Academic literature on the topic 'Animation (Cinematography) Cartoon characters'
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Journal articles on the topic "Animation (Cinematography) Cartoon characters"
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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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Liu, Kun, Jun-Hong Chen, and Kang-Ming Chang. "A Study of Facial Features of American and Japanese Cartoon Characters." Symmetry 11, no. 5 (May 12, 2019): 664. http://dx.doi.org/10.3390/sym11050664.
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Many researchers think that the characters in animated cartoons and comics are designed according to the exaggeration or reduction of some features based on the human face. However, the feature distribution of the human face is relatively symmetrical and uniform. Thus, to ensure the characters look exaggerated, but without breaking the principle of symmetry, some questions remain: Which facial features should be exaggerated during the design process? How exaggerated are the faces of cartoon characters compared to real faces? To answer these questions, we selected 100 cartoon characters from American and Japanese animation, collected data from their facial features and the facial features of real people, and then described the features using angles, lengths, and areas. Finally, we compared cartoon characters’ facial features values with real facial features and determined the key parts and degree of facial exaggeration of animated characters. The research results show that American and Japanese cartoon characters both exaggerate the eyes, nose, ears, forehead, and chin. Compared with human faces, taking the eye area as an example, American animation characters are twice as large compared with human faces, whereas Japanese animation characters are 3.4 times larger than human faces. The study results can be used for reference by animation character designers and researchers.
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Dydynski, Jason Mario, and Nelly Mäekivi. "Darwin’s antithesis revisited – a zoosemiotic perspective on expressing emotions in animals and animal cartoon characters." Sign Systems Studies 47, no. 1/2 (August 8, 2019): 205–33. http://dx.doi.org/10.12697/sss.2019.47.1-2.08.
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In the animation and design of cartoon characters, animators have often turned to the study of biological theories and observation of human actors and animals to capture lifelike movements and emotions more successfully. Charles Darwin’s principle of antithesis, as one of the principles he considered to be responsible for the expression of emotions in animals, would seem to be of distinctive importance in the development of animation. By revisiting Darwin’s original idea in the context of the principles of animation formulated by Thomas and Johnston, we are able to assess its application and relevance in the expressions of emotions in cartoon animal characters. The article concentrates on the emotive function of animal social communication as outlined in zoosemiotics, while taking into account that the expressions of animal characters are directed at the viewer. The principle of antithesis, as a descriptive tool, aids us in considering the diversity of modalities used simultaneously in affective communication, and serves to explicate human interpretations of the anthropomorphic and zoomorphic projections onto the behaviour of cartoon animal characters. This paper offers insight into the potential expansion and re-evaluation of unattested principles in animation, which can be utilized by animators in the creation of more dynamic and expressive animated characters.
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Prilosadoso, B. H., R. A. Kurniawan, B. Pandanwangi, and I. K. Yunianto. "appeal of cartoon characters in instructional media through animation in early childhood education in Surakarta." International journal of social sciences 4, no. 1 (January 20, 2021): 35–38. http://dx.doi.org/10.31295/ijss.v4n1.430.
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Animated learning media using cartoon characters is an appropriate means of supporting learning methods in Early Childhood Education in the Surakarta area, Central Java, Indonesia. This research method includes data collection, data analysis, and presentation of data analysis. This research method uses a qualitative descriptive approach through data sources that include learning materials, animated cartoon characters, literature study through the stages of analysis obtained from various sources of information in interactive references. The investigation stages from multiple sources of information, both literature reviews and interviews, were carried out using an interactive model, where each research component includes the steps of data collection, data reduction, presentation, and conclusion drawing. The use of cartoon characters in animation learning media is beneficial for students who are very interesting and able to receive material and participate in learning activities. Also, animated audiovisual media are needed by students and teachers by using cartoon characters in it.
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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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Kim, Sun-Young. "Expression Types and Characteristics of Cartoon and Animation Characters in Contemporary Fashion." Journal of the Korean Society of Clothing and Textiles 34, no. 11 (November 30, 2010): 1912–22. http://dx.doi.org/10.5850/jksct.2010.34.11.1912.
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Sultan, Farah, and Zaki Hasan. "PARENTAL PERCEPTION ABOUT WESTERN CARTOON ON CHILD’S MENTAL HEALTH IN PAKISTAN." Pakistan Journal of Rehabilitation 9, no. 2 (July 1, 2020): 48–53. http://dx.doi.org/10.36283/pjr.zu.9.2/010.
