgements are investigated. It is seen that an efective communication channel can be created by emphasizing these tendencies that play an important role in the determination of our emotional preferences.
 Keywords: animation, landscape preference, perception, natural scenes, landscape aesthetics.
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Du, Daisy Yan. "Book review: Animation in China: History, Aesthetics, Media." Animation 11, no. 3 (2016): 317–21. http://dx.doi.org/10.1177/1746847716662547.
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Taberham, Paul. "A General Aesthetics of American Animation Sound Design." Animation 13, no. 2 (2018): 131–47. http://dx.doi.org/10.1177/1746847718782889.
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From the inception of sync sound in the late 1920s to the modern day, sound in animation has assumed a variety of forms. This article proposes four principal modes that have developed in the commercial realm of American animation according to changing contingencies of convention, technology and funding. The various modes are termed syncretic, zip-crash, functional and poetic authentication. Each one is utilized to different aesthetic effect, with changing relationships to the image. The use of voice, music, sound effects and atmos are considered as well as the ways in which they are recorded, manipulated and mixed. Additionally, the ways in which conventions bleed from one period to the next are also illustrated. Collectively, these proposed categories aid in understanding the history and creative range of options available to animators beyond the visual realm.
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Nakamura, Mari. "Book review: Animation in China: History, Aesthetics, Media." China Information 30, no. 3 (2016): 377–78. http://dx.doi.org/10.1177/0920203x16673287.
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Mohr, Steven, and Chris Carter. "Adapting Practical Aesthetics to the performance animation process." Animation Practice, Production & Process 5, no. 1 (2016): 57–77. http://dx.doi.org/10.1386/ap3.5.1.57_1.
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Sekeroglu, Gokce Kececi. "Aesthetics and Design in Three Dimensional Animation Process." Procedia - Social and Behavioral Sciences 51 (2012): 812–17. http://dx.doi.org/10.1016/j.sbspro.2012.08.245.
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Horne, Bronwyn. "Revealing the unseen: Altering modes of viewing practice to explore the aesthetics of seeing more than one frame at a time." Animation Practice, Process & Production 10, no. 1 (2021): 73–94. http://dx.doi.org/10.1386/ap3_000027_1.
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Contemporary animation is typically viewed in a digital format which is subject to the mechanics of cinema: a frame-by-frame presentation of a sequence of images (at a constant rate) so that the illusion of continuous motion is experienced by the viewer. In this article I argue that by altering the way we view animation, we could influence the viewer’s experience and understanding of an animated work. The research is a culmination of my Ph.D. by creative practice, which unpacks modes of viewing practice through the creation of an experimental short film and the presentation of an art exhibition that reveal movement for the viewer in a deliberately playful manner. The short film expands on the experimental animation technique known as strata-stencil that uses a multiple layered approach, revealing the consecutive frames of a movement on every frame. Drawing on techniques of nineteenth-century chronophotography, my work focuses on the representation of movement in classic cartoon-style animation and reveals the construction of animation for the viewer through static and animated sequences. My interest lies in the imperceptible moments that are lost in standard viewing practice, forcing the viewer to question their understanding of a movement and the aesthetics involved in seeing more than one frame at a time. I propose that we look at the individual animation frames not in isolation but simultaneously as sequences, so that the notion of seriality informs the viewer’s understanding of animated movement as a distinct aesthetic experience. In doing this, I challenge the viewer to look at animation in a different way and create an innovative viewing experience.
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Tai, Peng-yi. "The Animator as Inventor: Labour and the New Animated Machine Comedy of the 2010s." Animation 13, no. 3 (2018): 238–51. http://dx.doi.org/10.1177/1746847718805163.
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Around 2010, the inventor character started to populate animated blockbusters. Computer 3D animated films and their sequels such as Robots (Chris Wedge and Carlos Saldanha, 2005), Cloudy with a Chance of Meatballs (Phil Lord and Christopher Miller, 2009), Despicable Me (Pierre Coffin and Chris Renaud, 2010) and Big Hero 6 (Don Hall and Chris Williams, 2014) all feature inventors and their extravagant machines. In this article, the author explores the inventive artisan character as a self-reflexive trope of the animator. She expands Crafton’s thesis of the animator’s self-figuration and Tom Gunning’s work on machine comedy and operational aesthetics to further discussions on the animator and thereby the labour of animation. The article seeks to reveal the political agenda in the new animated machine comedy of the 2010s, which not only reflects the modes of production of contemporary animation studios, but also the larger concerns in the post-Fordist mode of production.
