Relevant bibliographies by topics / Cultural animation

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Cultural animation'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Cultural animation"

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Chen, Chen. "Painterly focused Chinese ink animation: Seeing through the cultural lens of the Xiang system." Animation Practice, Process & Production 8, no. 1 (December 1, 2019): 141–64. http://dx.doi.org/10.1386/ap3_00009_1.

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Chinese ink animation has won worldwide respect for its ethereal and refined approach to ink painting. From the 1950s to 1980s, the Shanghai Animation Film Studio produced a number of award-winning ink animations. These animations share a unique traditional Chinese aesthetic based on Chinese literature and philosophy. However, the complex and long hand-made production process is one of the factors that caused the decline of Chinese ink animation following the 1980s. Since the millennium, three-dimensional ink modelling and digital painting technology have contributed to the revival of Chinese ink animation. This article summarizes the development of the production process of Chinese ink animation, together with its artistic features in both the analogue and digital age. Theoretically, this article focuses on a Chinese poetic framework, ‘the Xiang system’, as both a creative strategy for producing Chinese ink animation and an analytical lens to critique it.
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Cao, Luhao. "Regional Roots: A Study of Communication Strategies for the Sustainable Development of China's Animation Industry." Academic Journal of Management and Social Sciences 2, no. 3 (May 3, 2023): 6–8. http://dx.doi.org/10.54097/ajmss.v2i3.7969.

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Animation industry is known as the most promising cultural industry in the 21st century. China's animation industry, taking advantage of the popularity of international animation, has developed rapidly and produced an astonishing number of animations. How to ensure the high-quality and sustainable development of Chinese animation in the context of high output is an urgent issue that needs to be addressed in current Chinese animation industry. Through the analysis of the relevant literature of Chinese animation, this study, starting from the development history of animation, analyzes the problems encountered in Chinese animation during development, and proposes corresponding solutions to the current bottlenecks in development, with the aim of allowing Chinese animation to take root in the region, lead the world, and become a sustainable art and cultural industry.
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Kim, Minhyoung. "Dong for Movements, Hua for Paintings: A Transdisciplinary Approach to Investigating Chinese Donghua." Animation 13, no. 3 (November 2018): 207–20. http://dx.doi.org/10.1177/1746847718809671.

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This article questions a longstanding definition of animation that lacks aspects of cultural diversity in part; it reexamines the socio-cultural formation of modern animation from less known regions of China and investigates Chinese animation known as donghua (动画). The goal is to demonstrate the transdisciplinary nature of donghua acquired through dynamic interactions in this heterogeneous site of production of visual culture in modern China. The author suggests a concept-based framework to more accurately describe animation in China composed of three specific dimensions of donghua: translinguality, transnationality and transmediality. To conclude, the author reveals that the study of donghua helps generate a more widely defined spectrum of the now divergent ‘cultural field’ of ‘animations’ and therefore leads to a ‘translocal imagining of animation’ appropriate for today’s increasingly mobile world.
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Ciric, Milos. "Cultural animation and cultural institutions." Kultura, no. 136 (2012): 355–75. http://dx.doi.org/10.5937/kultura1236355c.

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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. Japanese animation is not only second to none in Asia but has also many fans all over the world. This article takes the characteristics of Hayao Miyazaki Animation’s external communication under the background of 5G as the starting point and deeply analyzes the impact of technological background changes on the external communication of Japanese traditional culture. Through data comparison, it is found that with the support of 5G technology, people’s habit of watching videos has changed a lot, from mobile terminals and short videos in the 4G era to large-screen projections and long animations in the 5G era. In a certain sense formed the return of the animation viewing form to the television era at the end of the last century. The number of video clicks on major websites shows that the number of Japanese animation products represented by Hayao Miyazaki Animation has increased significantly. Moreover, the age and occupation coverage of the audience is also very wide. The survey shows that people’s appreciation of Hayao Miyazaki’s animation at this stage is not only the attractiveness of the plot itself, but the deep meaning behind the animation is also the focus of attracting them. This gives Hayao Miyazaki Animation a higher level of appreciation value, that is, guiding countries that have suffered from the side effects of industrial civilization to rethink the relationship between ruleism and development speed. The research results suggest that the development of 5G technology has given traditional Japanese animation new characteristics in the dissemination of it and directly affected the cross-cultural dissemination effect of Japanese traditional culture. Discover the essence of respecting nature and observing rules in Japanese traditional culture to better serve our social development.
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Bohatyryova, H. A., and A. D. Trufkin. "CULTURAL DOMINANT OF PREPARATION OF BACHELORS IN TOURISM FOR ANIMATION ACTIVITIES." INTELLIGENCE. PERSONALITY. CIVILIZATION, no. 1 (22) (June 30, 2021): 5–13. http://dx.doi.org/10.33274/2079-4835-2021-22-2-5-13.

