Relevant bibliographies by topics / Contemporary animation

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Academic literature on the topic 'Contemporary animation'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 April 2022

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Journal articles on the topic "Contemporary animation"

Thesen, Thomas P. "Reviewing and Updating the 12 Principles of Animation." Animation 15, no. 3 (November 2020): 276–96. http://dx.doi.org/10.1177/1746847720969919.

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This article suggests a discussion on the reconfiguration of the 12 principles of animation and their necessary refinement for contemporary animation to address the growing complexity and expansion of the animation industry. The expansion of the 12 principles of animation into the various animation techniques requires a consideration of their development, which, in the 1930s and 1940s was sufficient for animation’s hand-drawn animation needs; since then, the principles have proven themselves accurate and incredibly helpful for subsequent decades. Nevertheless, this article indicates that a ref

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Singh, G. "Mixing audio and animation: contemporary synesthesia." IEEE Computer Graphics and Applications 21, no. 5 (July 2001): 4–5. http://dx.doi.org/10.1109/mcg.2001.946623.

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Li, Chenmei. "Influence of Hayao Miyazaki’s Animation on the Cross-Cultural Spread of Japanese Traditional Culture under the Background of 5G and Wireless Communication." Wireless Communications and Mobile Computing 2021 (October 11, 2021): 1–5. http://dx.doi.org/10.1155/2021/1640983.

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The development of 5G technology has brought tremendous changes to all areas of social life, especially in the external communication of culture; the increasing effect of 5G technology has become more obvious. All kinds of new media are constantly emerging, and the expression of cultural products is more diversified, and they also have certain characteristics of their own national cultural symbols. As one of the important representatives of Japanese modern and contemporary culture, animation works have made extremely outstanding contributions in promoting the spread of Japanese culture. Japane

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Beckman, Karen. "Animation on Trial." Animation 6, no. 3 (November 2011): 259–75. http://dx.doi.org/10.1177/1746847711416568.

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This article first considers Kota Ezawa’s video installation, The Simpson Verdict within the broader context of the rising interest in animation on the contemporary art landscape. After exploring three trends within this proliferation of artists’ animation – works that animate moments from film history, works that animate ‘reality’, and works that use popular media such as cartoons, television and video games as source material, this article examines the difference between Ezawa’s work, which re-draws already overexposed live footage, and those documentaries that use animation as a supplementa

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Krivulya, Natalya Gennadyevna. "Problems of Animation Film Visual Anthropology." Journal of Flm Arts and Film Studies 4, no. 2-3 (September 15, 2012): 184–201. http://dx.doi.org/10.17816/vgik42-3184-201.

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The article studies animation as a sociocultural practice, a screen art and a research method within the trends of the contemporary visual anthropology. The author surveys the fundamental anthropology animation methods while working with ethnographical, folklore and culture material and the usage of reconstructive animation within the practice of social and visual anthropology.

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Son, Kook-Hwan, and Sung-Dae Park. "Artistic Achievement of Abstract Animation and Contemporary Significance." Journal of the Korea Contents Association 12, no. 6 (June 28, 2012): 132–41. http://dx.doi.org/10.5392/jkca.2012.12.06.132.

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Villén Higueras, Sergio Jesús, Xinjie Ma, and Francisco Javier Ruiz-del-Olmo. "Crowdfunding as a Catalyst for Contemporary Chinese Animation." Animation 15, no. 2 (July 2020): 130–44. http://dx.doi.org/10.1177/1746847720933792.

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This study explores the online financing forms and practices of contemporary Chinese animation cinema. The research focuses on the use of crowdfunding by this industry, and analyses three recent cases, One Hundred Thousand Bad Jokes (2014), Monkey King: Hero Is Back (2015), and Big Fish & Begonia (2016), selected based on the perspective of the high economic revenue earned and the artistic and creative singularity of these films, as well as the consideration of the undeniable influence of these productions on the imagination of new generations. Using an exploratory and descriptive research

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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 (November 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 Gun

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Man-chi Cheung, Terrie. "The Discourse of Independent Animation in the Contemporary Chinese Context." Animation 16, no. 3 (November 2021): 175–89. http://dx.doi.org/10.1177/17468477211050974.