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Cheon, Hea-Hyun. "Embodiment in Digital Animation in Relation to Media Aesthetics." Cartoon and Animation Studies 41 (December 31, 2015): 533–52. http://dx.doi.org/10.7230/koscas.2015.41.533.
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Jong, Tien-Tien. "Figure and Force in Animation Aesthetics by Ryan Pierson." JCMS: Journal of Cinema and Media Studies 62, no. 1 (2022): 205–9. http://dx.doi.org/10.1353/cj.2022.0055.
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Wu, Jun, Jiede Wu, Chien-Wen Cheng, Chang-Chieh Shih, and Po-Hsien Lin. "A Study of the Influence of Music on Audiences’ Cognition of Animation." Animation 16, no. 3 (2021): 141–56. http://dx.doi.org/10.1177/17468477211052599.
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How do animation directors and music composers integrate personal creativity and expression into their work, and how do audiences understand and appreciate it as being important and worthy of discussion? This study explores the influence of music on audiences’ cognition of animation by using both quantitative and qualitative methods. Scholars specializing in aesthetics and music have conducted much research on music aesthetics and music itself. In recent years, further studies on music and film have also been carried out. However, there is a lack of research regarding audiences’ cognition of music in animation. This study focuses on the popular form of sand animation and provides insights into audiences’ cognition differences and preferences in order to uncover the core factors. The findings are that: (1) the audience perceived more consistent and subtle differences in the use of musical instruments, rhythm cadence and video–audio fit; there were also obvious differences in the perceptions of vocal skills, performance skills and musical style as well as emotional transmission; (2) three aspects of the audiences’ evaluation of an animation were affected by music: creativity, cultural meaning and preferences. The seven elements that constitute animation music (use of orchestration, vocal skills, musical style, rhythm cadence, performance techniques, emotional transmission and video–audio fit) exerted varying degrees of influence on the audiences’ evaluation of the animation film. Amongst these, video–audio fit was found to be the most important element, as it simultaneously affected the audiences’ evaluation in terms of creativity, cultural meaning and preferences; (3) audiences of different ages and professional backgrounds showed significant differences in evaluating animation films in terms of creativity, culture and preference; and (4) differences in music had a significant impact on audiences’ perceptions and evaluations of 10 facets of animation films, including the story content, role identification and spiritual fit.
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Rogoff, Jana. "Poetics of Seriality: Socialist Architecture in Eastern European Animation." International Journal of Film and Media Arts 6, no. 2 (2021): 95–106. http://dx.doi.org/10.24140/ijfma.v6.n2.06.
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This article reflects on the ways in which animation critically engages with the transformation of city spaces and hence with politics of space more generally. Works of Polish and Czechoslovak animators, namely Hieronim Neumann, Zbigniew Rybcziński, Jiří Barta, and Zdeněk Smetana, serve as examples of animated films that address the phenomenon of urban development in the former Eastern Bloc. Through these examples, I examine how the dominant model of architecture between 1950 and 1990—the prefabricated concrete housing project—figured in cinematic narratives of the pre-digital era. Animation engaged with the transformation of city spaces on multiple levels: in terms of aesthetics (designs, interiors, surfaces), production modes (seriality, compression, simultaneity), and sociopolitical issues. Understanding what we might today call “serial aesthetics” alongside the social concerns that these works of animation raised provides us with a valuable historical perspective on the medium as a platform for negotiating the boundaries and overlaps between public, personal, and political spaces.
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Sun, Qinggang, and Sang-Bing Tsai. "An Empirical Study on Application of Virtual Reality Animation Technology by Big Data Model." Mathematical Problems in Engineering 2021 (June 25, 2021): 1–9. http://dx.doi.org/10.1155/2021/1067954.