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The purpose of this study is to explore the impacts of foreign cartoons programs on the social behavior and attitude of Pakistani Children. It is forecasting different cartoon programs 24/7; hence, children spend most of their leisure in front of the television. All these cartoon characters affect the social life and psyche of the children and induce positive and negative mannerism in their daily lifestyles. It has found that one of the most disturbing factor is that the ferocity in children today is increasing rapidly due to following their favorite violent cartoon characters which are even different from their culture and societal norms. The issue is violence is what they see in every cartoon program in one or the other way. Their Guardians are unaware that these cartoons they let their children watch are destroying their parenting as negative forces are attacking the innocent minds of this generation. The study gives the insight of why and what is happening with non-parametric statistics studied and used for thorough analysis. The behavioral outcome of the kids like, imitating their preferred animation character, utilizing various dialects, watching the TV as opposed to deciding on outdoor games and being difficult about getting precisely the same outfits and embellishments as their adored character. This contextual analysis features the disturbing circumstance that guardians are uninformed of. There is something other than mimicking the particular character. The only traits of watching these foreign cartoon characters is that it might damage their own customs and they wildly become to believe these characters as their role models. KEY WORDS: Animated TV Shows, Children, Attitude, Behavior, Cartoons, Violence, Role Model, Pediatric Mental Health
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Shchehelska, Yu. "ПРОБЛЕМАТИКА ЗАСТОСУВАННЯ ТРИВИМІРНОЇ АНІМАЦІЇ ТА СПЕЦИФІКА ЇЇ СПРИЙНЯТТЯ В ДОДАНІЙ РЕАЛЬНОСТІ: КОМУНІКАЦІЙНИЙ АСПЕКТ." State and Regions. Series: Social Communications, no. 2(42) (March 18, 2020): 132. http://dx.doi.org/10.32840/cpu2219-8741/2020.2(42).20.
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<p><em>This study elucidates the main communication issues that arise from audiences’ interaction with three-dimensional animation of different types in augmented reality, as well as identifies the major 3D animations’ varieties used by brands to create AR and MR promotional campaigns. </em></p><p><em>The results of the study are based, in particular, on the analysis of AR cases of 27 commercial and social brands that used 3D animation for promotional purposes in 2010–2019.</em></p><p><em>It is ascertained that in the promotional practice there is used 3D predefined animation of a cartoon type, as well as 3D predefined and procedural non-homomorphic photorealistic animation. At the same time, three-dimensional procedural animation of cartoon type, as well as photorealistic animation of people (either predefined or procedural), was not used by any of the studied brands for the purpose of promotion.</em></p><p><em>The research revealed that in the field of promotion three-dimensional photorealistic animation of people, primarily of procedural type, is not used because it creates the majority of communication problems in the interaction of the audience with it. Real people’s displeasure with the animated ones arises, first of all, because of the “uncanny valley effect”, which is caused, in particular, by the technical difficulties with 3D rendering of human emotions and body language in real-time (including proxemics in a virtual environment); visual tracking of human movements by animated character; the naturalness and synchronicity of the language (above all, the content of the cues) and the sound of the voice of three-dimensional persons (its timbre, rhythmics, emotionality).</em></p><p><em>In general, today from a technical point of view photorealistic non-homomorphic animation is the most advanced 3D animation type, which explains the popularity of its use in the practice of promotional communications. Its predefined variety is most commonly used by automotive brands to create AR-campaigns, whereas procedural one is used in creating MR-campaigns, mainly for cosmetic and interior brands.</em></p><p><em>The predefined 3D animation of cartoon type was used to promote those commercial brands, which final consumers were, above all, children. However, some companies have used this kind of animation to create AR-based adult promotional events held in conjunction with the holiday and symbolic dates. The popularity of the use of 3D animation of cartoon type in the field of promotion is explained, first of all, by the fact that people at a subconscious level have a positive attitude towards cartoon characters as such.</em></p><strong><em>Key words:</em></strong><em> augmented reality (AR), mixed reality (MR), 3D animation, promotional communications.</em>
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Petikam, Lohit, Ken Anjyo, and Taehyun Rhee. "Shading Rig: Dynamic Art-directable Stylised Shading for 3D Characters." ACM Transactions on Graphics 40, no. 5 (October 31, 2021): 1–14. http://dx.doi.org/10.1145/3461696.