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Objective. The article is devoted to the study of the possibilities of culturological preparation of bachelors in tourism for animation activities, which should be based on the awareness of its essence as a sphere of cultural leisure, taking into account all culturological means of influencing and stimulating student activity. The authors study the conditions of organization of animation activities on the basis of the introduction of technologies of culturological content. The necessity of a systematic approach to the problem through the development of a structural and functional model of the cultural content of the animation activities of bachelors in tourism is substantiated. To achieve this goal, a set of theoretical and empirical methods are used, which identify a meaningful cultural component as the dominant animation activity, and substantiate its role in improving the quality, attractiveness and diversity of the tourist product. Methods. The main methods of studying the essence of the content of training tourism professionals for animation activities are: abstract-logical method — when determining the main problematic issues in formation the educational environment of bachelors’ professional training in tourism with cultural dominance; modeling method — when developing structural and functional model of intercultural communication in animation and determining its multidimensionality and multifacetedness. Results. In the context of the research the content of the process of animation activity is defined and specified, intercultural communication is defined as the main condition and priority organizational principle of animation activity, functions of tourist animation and their specific features are defined. The concept of «animation process» as a process of interaction of the animator with tourists is specified and it is defined that this process provides interaction of representatives of various cultures in the course of joint professional animation activity in tourism. There is emphasized that the mastering of bachelors in tourism technologies of cultural content will help improve the quality and diversity of the tourist product and emotional development of the personality of a specialist in the sphere of tourism. The authors clarify the meaning of the concept of «animation and cultural competence», give the author’s definition of animation and cultural competence of bachelors in tourism as an integrated personal entity that reflects the readiness for animation activities, for cultural communication in the implementation of animation programs. It is determined that bachelors in tourism must be able to clearly and convincingly express their thoughts, have a developed figurative thinking and the ability to improvise. It is recognized that the priority in the process of professional training of bachelors in tourism for animation should be the introduction of such culturological technologies that combine logical and figurative aspects in solving professional problems. There are determined the structural components of the animation process, its content, features of the use of animation technologies of culturological content. The authors have developed a structural and functional model of culturological content of bachelors in tourism. The structural components of this model and its content are determined.
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Asparuhova, Eleonora, and Marianne Patera. "Cultural roots and nostalgia: Exploring cultural identity and sense of belonging through animation practice." Animation Practice, Process & Production 9, no. 1 (August 1, 2020): 57–73. http://dx.doi.org/10.1386/ap3_000017_1.

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Animation, both as an art form and a storytelling medium, offers a variety of creative avenues for self-expression. The animator’s cultural background, depending on the individual, can have a strong influence on their practice, which can be elicited from their stylistic choices as well as their approach to storytelling and technique. This article discusses how an autoethnographic reflection into animation practice, in particular the early stage of idea formation, has uncovered questions about cultural identity and sense of belonging when living abroad. It explores the role of nostalgia in the creative process and questions whether the feeling of homesickness can influence ideas and act as a spur to create work inspired by the animator’s culture and heritage. The article discusses three short animations produced by the lead author and the thought process that led to the decision to base them on Bulgarian folklore, music and literature while living in the United Kingdom.
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Denison, Rayna. "Anime’s Cultural Nationalism: The Politics of Representing Japan in Summer Wars (Mamoru Hosoda, 2009)." Mutual Images Journal, no. 5 (December 20, 2018): 123–42. http://dx.doi.org/10.32926/2018.5.den.anime.