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Independent animation is a marginal media form in China, and studies describe how both Chinese artists and scholars of film studies have only started to practice or construct this genre and popular cinema since the 1990s, especially after the Shanke (Chinese Flash animators, 閃客) phenomenon. In this article, the existing discourse of independent animation in contemporary China is critically analyzed by studying mainly what is said and written by the local practitioners and scholars in China. The author’s analysis is based on the assumption that animation should be taken ‘as an art form’, which

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De Bruyn, Dirk. "The Beauty of the Fragment Reconstituted in the Great Wall." International Journal of Film and Media Arts 6, no. 2 (December 17, 2021): 42–62. http://dx.doi.org/10.24140/ijfma.v6.n2.03.

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Max Hattler’s short abstract animations demonstrate an awareness of the form’s historic 1920’s European Abstract Animation precedents, is informed by the structurally focused minimalism of the 60’s and re-tools pre-cinema toys. Yet his work speaks to the contemporary technological environment he occupies and experiences directly. His move to Hong Kong and his recent Serial Parallels is also a predictive probe into future media environments. Hattler’s digital architectures are designed to make sense of the technological situation of speed and information overload which Vilem Flusser marks as am

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Dissertations / Theses on the topic "Contemporary animation"

Husbands, Lilly Marie. "Animated experientia : aesthetics of contemporary experimental animation." Thesis, King's College London (University of London), 2014. http://kclpure.kcl.ac.uk/portal/en/theses/animated-experientia(85e342f2-7ec9-4c7c-9024-20e2a8931677).html.

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Since the early 20th century, artists have explored the seemingly endless potential inherent in the complex blend of visual art and cinema that is experimental animation. Contemporary artists make use of both traditional and modern techniques to produce works of animated visual art that subvert conventional viewing practices and the normal perception of moving images. Despite an increased output of scholarly studies of animation and avant-garde media over the last twenty years, contemporary works of experimental animation rarely receive the kind of close, in-depth analysis that their formal an

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Crawte, Derrin. "Darkness visible : contemporary stop motion animation and the uncanny." Thesis, Anglia Ruskin University, 2017. http://arro.anglia.ac.uk/702164/.

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This thesis seeks to demonstrate that the uncanny and stop motion animation enjoy a special relationship, one characterised by a sense of darkness becoming visible. A range of scholars, including Barbara Creed, Tom Gunning, and Laura Mulvey, have recognised that film is capable of embodying the dark fears and concerns related to the collapsing of boundaries and merging of oppositions that are characteristic of the uncanny. Stop motion, this research argues, is a form that is written through with uncanniness. Stop motion animation is especially capable of conveying an experience of the uncanny

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daCosta, Charles C. H. "Racial stereotyping and selective positioning in contemporary British animation." Thesis, University of Brighton, 2007. https://research.brighton.ac.uk/en/studentTheses/1dcf3124-b4a3-4c63-9807-c053782bb36c.

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This thesis examines the characterization of blacks in contemporary British-made animated films exploring racial stereotyping and locating significant absences. Recent work produced within Britain has largely been destined for television. This thesis argues that Britain's multiculturality has not been adequately represented in popular modes of television animation. This is particularly evident in the work of Aardman, Britain's premier animation studio.

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Williamson, Naomi, and naomiruthwilliamson@mac com. "The Drawn Subject: Meaning and the Moving Drawing." RMIT University. Art, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080617.142838.