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Despite the popularity of three-dimensional (3D) animation techniques, the style of 2D cel animation is seeing increased use in games and interactive applications. However, conventional 3D toon shading frequently requires manual editing to clean up undesired shadows or add stylistic details based on art direction. This editing is impractical for the frame-by-frame editing in cartoon feature film post-production. For interactive stylised media and games, post-production is unavailable due to real-time constraints, so art-direction must be preserved automatically. For these reasons, artists often resort to mesh and texture edits to mitigate undesired shadows typical of toon shaders. Such edits allow real-time rendering but are limited in resolution, animation quality and lack detail control for stylised shadow design. In our framework, artists build a “shading rig,” a collection of these edits, that allows artists to animate toon shading. Artists pre-animate the shading rig under changing lighting, to dynamically preserve artistic intent in a live application, without manual intervention. We show our method preserves continuous motion and shape interpolation, with fewer keyframes than previous work. Our shading shape interpolation is computationally cheaper than state-of-the-art image interpolation techniques. We achieve these improvements while preserving vector quality rendering, without resorting either to high texture resolution or mesh density.
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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.
Full textDissertations / Theses on the topic "Animation (Cinematography) Cartoon characters"
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Lim, Cheong San. "Christian education utilizing cartoon & animation /." Free full text is available to ORU patrons only; click to view:, 2003. http://wwwlib.umi.com/cr/oru/fullcit?p3112969.
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Applied research project (D. Min.)--School of Theology and Missions, Oral Roberts University, 2003.Includes abstract and vita. Translated from Korean. Includes bibliographical references (leaves 221-230).
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Leão, Carolina Morgado 1986. "A trilha musical do cartoon no período clássico do cinema." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284495.
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Orientador: Claudiney Rodrigues CarrascoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-23T23:24:38Z (GMT). No. of bitstreams: 2 Leao_CarolinaMorgado_M.pdf: 2729435 bytes, checksum: 3cccc2782d27c4926dca0243044b2804 (MD5) Leao_CarolinaMorgado_M_Anexo.zip: 2581908598 bytes, checksum: 8acc1a686e30a6fa52cb27e0083ad192 (MD5) Previous issue date: 2013
Resumo: Desde os primórdios do que entendemos hoje como cinema, já se fazia uso de intervenções sonoras. O acompanhamento musical era normalmente executado ao vivo, através de um pianista, um improvisador ou, as vezes, por uma pequena orquestra. Com o passar das décadas, o som para animação foi se transformando e assim, cada vez mais atrelou-se às imagens, se fundindo e unificando. Já na década de 1930, os desenhos animados formam um poderoso elo com a música, produzindo com isso, uma gama de cartoons musicados. Deste momento em diante, a trilha musical recebe a função de narrativa, sua articulação com a imagem cria um significado e possibilita a compreensão do espectador na história. A compreensão do som está associada ao acordo que existe entre o emissor e o espectador, quando este, em uma exibição, entra na sala para "ver-ouvir" uma história contada. O alicerce preeminente na projeção é a narrativa. Portanto, a trilha sonora, através do sincronismo, do seu uso de forma poética e também, através do uso de sons que de certa forma, já estão na memória de toda a sociedade ocidental, integra a articulação e a organização da narrativa na animação, compondo assim, um elemento de sua montagem. E desta maneira, a percepção fílmica é de fato audio-visual e permite numerosas combinações entre sons e imagens animadas
Abstract: Interventions with sounds are used since the beginning of what is known today as film. The music was performed live by a pianist, improviser or sometimes by a small orchestra. Over the decades, animation sound changed and became increasingly harnessed viii to the images, merging and unifying. Already in the 1930s, the cartoons are a powerful link with music, thus producing a range of cartoons set to music. From this moment on, the soundtrack gets the role of narrative, its articulation with the image creates meaning and allows the viewer to understand the story. Understanding of sound is associated with agreement that exists between the issuing and the spectator, when, in a view into the room to "see-hear" a story telling. The foundation is preeminent in projecting the narrative. Therefore, the soundtrack through the synchronization, the use of poetic form and also, through the use of sounds that somehow are already in the memory of all Western society integrates the speech and organization of narrative in animation, thus composing an element of its assembly. Sooner, the filmic perception is indeed audio-visual and allows numerous combinations of sounds and visual images
Mestrado
Fundamentos Teoricos
Mestra em Música
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Zhao, Zhiyu. "An investigation into a design framework for animated online characters to promote brands effectively to customers in China." Thesis, De Montfort University, 2016. http://hdl.handle.net/2086/13112.