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Regional cultural and creative products are paying more attention to the cultural core of their design and communication, while satisfying the basic design elements of appearance, function, and aesthetics; therefore, agricultural cultural and creative image (ACCI) also has its dual attributes of culture and commerce. Virtual reality (VR) animation technology can integrate video, text, and model into one, comprehensively display the three-dimensional digital content of regional cultural characteristics, bring users an immersive viewing experience, and enhance their interest in traditional culture, beneficial to the spreading and inheriting traditional culture. On the basis of summarizing and analyzing previous research works, this paper analyzed the development background, current status, and future challenges of VR animation technology and expounded the research situation and significance of design and dissemination of ACCI. Further, this paper proposed the design method, communication model, and approaches of ACCI based on VR animation technology, explored the reshaping of ACCI’s digital elements, resolution of ACCI’s artistic features, and discovery of ACCI’s artistic values, constructed the platform architecture and implementation technology of VR animation, and finally discussed the issue of the integration and innovation of cultural products and VR animation technology. Excellent regional cultural and creative products can achieve the multiple goals of promoting product sales, improving design aesthetics, and spreading cultural characteristics by pursuing cultural and creative values. The ACCI based on VR animation technology not only makes customers pay attention to the agricultural brands and consuming their products but also promotes regional identity and disseminate regional culture, inspiring the potential awareness of tourism and shopping and driving the economic development.
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Wang, Cuiping, and Ye Wo. "the humanistic spirit and poetic aesthetics of Russian animated films (on the example of the work of Yuri Norstein)." Культура и искусство, no. 7 (July 2022): 22–30. http://dx.doi.org/10.7256/2454-0625.2022.7.38359.
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Under the influence of French avant-garde filmmakers who created the creative method of "montage film", at the beginning of the twentieth century, Soviet director Sergei Eisenstein developed a technique called "intelligent editing". Later, the famous film director Andrei Tarkovsky constructed the inner truth of the film with the help of poetic expression, thereby giving it a unique poetic aesthetic. This form of filmmaking has had a profound impact on Russian animated cinema. This article is devoted to the study of the specifics of Russian animation on the example of paintings by Yuri Norstein, in particular, the analysis of the humanistic spirit and poetic aesthetics. Special attention is paid in the article to the symbolism of the cinematic images of the works of Yu. Norstein and the peculiarities of the reflection of reality in animation. The main conclusion of this study : in contrast to Hollywood animation with the shocking creation of visual meanings, in Russian animated works, a calm narrative with symbolic meaning attached to details gradually rises to the level of philosophical comprehension. Yuri Norstein's paintings are full of symbols and metaphors that evoke various associations in the audience and give free rein to their imagination. The content of cartoon paintings is characterized by depth and a multilevel system of meanings embodying the Russian national culture and the picture of the world. The combination of realistic traditions with advanced techniques distinguishes the director's work from American animation.
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Chen, Shaopeng. "Tang Cheng: The first female animation screenwriter and director in the People’s Republic of China." Journal of Screenwriting 11, no. 3 (2020): 245–64. http://dx.doi.org/10.1386/josc_00032_1.
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Tang Cheng (唐澄) (1919–86) was one of the most accomplished and versatile animation practitioners in the history of Chinese animation and the first female animation scriptwriter and director in the People’s Republic of China (PRC, 1949–present). Animation in the PRC was once famous for its ‘Chinese school’ aesthetics, in which female professionals influenced all dimensions of the form, from animation techniques to aspects of narration and artistic style. Tang Cheng was best known for directing or co-directing representative Chinese school animated films. However, her early career in animation screenwriting has been largely forgotten. This article not only highlights her role as a scenarist commissioned to write the screenplays of the didactic fairy tales Old Lady’s Jujube Tree (1958) and Radish Is Back (1959) but also analyses how the spirit of collectivism and childlike simplicity revealed in her screenwriting affected her later directorial productions such as Little Tadpoles Looking for Mother (1961), Havoc in Heaven (1961, 1964) and The Deer Bell (1982).
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Flaig, P. "Life driven by death: animation aesthetics and the comic uncanny." Screen 54, no. 1 (2013): 1–19. http://dx.doi.org/10.1093/screen/hjs065.
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Pierson, Ryan. "Cartoon Vision: UPA Animation and Postwar Aesthetics by Dan Bashara." JCMS: Journal of Cinema and Media Studies 60, no. 1 (2020): 173–78. http://dx.doi.org/10.1353/cj.2020.0074.
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Dmitruk, Natalia. "Wierzenia z perspektywy estetyki japońskiej. Mushishi Yuki Urushibary." Literatura i Kultura Popularna 23 (May 31, 2018): 93–107. http://dx.doi.org/10.19195/0867-7441.23.7.