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Using the vehicle of hand drawn animation, this is an ongoing reflection of instances that repeat themselves to a point beyond the humorous and back. The Myth of Sisyphus 'The Gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back on its own weight. They had thought with some reason that there was no more dreadful punishment than futile and hopeless labour.' Albert Camus- The Myth of Sisyphus By observing and illustrating assiduous daily gestures and events our absurd hero is revealed: this protagonist, be it

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PINNA, DANIEL MOREIRA DE SOUSA. "BRAZILIAN ANIMATED CHARACTERS: THE VISUAL LANGUAGE OF CONTEMPORARY BRAZILIAN ANIMATION CHARACTERS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9582@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>O presente estudo analisa os aspectos comunicativos da visualidade de personagens de curta-metragens de animação contemporâneos brasileiros, empregando recursos oferecidos pela Semiologia. O cinema de animação é uma arte que tomou contornos na virada do século XX. Junto à indústria cultural, consolidou inúmeras personagens na memória de espectadores em todo o mundo. Contudo, os altos custos de produção das obras animadas obrigam muitos artistas a realizarem seus filmes independentes no formato de curtas metragens. Devido à brevidade

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Ehrlich, Nea E. "Animated realities : from animated documentaries to documentary animation." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/25699.

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My thesis on contemporary animated documentaries links new media aesthetics with the documentary turn in contemporary visual culture. Drawing from the fields of Contemporary Art, Animation, Film Studies and Gaming Theory, my aim has been to explore the development of animated documentaries in the context of animation's intersection with other visual fields in a very specific technological moment of the past two decades in order to broaden the scope within which animation is analysed and understood. The starting point of my research was the widely accepted divide assumed to exist between animat

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Silva, Michelle Ramona. "Digital alchemy matter and metamorphosis in contemporary digital animation and interface design /." online access from Digital Dissertation Consortium, 2005. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3224047.

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潘文慧 and Man-wai Poon. "Cultural globalization?: the contemporary influence of Japanese animation on Hong Kong teenagers." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31226620.

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Poon, Man-wai. "Cultural globalization? : the contemporary influence of Japanese animation on Hong Kong teenagers /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B24872970.

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Papp, Zilia English Media &amp Performing Arts Faculty of Arts &amp Social Sciences UNSW. "Investigating the influence of Edo and Meiji period monster art on contemporary Japanese visual media." Publisher:University of New South Wales. English, Media, & Performing Arts, 2008. http://handle.unsw.edu.au/1959.4/41276.

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Abstract Japanese anime being an important part of modern and contemporary popular visual culture, its aesthetic merits, its roots in Japanese visual arts as well as its rich symbology derived from Japanese folkloristic, literary and religious themes are worth investigating. This research aims to track the visual links between Edo and Meiji period monster art (y??kai-ga) paintings and modern day anime by concentrating on the works of Edo and Meiji period painters and the post-war period animation and manga series Gegegeno Kitaro, created by Mizuki Shigeru. Some of the Japanese origins of anime

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Books on the topic "Contemporary animation"

Halas, John. The contemporary animator. London: Focal Press, 1990.

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Halas, John. The contemporary animator. London: Focal, 1990.

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Animators unearthed: A guide to the best of contemporary animation. New York: Continuum, 2010.

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Anime from Akira to Princess Mononoke: Experiencing contemporary Japanese animation. New York: Palgrave, 2000.

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Anime from Akira to Howl's moving castle: Experiencing contemporary Japanese animation. New York, NY: Palgrave Macmillan, 2005.

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Mariotti, Marcella, Maria Roberta Novielli, Bonaventura Ruperti, and Silvia Vesco. Rethinking Nature in Post-Fukushima Japan. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-264-2.

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This volume brings together the papers presented at the international symposium Rethinking Nature in Contemporary Japan: Facing the Crisis held at Ca’ Foscari University of Venice in March 2015, as the last of a three-years research project on post-Fukushima Japan funded by the Japan Foundation. The book focuses on Religion and Thought, Fine Arts, Music, Cinema, Animation and Performing Arts (Theatre and Dance), from a multidisciplinary perspective.