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This study presents a design framework for helping Chinese companies and designers to create effective animated cartoon characters for promoting brands. Previous research has demonstrated that animated characters which companies use to promote their brands appear to have a good chance of gaining and holding consumers’ attention. However, most relevant research in this area was conducted decades ago and focused on TV advertisements. There is little relevant research into new media advertisements featuring animated characters in an international context even though online advertising is growing. Furthermore, several academic researchers in China have begun to explore this topic without the benefit of practical research. As a result, the Animated Cartoon Promotional Characters (ACPC) are rarely developed and used although the animation industry has boomed in the Chinese market. ACPC for client companies which are created by commercial designers or design studios are not always in accordance with the preferences of their target customers. A design framework is therefore needed to provide a detailed design procedure for potential customer involvement. In order to achieve this, the Sanyuan Foods Company has been involved as a case study in this research. A series of surveys and focus groups with potential customers and interviews with Sanyuan and professional animators have been employed to improve the design process, to explore and identify more effective design procedures and to develop a design framework for the production of ACPCs. Secondary research has also been conducted in order to trace the historical issues and growth of promotional characters which have been employed successfully by selected companies; to determine the design process and fundamental features, functions and narrative for these animated promotional characters; and to discuss the relationship between different age groups and promotional characters, customers' favour and loyalty. The final framework has been evaluated by the development and testing of a “family“ of 2D and 3D hybrid computer characters for Sanyuan Foods and a series of short promotional animations and web site. Results show positive agreement with theoretical predictions and significant improvement over previous efforts. The research presented here has significant implications for future studies on branding strategy.
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Qin, Chuanshi. "How to use computer graphics to promote virtual idols based on 3D /." Online version of thesis, 2009. http://hdl.handle.net/1850/10964.
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Collignon, Stéphane. "La figurine cisanthrope, humanité liminale et contagion affective dans le cinéma d'animation." Doctoral thesis, Universite Libre de Bruxelles, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209000.
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À travers une séries d'études de cas éclairées par l'apport de l'éthologie, l'histoire de l'art, la psychologie cognitive et les neurosciences, cette thèse tente de répondre au paradoxe apparent du cinéma d'animation qui rend les personnages stylisés et caricaturaux sont plus à même de faire oublier leurs artificialité que les personnages visant au plus grand réalisme. / Through a series of case studies, supported by reasearch in art history, ethology, cognitive psychology and neuroscience, this dissertation aims at explaining the strange animated film paradox that makes stylised and caricatural characters more efficient than characters tending towards strong realism at overcoming their artificialitDoctorat en Information et communication
info:eu-repo/semantics/nonPublished
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Chen, Chun Lin, and 陳俊霖. "Designing Cartoon Characters with Personality in 3D Animation." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/67612021177673167564.
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碩士國立臺灣藝術大學
多媒體動畫藝術學系
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Animation design, in line with the requirements of the story and the overall style of animation, should focus on the role modelling of animated characters, in order to have more visual impact. Character design, by "seizing the role of personality traits" and "strengthening the role of the identity" to highlight the personality of Character. Characters must have their own unique characteristics. In the design process, characters' personality traits, and prominent, should be kept distinct from each other. Thus, the characteristics of the characters can be better displayed. "Strengthening the role of the identity" can be achieved through character' status and their corresponding features in the storytelling to enhance character's modelling. Through the understanding of character structure and basic design methods, after simplifying, adding and re-combining with the anthropomorphic processing, innovative and unique shape of characters can be created. One the others hand, body movements of limb will show the character's and his emotion. An animation character, must unify his mind and behavior, to display a lively role. To achieve this goal, efficient manipulating of character's skeleton, muscle mechanism will be required to better performing character's personality and emotion. Creation of this study is to understand how to combine modeling and character of the cartoon characters, and use performance movements to create a unique and full of personality role. The purpose of this study is to understand how to integrate character's personality and role modelling, with proper performance of body movement, to create innovative and unique characters.
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Louis, Clare. "A study of how the technological advancements in capturing believable facial emotion in Computer Generated (CG) characters in film has facilitated crossing the uncanny valley." Thesis, 2014. http://hdl.handle.net/10539/15791.