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Japanese animation has longstanding links to nationalism. For example, relatively early in its history, Jonathan Clements quotes sources suggesting that animation was used to promote the singing of Japan’s national anthem before film screenings, through a short film called Kokka Kimigayo (The National Anthem: His Majesty’s Reign, 1931) made by Ōfuna Noburo. It is ‘hence liable to have been one of the most widely seen pieces of domestic animation in the 1930s’ (Clements 2013, 47). Animation’s links to nationalism in Japan developed further during the Second World War, which marked a pivotal moment in Japanese animation production. Thomas Lamarre argues that this animation was not simply nationalistic, but that it was also racist and speciesist. Analysing Momotarō: Umi no shinpei (Momotarō’s Divine Army, Seo Mitsuyo 1945) and Tagawa Suihō’s Norakuro manga and anime Lamarre argues that ‘Speciesism is a displacement of race and racism (relations between humans as imagined in racial term) onto relations between humans and animals’ (Lamarre 2008, 76). The semi-covert depictions of differing nations as different animal species within Japan’s World War II animation subtended state discourses about enemies and a planned Co-Prosperity Sphere in Asia.
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ZHANG, YI RAN, and Tae Hoon Lee. "Analysis and Study of Animation Expression Techniques in Oriental Aesthetic Style: Focusing on <The Tale of Princess Kaguya> Directed by Isao Takahata." Institute of Art & Design Research 26, no. 1 (August 31, 2023): 13–20. http://dx.doi.org/10.59386/jadr.2023.26.1.13.

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Isao Takahata is a notable Japanese animation director and founder of Ghibli Animation Studio. His works have a distinctive oriental aesthetic, and The Tale of Princess Kaguya is considered one of his most famous works. The purpose of this research is to provide a deeper insight into Isao Takahata's unique animation style and the cultural background behind it. The main objective of this research is to analyze the animation expression techniques in depth, focusing on Isao Takahata's The Tale of Princess Kaguya, and to draw future implications for the development of the animated film industry. The results of the study show that director Isao Tagahata's work reflects his deep cultural background along with his unique personal aesthetic. In particular, it was found that his animations emphasize ethnic identity along with personal style identity. These findings provide animation directors and producers with deeper insights into the importance of a director's personal style and ethnic culture, and can serve as important indicators for the future development of the animation industry.
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Ardiyansah, Ardiyansah. "Film Animasi sebagai Medium Dokumentasi Kekayaan Alam, Intelektual, Budaya, dan Dinamika Sosial Politik." Humaniora 3, no. 2 (October 31, 2012): 668. http://dx.doi.org/10.21512/humaniora.v3i2.3411.

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Animation is a medium that has the ability to represent a visual phenomenon as a whole. Animation is not just a work of image-driven, but the work depicted motion, as expressed by Norman McLaren, Canadian animator Academy Award winner. As the interpretation of the motion, the animation is not subject to the laws of nature, so there is no limitation including movements that cannot be done in the real world or recorded in the live-action movie. So is the characterization or characterizations in the animation can be so free and open more opportunities for exploration. This advantage makes the animation a favorite medium to draw the attention of the audience, especially in the growing era of digital animation technology. Animation is now not only used for entertainment purposes, but has penetrated other fields such as education, tourism, health care, and so on. As a cultural product, animation, as well as films and works of art of human culture in general, is a historical marker that describes the spirit of an era that functions inherent in the animated film documentation of socio-political dynamics of a nation in a given period. This paper describes the process of documentation of natural, intellectual, cultural and socio-political dynamics in countries that intensively utilize the medium of animation.
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Dissertations / Theses on the topic "Cultural animation"

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Zhang, Lei. "A Cultural Revolution Revisited: Computer Animation and Beijing Opera." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/367875.

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This research project focuses on the potential relationship between Beijing Opera (the traditional cultural heritage) and computer animation (a modern art form). It responds to the practical problem that Beijing Opera is a national treasure of China with a history of 200 years, but now it is in decline as popular entertainment. Beijing Opera (or Peking Opera) is widely regarded as the highest expression of Chinese culture, being one of the three main theatrical systems in the world. Attempts to keep this traditional cultural treasure alive have varied, including encouraging positive appreciation among young audiences and updating Beijing Opera's artistic style and performance. To further that ambition, this research explores how Beijing Opera's traditional stage performance can be adapted to a virtual stage by computer generated imagery (CGI), also known as computer animation. CGI animation has eclipsed other animation forms and has emerged as one of the most successful film-art forms (Polchat 2007). The resounding success of Toy Story, the first fully computer-generated feature film produced by Pixar (The Walt Disney Company) in 1995 and the following continuous release of breathtaking CGI films by numerous studios in the past decade, informs this project of the potential offered by CGI animation. This research report argues for the possibility of using computer animation to present Beijing Opera.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Aina, Olusola Olumide. "Generating anatomical substructures for physically-based facial animation." Thesis, Bournemouth University, 2011. http://eprints.bournemouth.ac.uk/18900/.