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Religious beliefs from the perspectiveb of Japanese aesthetics: Mushishi by Yuki UrushibaraThe Japanese culture is often portrayed as unique, in particular when compared to broadly-understood Western culture. It is important to notice, however, that the main trait of the Japanese culture is its openness towards outside influences and the ability to modify them to fit better with the Japanese system of values. The same could be applied to the Japanese aesthetics, which concernsm various aspects of life, not only the ones that would be described as art in Western culture. The contemporary Japanese culture and the aesthetics along with it is occasionally a combination of tradition and modern ideas; the works of popular culture, which includes comics and animation, may hold the most interesting cases in that regard. This article describes the issues of the Japanese aesthetics in Mushishi, a comic book by Yuki Urushibara. The author, while inspired by the classical works of Japanese literature and legendary tales, presents her own stories, in which the primary aesthetic value is the harmony between human and nature, sometimes represented by the supernatural beings known as mushi.
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Horrocks, Roger. "The dance of the hand: Len Lye’s direct films." Animation Practice, Process & Production 8, no. 1 (2019): 33–45. http://dx.doi.org/10.1386/ap3_00003_1.
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Len Lye’s animation has a special relationship with physical materials and the body because of the ways he drew and scratched his images directly onto film. This article considers what is unusual about his aesthetic, with its emphasis on kinaesthetic styles of viewing and on ‘physical empathy’. Tracking Lye’s film work from the 1930s through the 1950s, it draws connections with the body-oriented aspects of abstract expressionist art. It also relates the films to Maurice Merleau-Ponty’s ‘embodied’ approach to phenomenology. Today Lye’s films need to be digitized, and that transfer raises interesting questions about the differences between analogue and digital aesthetics. What happens when his films move from the ‘black box’ of the cinema to the ‘white cube’ of the gallery or museum where they are digitally presented? The article also considers Lye’s kinetic sculpture as another body-oriented form of animation, in which the motor replaces the projector. His sculpture again raises questions about mixing the analogue with the digital.
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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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Oh, Dong-Il. "A Study on the Acceptance Patterns of Disney Feature Animation Aesthetics in Japanese Animation 〈Momotaro: Sacred Sailors〉." Korean Journal of animation 18, no. 4 (2022): 211–25. http://dx.doi.org/10.51467/asko.2022.12.18.4.211.
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Sulikowski, Piotr, Michał Kucznerowicz, Iwona Bąk, Andrzej Romanowski, and Tomasz Zdziebko. "Online Store Aesthetics Impact Efficacy of Product Recommendations and Highlighting." Sensors 22, no. 23 (2022): 9186. http://dx.doi.org/10.3390/s22239186.
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Owing to high competition in e-commerce, customers may prefer sites that ensure that good user experience (UX) and website aesthetics are one of its qualities. The method of presenting items seems crucial for gaining and maintaining user attention. We conducted a task-based user eye-tracking study with n = 30 participants to examine two variants of an online fashion store: one based on aesthetic rules and one defying them. The following aspects of item presentation were considered: height and width the ratio of product photos, website colors, rounded borders, text visibility, spacing between elements, and smooth animation. We investigated their relationship to user attention by analyzing gaze fixation, tracking user interest, and conducting a supplementary survey. Experimental results showed that owing to following the rules of aesthetics in interface design in the presented fashion shopping scenario, elements such as the recommendation area and product highlights had a significant positive impact on customer attention.
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Tai, Peng-yi. "The Aesthetics of Keyframe Animation: Labor, Early Development, and Peter Foldes." Animation 8, no. 2 (2013): 111–29. http://dx.doi.org/10.1177/1746847713487815.
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Ratelle, Amy. "Book review: Anime Aesthetics: Japanese Animation and the ‘Post-Cinematic’ Imagination." Animation 12, no. 2 (2017): 191–94. http://dx.doi.org/10.1177/1746847717710737.
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Ruddell, Caroline. "‘Don’t Box Me In’: Blurred Lines in Waking Life and A Scanner Darkly." Animation 7, no. 1 (2012): 7–23. http://dx.doi.org/10.1177/1746847711429632.
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This article seeks to evaluate the visual style of Waking Life and A Scanner Darkly, predominantly through an analysis of the films’ aesthetics. The use of Rotoshop as an expressive means to illustrate character and theme, where identity becomes sketched and multi-faceted rather than fixed or stable is explored here. Yet this aesthetic play with borders has a greater resonance than simply a means by which to delineate thematic preoccupations with troubled identity. While such representations are indeed key to these two films, the darkly outlined contours of character borders, which move and slide incessantly, also comment on the blurred divide between live action and animation. Central to the argument is the use of the animated line in understanding these two films; the line provides impetus for exploring several issues raised by the films and the use of Rotoshop. This article explores the following key ideas: the animated line and aesthetic analysis; Rotoshop technology; the representation of fragmentary identity; and the relationship between photo-real cinema and animation, with a particular focus on narrative and spectacle. The author addresses Rotoshop within the context of technology and spectacle; taking industry practices into account allows for an appreciation of how a technological innovation such as Rotoshop can change the shape of live-action cinema.