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R, Lugo-Lugo Carmen, and Bloodsworth-Lugo Mary K, eds. Animating difference: Race, gender, and sexuality in contemporary films for children. Lanham, Md: Rowman & Littlefield, 2010.

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Richard, King C. Animating difference: Race, gender, and sexuality in contemporary films for children. Lanham, Md: Rowman & Littlefield Publishers, 2010.

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King, C. Richard. Animating difference: Race, gender, and sexuality in contemporary films for children. Lanham, Md: Rowman & Littlefield, 2010.

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The films of Tim Burton: Animating live action in contemporary Hollywood. New York: Continuum, 2005.

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Book chapters on the topic "Contemporary animation"

Walden, Victoria Grace. "Animation, Assemblage, the Affection-Form." In Cinematic Intermedialities and Contemporary Holocaust Memory, 113–54. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-10877-9_4.

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Gowanlock, Jordan. "Conclusion: Engineering Movies." In Palgrave Animation, 171–80. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74227-0_7.

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AbstractThe conclusion to Animating Unpredictable Effects argues for the importance of understanding engineering and R&D as a part of animation and visual effects production, in opposition to critics who dismiss these as mere tools for hyperrealism. This provides for a better understanding of a diverse range of contemporary digital media production practices that involve extensive technical work, but it also sheds light on film production practices going back a century. Using the example of practical special effects, like puffs of smoke or splashing waves in a studio water tank, which create unpredictable motion under artificial conditions, the conclusion draws a long history of practices that represent the world by making artificial mechanisms rather than capturing or drawing images.

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Chen, Zhi, and Ming Cai. "Hybrid Teaching Application and Exploration in the Mobile Media Era——Taking the “Interactive Animation” Course as an Example." In Design, User Experience, and Usability: Design for Contemporary Technological Environments, 3–14. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-78227-6_1.

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Ostherr, Kirsten. "Animating Informatics." In A Companion to Contemporary Documentary Film, 280–97. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781118884584.ch13.

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Pallant, Chris, and James Newton. "Animating Class in Contemporary British Television." In Social Class and Television Drama in Contemporary Britain, 215–30. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-55506-9_15.

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Brown, Noel. "Change and Continuity: The Making of Contemporary Hollywood Animation." In Contemporary Hollywood Animation, 1–40. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474410564.003.0001.

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In setting the scene, the opening chapter does four things. First, it surveys production trends in Hollywood feature animation from the 1930s to the present. Second, it presents an overview of the major changes in the Hollywood film industry since the 1970s, contextualising the resurgence of animation within developments in live-action cinema, family entertainment and multimedia conglomeration. Third, it examines the stylistic continuities and changes in post-1990s Hollywood animation, particularly with regards to the rise of computer animation. And fourth, it weighs the recurrent narrative structures and mythological influences on the form against more recent changes in storytelling conventions.

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Brown, Noel. "Crossing Boundaries: Families, Audiences and the Mainstream Aesthetic." In Contemporary Hollywood Animation, 41–77. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474410564.003.0002.

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This chapter explores two overarching and interrelated themes. The first is the narrative centrality of family and friendship in post-1990s Hollywood animation, and how this relates to broader social practices in contemporary America. The second is the intended universalism of the films, which are exemplary instances of Hollywood family entertainment in their simultaneous embodiment of quintessential US mythologies and their recapitulation of more universalistic norms, values, fantasies and fears. It is central to the commercial logic of Hollywood animation that it possesses a broad, cross-demographic, transnational appeal. Consequently, in order to mobilise a pluralistic, global mass audience, it must utilise a range of textual strategies to ensure that films are able to cross boundaries of age, gender, class, race, religion, language and culture.

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Brown, Noel. "Ways of Being: Identity and Hollywood Animation." In Contemporary Hollywood Animation, 109–43. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474410564.003.0004.