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Physically-based facial animation techniques are capable of producing realistic facial deformations, but have failed to find meaningful use outside the academic community because they are notoriously difficult to create, reuse, and art-direct, in comparison to other methods of facial animation. This thesis addresses these shortcomings and presents a series of methods for automatically generating a skull, the superficial musculoaponeurotic system (SMAS – a layer of fascia investing and interlinking the mimic muscle system), and mimic muscles for any given 3D face model. This is done toward (the goal of) a production-viable framework or rig-builder for physically-based facial animation. This workflow consists of three major steps. First, a generic skull is fitted to a given head model using thin-plate splines computed from the correspondence between landmarks placed on both models. Second, the SMAS is constructed as a variational implicit or radial basis function surface in the interface between the head model and the generic skull fitted to it. Lastly, muscle fibres are generated as boundary-value straightest geodesics, connecting muscle attachment regions defined on the surface of the SMAS. Each step of this workflow is developed with speed, realism and reusability in mind.
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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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Martinsen, Suzann. "JOURNEY." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3335.

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In my drawings and animation, I create a representation of a culture that is instilled in me, yet foreign. The work is inspired from a childlike perspective to depict a personal primitive experience with the Korean culture. The subtleties of the animations are meant to reflect the quiet nature of Asian paintings and to allow the viewer to experience and interpret it as they choose. I want others to see without hearing words in an already noisy world.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Shea, Brian. "Altered in translation how cultural themes are handled when Japanese animation comes to America /." CONNECT TO ELECTRONIC THESIS, 2008. http://hdl.handle.net/1961/6983.

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Hao, Qiang. "L'héritage du patrimoine culturel immatériel et sa transmission par le cinéma d'animation." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30032.

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Actuellement, le travail de protection du patrimoine culturel immatériel est en plein essor. Il est au cœur de l’attention des médias et de la société, et également des recherches académiques. Malgré sa très longue histoire, sa promotion, son admission et sa protection sont récentes. En ce sens, le patrimoine immatériel est encore « jeune ». En tant que nouveau domaine et nouvel objet de recherche, son étude implique de nombreuses disciplines, et les mesures de protection nécessitent des innovations et une recherche audacieuse. L'animation est l’une des industries culturelles les plus à la mode en Chine et la plupart des recherches sur l'animation se focalisent sur le développement de l'industrie de l'animation. Ces recherches considèrent le patrimoine culturel immatériel comme ressource culturelle pour l’animation, et explorent les possibles utilisations pour promouvoir l'animation chinoise. Nous croyons que, dans le contexte culturel contemporain, l'animation constitue tant une industrie culturelle qu’un divertissement artistique et un loisir, ainsi qu’un moyen de transmission culturelle ; il peut aussi, par extension, être considéré comme un outil d'imagerie visuelle employé dans la production et la vie des personnes. L’animation est vivante et riche en inspiration, naturellement attractive, en particulier pour les jeunes. D’une certaine façon, elle est le langage commun de l'humanité. L’animation doit être une partie intégrante de la protection du patrimoine culturel immatériel ; elle est à même de promouvoir l’héritage et la transmission du patrimoine culturel immatériel. Ainsi, la présente thèse propose que nous considérions l’animation comme moyen de promotion de l’héritage et de transmission du patrimoine culturel immatériel. La transmission en est le moyen, et l’héritage est le but ultime de la protection du patrimoine culturel immatériel. La thèse démontre que l'animation peut effectivement être chargée de cette mission. Après la présentation du sujet de recherche, nous discuterons systématiquement du sujet à travers la recherche historique, la recherche interdisciplinaire, l'analyse de document, l'analyse de cas, l’enquête sur le terrain, etc., remontant ainsi jusqu’aux fondements des recherches existantes sur l’animation et le patrimoine culturel immatériel
Currently, the protection work of intangible cultural heritage is booming. It is at the heart of attention of the media and society, and also academic research. Despite its long history, its promotion, admission and protection are recent. In this sense, the intangible heritage is still "young". As a new field and new object of research, the study involves many disciplines and safeguards require innovation and a bold research. Animation is one of the cultural industries more fashionable in China and most of the research on the animation focus on the development of the animation industry. This research considers the intangible cultural heritage as a cultural resource for animation, and explore the possible uses to promote the Chinese animation. We believe that in the contemporary cultural context, the animation is as a cultural industry that artistic entertainment and leisure, and a means of cultural transmission; it can also, by extension, be considered an employee visual imaging tool in the production and life of people. The animation is vibrant and rich in inspiration, naturally attractive, especially for young people. In a way, it is the common language of humanity. Animation must be an integral part of the protection of intangible cultural heritage; she is able to promote the heritage and transmission of intangible cultural heritage. Thus, this thesis proposes that we consider animation as a means of promoting the heritage and transmission of intangible cultural heritage. The transmission is the means, and the inheritance is the ultimate goal of protecting intangible cultural heritage. The thesis shows that animation can actually be entrusted with this mission. After the presentation of the research topic, we systematically discuss the subject through historical research, interdisciplinary research, document analysis, case analysis, field survey, etc., and dating back to foundations of existing research on the animation and intangible cultural heritage
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Yoon, Hyejin. "The Animation Industry: Technological Changes, Production Challenge, and Glogal Shifts." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1212779559.