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Sullivan, Patrick. "Hanna-Barbera’s Cacophony: Sound Effects and the Production of Movement." Animation 16, no. 1-2 (2021): 21–35. http://dx.doi.org/10.1177/17468477211025660.
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Zaps, crashes, boinks, and bangs flooded TV’s airwaves with the rise of Hanna-Barbera Productions at the end of the 1950s, and these sound effects have been heard ever since. Hanna-Barbera Productions created and proliferated one of the most recognizable collections of sounds in television and animation history. This article traces the formation of Hanna-Barbera’s library of sound effects and how these sound effects operate within the studio’s cartoons. Motored by television’s demanding production schedule and restrictive budgets, Hanna-Barbera persistently recycled its sound effects across episodes, seasons, and series. These sound effects, heard over and over again, were paired to the studio’s brand of limited animation – a form of animation that is often seen as kinetically wanting – to enliven images through sonically invoking movement, what this article calls trajectory mimesis. This logic of trajectory mimesis facilitates the repetition of the studio’s sound effects. These conditions – television’s economic restraints and the studio’s limited animation aesthetics –provided the ideal conditions for the creation of Hanna-Barbera’s iconic library of sound effects.
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Arshad, Mohd Rosli, Kim Hae Yoon, and Ahmad Azaini Manaf. "Character Pleasantness in Malaysian Animated Cartoon Characters." SHS Web of Conferences 53 (2018): 02004. http://dx.doi.org/10.1051/shsconf/20185302004.
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Current global trends have proved the creative industry to be one of the important sources of economic growth among developed countries. Creativity and its importance for Malaysia have made it imperative for any business organization to use creativity in a range of ways including multimedia content and animation. Malaysian animation viewers are rapidly influenced by digital media entertainment. The rise of such entertainment tends to drive them away from understanding what lies behind it that affect their emotion and thoughts. Therefore, the focus of this paper is to look into the experiences of “pleasantness” in viewer’s emotions that stimulate the perception of pleasure when watching Malaysian animated cartoon characters. A descriptive and One-Way Anova will be implemented in this study to examine the design aesthetics and perception from the animation viewers that affects the psychological experiences in emotions that determines the pleasantness feeling. Overall, the results indicate that perceived pleasantness on Malaysian animated cartoon characters did not differ between age and gender. We believe this finding will benefit the creative content creators and help them to understand more about local animation viewers.
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Dasgupta, Dr Arnab. "Affective Transformation." Journal of Anime and Manga Studies 3 (December 14, 2022): 85–117. http://dx.doi.org/10.21900/j.jams.v3.878.
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Kyoto Animation can rightly be called one of the leading studios of Japanese animation, and its works have been at the forefront of anime production in terms of both techniques and aesthetics. This is why it has been subjected to academic scrutiny by several notable anime scholars. However, no significant studies have been conducted on the works of Kyoto Animation from the perspective of the studio as a whole, or identified consistent themes and patterns flowing throughout them. This paper aims to rectify that gap by studying four works by the most prolific directors of Kyoto Animation (the Haruhi Suzumiya series (2006-2010), Beyond the Boundary (2013-15), A Silent Voice (2016) and Miss Kobayashi’s Maid Dragon (2017)) from the perspective of the Japanese Buddhist conception of tariki (Other-power) in order to tease out the central theme that lies at the heart of the studio’s work, and argues that Other-power (redefined as affective transformation) and the presence of a community of peers to nurture it offers powerful interpretive frameworks through which to understand these, and other, works by the studio.
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Gong, Haoran. "Text Mining of Movie Animation User Comments and Video Artwork Recommendation Based on Machine Learning." Security and Communication Networks 2022 (August 20, 2022): 1–9. http://dx.doi.org/10.1155/2022/2800481.