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This chapter examines how contemporary animated films have negotiated changes in attitudes towards individual and group identity, particularly (though not exclusively) in relation to gender, sexuality, race and ethnicity. One of the central projects of post-1990s Hollywood animation is that of accommodating difference. This is partly a matter of commercial pragmatism: films must address a pluralistic, global audience to remain profitable, and therefore must be able to reconcile a multitude of different interests, backgrounds and perspectives. However, it also responds to current debates regarding the social desirability, and the political capital, of diversity in its many forms. This chapter is concerned not only with how different kinds of identity are represented in contemporary animation, but also how valorisations of difference are reconciled with the utopianism traditionally embodied by the Hollywood family film.

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Brown, Noel. "Conclusion." In Contemporary Hollywood Animation, 178–84. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474410564.003.0006.

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The aim of this book has been to provide a comprehensive overview of post-1990s Hollywood animation, taking in major changes and continuities in style and aesthetics, narrative and story structure and industry contexts, while considering how the films operate in relation to broader currents in US culture and society. The importance of Hollywood animation to American cinema and society can be gauged by the ways it instantiates current and foundational mythologies of the nation while ascribing to broader mythological structures and resonating with worldwide audiences from all kinds of backgrounds. However, this cultural centrality has important implications for how the form has developed since the 1990s, with the emergence of new narrative and stylistic strategies that update many of the principles of classical-era Hollywood animation.

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Brown, Noel. "Hollywood Animation, Late Modernity and Contemporary America." In Contemporary Hollywood Animation, 78–108. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474410564.003.0003.

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One of the primary distinguishing features of post-1990s Hollywood animation is its foregrounding of contemporary culture and society. While many of the ‘classic’ Disney films are set in fantastical or fairy tale landscapes geographically and temporally removed from everyday life (‘once upon a time…’), most animated features from the early 1990s onwards are self-conscious artefacts of late modernity. There are two primary manifestations of the foregrounding of contemporary culture in post-1990s Hollywood animation. The first, and most immediately visible, is (a usually comic) intertextuality that takes the form of an intensified referentiality to other works of popular culture and modern life more broadly. The second form is that of social commentary, which is often satirical in nature and tends to be a more abiding thematic focus than the intertextual allusion. This chapter argues that both forms serve a similar function: they are strategies of proximation that anchor films to recognisable and identifiable situations and events.

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Conference papers on the topic "Contemporary animation"

Gu, Jie. "On Key Animation and Key Animator." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.172.

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Zhao, Ran. "Design of Animation Derivative Products and Practice in Animation Major Teaching." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.201.

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Zhang, Jin. "Creation and Teaching of Realistic Animation Making Animation Shine into Reality." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.74.

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Mitkus, Tomas, and Dimitrios I. Maditinos. "The Born-Global Phenomenon in Creative Industries: the Case of Lithuanian Animation Industry." In Contemporary Issues in Business, Management and Education. Vilnius Gediminas Technical University, 2017. http://dx.doi.org/10.3846/cbme.2017.031.

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The born-global phenomenon has been studied for over a two decades, but theory and practice are still evolving, therefore understanding how the phenomenon operates in different countries and industries is crucial. This paper aims to contribute to a better understanding of the born-global phenomenon in context of creative industries. A literature review was conducted in order to identify the nature of creative profile enterprises and international process characteristics in creative industries. Authors conducted a quantitative questionnaire with seventeen enterprises from Lithuanian animation i

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Evallyo, Violetta. "Split Screen Aesthetics in Soviet Animation." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.1.

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Jing, Peng. "Application of Color and Musical Language in Chinese Contemporary Animation Film." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.13.

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Sun, Hongjuan. "A Brief Introduction of Symbol Application in Animation Design." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.221.

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Zhao, Ran. "Construction and Practice of Teaching System of Animation Products Design Project of Animation Major Driven by Original Brand." In 3rd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccessh-18.2018.115.

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Shang, Lina. "Fashion Representation of Henan Opera Art in Two-dimensional Animation." In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.68.

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Sun, Hongjuan. "Research on the Teaching Reform of “Two-Dimensional Animation Production”." In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.82.

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