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Pinotti, Baldrich José Luis. "Aproximación a un modelo de gestión cultural territorial. El SARC." Doctoral thesis, Universitat Politècnica de València, 2020. http://hdl.handle.net/10251/137775.

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[ES] La gestión cultural aplicada a un territorio específico. Esta frase circunscribiría el desarrollo temático de la tesis. Cómo intervenir para que el sector cultural que históricamente ha sido productivo en lo social, lo sea también en lo económico, potenciando y apoyando a la industria cultural. Todo ello desarrollando políticas públicas, infraestructuras culturales públicas y potenciando los recursos humanos especializados.
[CAT] La gestió cultural aplicada a un territori específic. Aquesta frase circumscriuria el desenvolupament temètic de la tesi. Com intervindre perquè el sector cultural que históricament ha sigut productiu en el fet social, ho siga també en l'econòmic, tot potenciant i donant suport a la indústria cultural. Tot això amb el desenvolupament de polítiques públiques, infraestructures culturals públiques i amb la potenciació de recursos humans especialitzats.
[EN] Cultural Management applied to an specific territory. This sentence would circumscribe the thematic development of the present thesis. How to arbitrate so that the cultural that has historically been productive in a social way, could become also an economical way, empowering and supporting the culture industry. All this developing public policies, public cultural infrastructures and enhancing specialized human resources.
Pinotti Baldrich, JL. (2020). Aproximación a un modelo de gestión cultural territorial. El SARC [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/137775
TESIS
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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 Carrasco
Dissertação (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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Books on the topic "Cultural animation"

1

Netto, J. Teixeira Coelho. Diccionario crítico de política cultural: Cultura e imaginario. México, D.F: Conacultua, 2000.

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Azané, Daniel Akroman. L'importance de l'animation socio-culturelle dans une collectivité territoriale: Cas de la commune. 2nd ed. Abidjan: Aigle Éditions, 2005.

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Witthayālai Khrū Phibūnsongkhrām. Sūn Watthanatham Čhangwat Phitsanulōk., ed. Sarup phon kānpatibat ngān pračham pī Phutthasakkarāt 2532 khō̜ng Sūn Watthanatham Čhangwat Phitsanulōk, Witthayālai Khrū Phibūnsongkhrām læ Sūn Sinlapa Watthanatham, Witthayālai Khrū Phibūnsongkhrām, Phitsanulōk. Phitsanulōk: Sūn Watthanatham Čhangwat Phitsanulōk, 1989.

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Contessa, Guido. Dall'età di vulcano all'età della luce: Scritti sull'animazione. Milano: Clup, 1989.

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Pérez, Victor Juan Ventosa. Fuentes de la animación sociocultural en Europa: Del desarrollo de la cultura a la cultura del desarrollo. Madrid: Editorial CCS, 2002.

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Zdioruk, S. I. Kulʹturna polityka Ukraïny: Nat︠s︡ionalʹna modelʹ u i︠e︡vropeĭsʹkomu konteksti : analitychna dopovidʹ. Kyïv: Nat︠s︡ionalʹnyĭ instytut stratehichnykh doslidz︠h︡enʹ, 2012.

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Yi, Chung-han. Munhwa chʻongmae undongnon. Sŏul: Hyŏnamsa, 1987.