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A Research Report submitted in partial fulfilment of the
requirement for the Degree of Masters of Arts in
Digital Animation at the
University of the Witwatersrand (School of Digital Arts)
Johannesburg, South AfricaIn recent years, the quest for capturing authentic emotion convincingly in computer generated (CG) characters to assist exceedingly complex narrative expressions in modern cinema has intensified. Conveying human emotion in a digital human-like character is widely accepted to be the most challenging and elusive task for even the most skilled animators. Contemporary filmmakers have increasingly looked to complex digital tools that essentially manipulate the visual design of cinema through innovative techniques to reach levels of undetectable integration of CG characters. In trying to assess how modern cinema is pursuing the realistic integration of CG human-like characters in digital film with frenetic interest despite the risk of box office failure associated with the uncanny valley, this report focuses on the progress of the advances in the technique of facial motion capture. The uncanny valley hypothesis, based on a theory by Sigmund Freud, was coined in 1970 by Japanese robotics professor, Masahiro Mori. Mori suggested that people are increasingly comfortable with robots the more human-like they appear, but only up to a point. At that turning point, when the robot becomes too human-like, it arouses feelings of repulsion. When movement is added to this equation, viewers’ sense of the uncanny is heightened when the movement is deemed to be unreal. Motion capture is the technique of mimicking and capturing realistic movement by utilising technology that enables the process of translating a live actor’s performance into a digital performance. By capturing and transferring the data collected from sensors placed on a body suit or tracked from a high definition video, computer artists are able to drive the movement of a corresponding CG character in a 3-Dimensional (3D) programme. The attention of this study is narrowed to the progress of the techniques developed during a prolific decade for facial motion capture in particular. Regardless of the conflicting discourse surrounding the use of motion capture technology, these phenomenal improvements have allowed filmmakers to overcome that aspect of the uncanny valley associated with detecting realistic movement and facial expression. The progress of facial motion capture is investigated through the lens of selected films released during the period of 2001 to 2012. The two case studies, The Curious Case of Benjamin Button (2008) and Avatar (2009) were chosen for their individual achievement and innovative techniques that introduced new methods of facial capture. Digital images are said to undermine the reality status of cinematic images by challenging the foundation of long held theories of cinematic realist theory. These theories rooted in the indexical basis of photography, have proved to be the origin of contemporary viewers' notion of cinematic realism. However, the relationship between advanced digital effects and modern cinematic realism has created a perceptual complexity that warrants closer scrutiny. In addressing the paradoxical effect that photo-real cinematic realism is having on the basic comprehension of realism in film, the history of the seminal claims made by recognized realist film theorists is briefly examined.
Books on the topic "Animation (Cinematography) Cartoon characters"
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Cervone, Tony. Animating the Looney Tunes way. Laguna Hills, CA: Walter Foster Pub., 2000.
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ill, Brigman Chris, ed. Looking inside cartoon animation. Santa Fe, N.M: John Muir Publications, 1992.
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Lemay, Brian. Designing cartoon characters for animation. Oakville, ON: [Animated cartoon Factory], 2002.
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Cartoon animation: Introduction to a career. Northridge, CA: Lion's Den Publications, 1991.
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Gray, Milton. Cartoon animation: Introduction to a career. Northridge, CA: Lion's Den Publications, 1991.
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Michael, Mallory, ed. Iwao Takamoto: My life with a thousand characters. Jackson, Miss: University Press of Mississippi, 2009.
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All about techniques in drawing for the cartoon animator. Hauppauge, NY: Barron's, 2006.
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The Illustrated Encyclopedia of Cartoon Animals. New York: Prentice Hall Press, 1991.
Find full textBook chapters on the topic "Animation (Cinematography) Cartoon characters"
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Pierson, Ryan. "Soft Edges." In Figure and Force in Animation Aesthetics, 15–48. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190949754.003.0002.
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This chapter examines the use of soft edges in animation practice. Unlike hard-edged forms, such as the contour-based characters found in studio cartoons, figures with patchy forms often appear to not hold together strongly. Consequently, when these forms change shape, their metamorphoses appear passive, coming from without—as opposed to the active, self-directed metamorphoses of cartoon figures. Through a history of cloudy forms in animation, focusing especially on Alexander Alexeieff and Claire Parker’s 1933 short film Night on Bald Mountain, this chapter argues that soft-edged forms provoke a special kind of engagement called “exposure,” which makes concrete our vulnerability to the world of forces that undergirds us.