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Video artworks are closely linked with the development of contemporary technology. Therefore, it is widely used in various fields of social life. Video art has become one of the main media forms of contemporary art. In the practice of art teaching, how to combine the existing content of traditional art teaching with video technology and how to understand the inner connection between traditional aesthetics and technological aesthetics have become issues that workers in the new era must think about and pay attention to. As a typical case of influencing works of art, movie animation is loved by the majority of young people. In order to quantify the application effect of machine learning in video art and film animation text mining, this paper conducts prediction research and analysis on several main aspects of color features involved in film animation. By introducing three typical machine learning methods, this paper analyzes the distribution law of the color features of film animation from the perspective of machine learning and its influence on artistic texts. Specifically, the paper uses machine learning methods as a carrier to predict the performance of multiple main modules of color features in movie animation. The prediction results show that the square of the correlation coefficient corresponding to the extreme learning machine is the largest, and the root mean square error, the mean absolute percentage error, and the median absolute error are the smallest, which shows that the extreme learning machine has the best prediction effect. Therefore, it corresponds to the best prediction. In addition, the comparison between the predicted data and the measured data shows that the relationship between the two is approximately a linear function of y = x. At the same time, the fitting calculation shows that the predicted data corresponding to the two main modules of the main color and the color structure in the color feature exhibit a good functional relationship of polynomial functions.
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Seo, soo jung. "A New Possibility of Realism Aesthetics in Korean Animation -Focusing on and -." Cartoon and Animation Studies 57 (December 31, 2019): 245–70. http://dx.doi.org/10.7230/koscas.2019.57.245.
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Bashara, Dan. "Making the World Move: Review of Figure and Force in Animation Aesthetics." Discourse 44, no. 2 (2022): 264–67. http://dx.doi.org/10.1353/dis.2022.0012.
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Gottesman, Zachary Samuel. "The Rotoscopic Uncanny: Aku no Hana and the Aesthetic of Japanese Postmodernity." Animation 13, no. 3 (2018): 192–206. http://dx.doi.org/10.1177/1746847718799416.
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CGI has led to a theoretical revolution in media studies. What is cinema when reality can be created on a computer? What is animation when superflat 2D aesthetics are becoming haunted by 3D digital graphics? This article adds a third term to the debate: rotoscoping. The author analyzes the first exclusively rotoscoped Japanese anime, Aku no Hana (The Flowers of Evil), a contemporary reinterpretation of Charles Baudelaire’s Les Fleurs du Mal that reflects on postmodern malaise, rural decay and depopulation, and otaku escapism, in order to examine the aesthetic of the rotoscope in relation to cinema and anime. He argues that rotoscoping is an uncannying of the cinematism and animitism, or a polemical response to both the ideologies of Disney immersive realism and anime flat animation. The article investigates the narrative’s ‘writer of postmodern life’ Sawa Nakamura in relation to Baudelaire’s modernism and the conditions of postmodernity themselves: the structure of Japanese imperialism today and its effect on Gunma prefecture, the setting of the show. Finally, the author analyzes the hostile response to the show among otaku to explore how the hauntology of the rotoscopic machine channels the ghosts of neoliberalism, the super-exploited laborers of the third world.
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Liu, Feng. "Research on the Application of Cellular Algorithm in 3D Modeling of Cartoon Characters." Applied Mechanics and Materials 513-517 (February 2014): 1744–47. http://dx.doi.org/10.4028/www.scientific.net/amm.513-517.1744.
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The traditional design method of 3D animation modelings, by which can obtain attractive and precise 3D animation modelings, is to use three-dimensional modeling software such as Maya or 3D Max to draw directly. However, this method is faced with many problems, for instance, the lack of creativity, long design circle, high production costs, etc. For the problem of the lack of creativity, the reason is that animation designers are often subject to the limitation of the existing modelings and design concepts in the design process, therefore, they can not design creative modelings which are attractive and unforgettable enough. [For the problem of long design circle and high production costs, the reason is that although the 3D animation software are powerful, to skillfully master them not only requires users to have knowledge of computer technology and aesthetics at the same time, but also need a long learning process of modeling. Moreover, it takes the designers a lot of time and energy to design, draw and complete each modeling, and this will undoubtedly extend the design circle and increase the costs to some extent. Therefore, how to quickly and automatically generate creative 3D animation modelings has become a research focus of the present computer-aided creative design.
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Min, Zhang. "The Integration and Innovation of Shandong Folktales in Animation Teaching in Higher Education." E3S Web of Conferences 275 (2021): 03063. http://dx.doi.org/10.1051/e3sconf/202127503063.