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Fernández, Gaspar Risco. Antropología cultural del azúcar. [Tucumán: Centro de Documentación e Información Educativa, Secretaría de Estado de Educación y Cultura, 1995.

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Fernández, Gaspar Risco. Antropología cultural del azúcar. [Tucumán: Centro de Documentación e Información Educativa, Secretaría de Estado de Educación y Cultura, 1995.

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Martín, Gloria. Metódica y melódica de la animación cultural. Caracas, Venezuela: Alfadil Ediciones, 1992.

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Book chapters on the topic "Cultural animation"

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Boeckenhoff, Katharina, and Caroline Ruddell. "Lotte Reiniger: The Crafty Animator and Cultural Value." In Palgrave Animation, 75–98. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-13943-8_4.

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Bottini, Cinzia. "UPA within the Historical and Cultural Framework of Cold War America." In Redesigning Animation, 1–48. Boca Raton : Taylor & Francis, 2018.: Routledge, 2018. http://dx.doi.org/10.1201/9781351209595-1.

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Martin, Daniel. "Cultural Identity in Transnational Korean Animation." In Introducing Korean Popular Culture, 180–87. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003292593-21.

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Fang, Wen Ting, Po-Hsien Lin, and Rungtai Lin. "Western vs. Eastern: A Reflective Research on the Development of Chinese Animation." In Cross-Cultural Design, 25–36. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-57931-3_3.

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Elphick, Chris. "Community Arts and Community Development – Socio-Cultural Animation." In The Boundaries of Change in Community Work, 98–109. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003191186-9.

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Papaefthymiou, Margarita, Steve Kateros, Stylianos Georgiou, Nikos Lydatakis, Paul Zikas, Vasileios Bachlitzanakis, and George Papagiannakis. "Gamified AR/VR Character Rendering and Animation-Enabling Technologies." In Mixed Reality and Gamification for Cultural Heritage, 333–57. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-49607-8_13.

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Wu, Weihua. "The state, animation spectatorship, and cultural dislocation in the Reform Era." In Chinese Animation, Creative Industries, and Digital Culture, 45–77. New York : Routledge, 2017. | Series: Routledge culture, society, business in East Asia series; 6: Routledge, 2017. http://dx.doi.org/10.4324/9781315108780-3.

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Fan, Ying. "Development Report on the Animation and Games Industry (2011–2012)." In China Cultural and Creative Industries Reports 2013, 61–78. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-38157-7_5.

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Wang, Junying, and Jun Wu. "Research on the Influence of Traditional Mythological Animation on the Spread of Festival Culture – A Case Study of Nian Beast." In Cross-Cultural Design, 128–39. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-35936-1_10.

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Cipolla Ficarra, Francisco V., Emma Nicol, Miguel Cipolla-Ficarra, and Lucy Richardson. "Advances in Human-Computer Interaction: Graphics and Animation Components for Interface Design." In Human-Computer Interaction, Tourism and Cultural Heritage, 73–86. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-18348-5_8.

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Conference papers on the topic "Cultural animation"

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Ji, Yali, Hongbo Qiao, and Xianghui Hui. "Animation Technology and Cultural Education." In 2009 International Conference on Computational Intelligence and Software Engineering. IEEE, 2009. http://dx.doi.org/10.1109/cise.2009.5367234.

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Zhao, Chun. "Cultural Interpretation of Virtual Animation Singer." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.144.

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ZHONG, TIANJING. "STUDY ON THE SUBTITLE TRANSLATION FROM THE PERSPECTIVE OF ECO-TRANSLATOLOGY—A CASE STUDY OF CHINESE- ENGLISH TRANSLATION OF YAO-CHINESE FOLKTALES." In 2023 9TH INTERNATIONAL SYMPOSIUM ON SOCIAL SCIENCE. Destech Publications, Inc., 2023. http://dx.doi.org/10.12783/dtssehs/isss2023/36100.

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In recent years, under the strategic background of national cultural soft power construction, the domestic animation industry has shown a rapid development trend. The output of China’s image in domestic animation is not only an important channel to tell the story of China, but also a showcase of Chinese culture going abroad. Guided by Ecotranslatology, this study uses the principle of three-dimensional transformation to explore how to show cultural self-confidence and achieve communicative purposes in the translation of animated subtitles, taking Yao-Chinese Folktales, a popular domestic animated series in 2023, as an example. It is found that translators often choose appropriate translation strategies, methods and techniques to achieve translation effects in linguistic, cultural and communicative dimensions, promoting full communication between the source culture and the target culture. The purpose of this study is to provide reference for the subtitle translation of domestic animation and make contribution to the enhancement of international influence of Chinese animation and Chinese traditional culture.
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Ito, Takanori. "Presentation of cultural heritage using 4K real-time rendering system." In ACM SIGGRAPH 2007 computer animation festival. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1281740.1281840.

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Park, Gyuhee, Yu Hwa Hong, Suhwan Jung, and Yong Gu Ji. "Light-based external Human-Machine Interfaces: The effect of animation." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1005441.

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As the development of autonomous driving vehicle technology accelerates, the necessity for effective communication between autonomous vehicles and other road users is increasingly emphasized. To this end, usability research using various design factors of the proposed external Human-Machine Interfaces (eHMIs) is progressing rapidly. This study specifically focuses on Light-based eHMIs which have fewer cultural/environmental constraints and allow for faster information transmission. As well as we aim to investigate the effects of various animation types applied to Light-based eHMIs. Conducted with a total of 40 participants, we employed survey and interview methods to understand the impact between Light-based eHMIs and pedestrian behavior. The study utilized four types of animations (i.e., Sweeping (Dual), Scale Up-down (Dual), Flickering, Pulsing), along with two AV-First messages (i.e., Walk, Braking), and two Pedestrian-First messages (i.e., Don’t Walk, Driving). Participants evaluated the animations subjectively on aspects of Intuitiveness, Distraction, Variance, Perceived Safety, Trust, Satisfaction, and Preference. Additionally, the interview was conducted regarding the preference evaluation results. The analysis methods included ANOVA for survey results and Semantic Network Analysis (SNA) of affective vocabulary in interview transcripts. The findings indicated that the Flickering animation was significantly higher in Perceived Safety, Trust, and Satisfaction, and to some extent, the Sweeping Animation also showed positive outcomes from pedestrians. Through network analysis, positive/negative vocabulary for each animation was visualized and the eHMIs design direction was explored accordingly. The outcomes of this study could serve as foundational data contributing to the establishment of a safer and more efficient road traffic environment in the era of autonomous driving.
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Wen, Wang, and Xun MingMin. "Plot Design of Animation Script Creation." In 2022 International Conference on Comprehensive Art and Cultural Communication (CACC 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220502.070.

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Sun, Hongjuan. "Discussion on Experimental Animation Teaching." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.51.

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Paee, Rokiah, Roslina Mamat, and Roswati Abdul Rashid. "Japanese Animation: Its Effect on Malaysian Undergraduate Students." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.4-5.

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Japanese animation or anime is one of the most popular and well-received types of Japanese popular cultures, translated into various languages, rendering these globally renowned. A plethora of studies has shown that interest in anime has led students to start learning the Japanese language. However, to date, studies examining the influence of anime consumption on Japanese language students, particularly in Malaysian contexts, are scarce. The present study aims to identify the effect of anime consumption on Malaysian undergraduates who enrolled in beginner Japanese language courses at three public universities in Malaysia. A total of 150 undergraduate students who are interested in anime participated in this study. The data was collected using an online survey and was coded and categorized by themes. The data revealed that most students are influenced by the characters, settings, and storylines of anime. The main positive effects are; broadening their knowledge on Japan and its culture, deepening their interest on Japanese language, strengthening relationships with family members and friends, releasing stress, instilling positive moral values and enhancing imagination and creativity. However, poor time management, negative moral values, negative emotion, antisocial behavior, escapism and buying characters’ goods are mentioned as the main adverse effects. The results of this study gave insightful perspectives to those working in Japanese language and cultural pedagogies.
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Zhou, Qijia, and Yisui Tang. "Cross-cultural Communication- How Does Japanese Animation Adapt American Cultural Values to Satisfy American Consumers?" In 2021 6th International Conference on Modern Management and Education Technology（MMET 2021）. Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211011.102.

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Ghita Ait Bensalah, Preeti Yadav. "The Impact of Socio-cultural Systems on The Animation Industry." In 15th International Conference of the European Academy of Design. São Paulo: Editora Blucher, 2023. http://dx.doi.org/10.5151/ead2023-3son_paper_09bensalah-et-al.

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