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The folktales derived from folk arts are of abundant regional culture, local customs, national emotions, national spirit and the like, representing themselves as one of the important forms expressing traditional cultural resources, as well as an valuable portion in the protection and inheritance of traditional culture in China. This paper holds that animation teaching and practices in colleges and universities should make full use of local folk culture resources, take the folktales in regions where the colleges and universities are located as the basis, and furnish design sources and materials for animation teaching and practices through the integration and innovation of folk culture, so as to reflect regional characteristics, connotations and values while satisfying the requirements of modern aesthetics, enrich the content of animation creation, and play a role in the inheritance and promotion of regional folk culture. Promote the collaborative innovation research of Application-oriented University and local economic and social development.
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Wu, Hao, Si-Si Zeng, and Jong-Hoon Yang. "A Study of the Mood Aesthetics of Korean and Chinese Zen Animations - With the Korean Animation Oseam and the Chinese Animation Feelings of Mountains and Waters as Examples -." Journal of acting studies 27 (August 31, 2022): 213–38. http://dx.doi.org/10.26764/jaa.2022.27.10.
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Kalmakurki, Maarit, and Marley Healy. "‘Who wants the pressure of being super all the time?’: Mid-century modern fashions and their influence on costume development in The Incredibles and Incredibles 2." Film, Fashion & Consumption 11, no. 1 (2022): 91–108. http://dx.doi.org/10.1386/ffc_00041_1.
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In this article, we examine period fashions in character costumes in the two Pixar/Disney computer-animated films, The Incredibles and Incredibles 2. These films have a strong mid-century modern design influence interwoven into the films’ narratives and aesthetic designs. The films have previously raised interest in fashion studies, due to their superhero concept. However, an analysis of the characters’ everyday dress is also valuable for understanding the influence of fashion and pop culture references on contemporary animated film costuming and how those elements embed within the technological development of digital characters’ clothing. We employ historical and visual analysis to highlight the integration of design elements of period-appropriate fashions into character costumes. Additionally, we examine the relationship between animation software development and the films’ design aesthetics to inspect how technological advancements support the behaviour of cloth, narrative progression and characters’ personal emotional arcs by reviewing industry articles as well as animator and designer interviews from the making of the films. This is a unique case study that explores the influences and inspiration of period-specific fashion in constructing costumes for computer-animated films, which are ostensibly set in an environment also inspired by the period and specific cultural zeitgeist.
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Sputnitskaya, Nina Yu. "Screening Zurbagan: On Use of Animation in Russian Feature Cinema." Journal of Flm Arts and Film Studies 7, no. 4 (2015): 73–83. http://dx.doi.org/10.17816/vgik7473-83.
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The subject of this research is prose of Alexander Grin, the object being the specifics of cinematographic perspective at the images of the Silver Age representative. The article covers both historical and theoretical aspects, its goal is to unveil the previously unknown archive documents (with material of RGALI foundation and Mosfilm) and experimental films, which add to the history of the usage of special effects in national cinema. The analysis of films conducted by the author of the article allows to examine the evolution of the aesthetics in sci-fi cinema in the period of 1960-2010. The article also unravels the little known aspects of the work of notable Russian animators.
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Jiang, Qian, Li Ma, and Min Yue. "Animation Narrative on Stress Relief and Psychological Cognitive Development in Adolescents." Occupational Therapy International 2022 (September 2, 2022): 1–10. http://dx.doi.org/10.1155/2022/1111488.
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As the atmosphere of domestic animation is getting stronger and stronger in recent years, its proportion in the process of public aesthetics, entertainment, and consumption is increasing; thus, the relationship between the audience and works has become an important academic focus. The theatrical animation in the animation industry has become the category that needs to be focused on and changed in the development process of domestic animation because of its characteristics of receiving attention from all-age audiences. Because of the diversified audience levels faced by theatrical animation, it is particularly difficult to coordinate the needs of each audience level, coupled with the long-term influence of Japanese and American animation; the trend of pop culture led by network culture; the inheritance, excavation, and reconstruction of national culture; and other cultural environment and creative thinking intertwined, making the construction of the independence of domestic animation appear more and more difficult. The purpose of this paper is to analyze the theoretical study of the healing elements of Natsume Yojimbo and to analyze the creation of Chinese traditional ink and wash in the creation of our own works. It is concluded that the thematic choices are based on two categories: emotions and dreams, which focus on personal life experience and universal concern for human life. The character construction is divided into three aspects: self-resistance and self-reflection, self-vision and self-actualization, and traumatic experience and self-rescue to explain the complexity and diversity of the characters’ growth connotation. The narrative perspective constitutes the perspective from which the issues are viewed. The omniscient perspective allows for the coexistence of complex character relationships and a clear storyline, while the limited perspective reveals certain emotional tendencies. The narrative mode presents the moral of the text with cause-and-effect narrative, embellished group narrative, and dreamlike polyphony narrative. Finally, the article discusses the realistic dilemma of the growth narrative of domestic online animation and tries to put forward feasible development suggestions in response to the problems at this stage.
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Saunders, Rebecca. "Computer-generated pornography and convergence: Animation and algorithms as new digital desire." Convergence: The International Journal of Research into New Media Technologies 25, no. 2 (2019): 241–59. http://dx.doi.org/10.1177/1354856519833591.
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This article is one of the first to consider the digital phenomenon of computer-generated imagery (CGI) pornography, a highly significant site of convergence that combines the technologies, cultures and aesthetics of digital animation, video games and pornographic film. As much of this controversial new content is produced through the hacking of licensed video game franchises, CGI pornography typifies the democratic possibilities of the digital economy. However, this bizarre digital subculture exemplifies too the tension between ludic and labour-intensive digital practises: its production is embedded simultaneously in the anti-productive play of gaming, hacking and pornography, and in the intensive, neo-liberal labour practises associated with free labour and the video game industry. This article explores CGI porn as a specific site of convergence that fundamentally alters the aesthetics and function of digital pornography and relatedly the libidinal subject that is interpolated in this crucial aspect of digital culture. The filmic genre of pornography has a long tradition of producing affective engagement through vicarious access to the material body; its evocations of veracious materiality and presence are only amplified in a digital culture of virtuality and dematerialization. This article analyses how the technological construction of CGI porn is foregrounded in its images and films, highlighting the codes and patterns of the genre and blending them with a stark revelation of the restrictions and capabilities of CGI technology. The article explores how multiple instances of hypermediacy and hypersignification in CGI porn expose and affectively engage with the fact of convergence itself: that is, revealing technological capacities and limitations of digital animation and eroticizing its interpenetration with the films’ diegeses, aesthetics and representations of movement become the central function of this new cultural output. The libidinal focus of this type of digital pornography fundamentally shifts, then, away from the human body and the attempt to gain vicarious imagistic access to it through digital technologies. Instead, the labour of the animator, and the coding and characters they borrow from video game designs, become the libidinal focus of computer-generated pornography. As this new digital phenomenon uncovers and eroticizes the workings of CGI, so it dismantles the veracity and materiality promised by ‘real body’ digital pornography: CGI porn’s stark foregrounding of its technological constructedness clarifies the artificiality of its ‘real body’ counterpart. This article posits, then, an important new site of convergence. Pornography is a central node in the culture, politics and economics of digital technology, and the ways in which its convergence with CGI practises and video game culture has produced not just an entirely new digital phenomenon, but has fundamentally altered digital pornography's conception of the desirous subject and the material body, are crucial.
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Akcay, Zeynep. "Dance, Long Exposure and Drawing: An Absurd Manifesto about the Female Body." International Journal of Film and Media Arts 6, no. 3 (2021): 67–84. http://dx.doi.org/10.24140/ijfma.v6.n3.05.
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This paper summarises the evolution and production process of Kam, a long-exposure pixilation/ 2D animation film with a unique aesthetic approach that took three years to formulate and complete due to an iterative/fragmented production schedule. Kam, which means “shaman” in old Turkish, was conceived as a response to the rise of conservative and misogynist official discourse in Turkey, and it features a woman’s fierce dance. For this film, Turkish dancer Sevinc Baltali’s improvised performance was captured by the author using the technique of long-exposure photography. Condensing the motion of the dancer, the still frames created a flowing image on screen in which the dancer’s body is sometimes hardly perceivable. The dance flow was then recreated to the music of Amolvacy, an underground New York band featuring a modern interpretation of tribal music. Finally, the manifesto of the film was reinforced by adding another layer, this time of primitive drawings by the author, on top of the images, creating a more pronounced expression of the anger and the rebellious energy of the female body. This article argues that the unique aesthetics of the film attained at the end of an iterative and fragmented production process allowed a multi-layered liminal space for meaning to emerge. By elaborating on the relationship between the aesthetic approach, the political stance and the production methodology of this film, this article aims to demonstrate how animation can create an evocative and visceral experience that highlights and communicates what Herzog (2010) defines as “ecstatic truth”.