To see the other types of publications on this topic, follow the link: Cultural animation.
Dissertations / Theses on the topic 'Cultural animation'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Cultural animation.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Zhang, Lei. "A Cultural Revolution Revisited: Computer Animation and Beijing Opera." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/367875.
Full textAbstract:
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
Full Text
2
Aina, Olusola Olumide. "Generating anatomical substructures for physically-based facial animation." Thesis, Bournemouth University, 2011. http://eprints.bournemouth.ac.uk/18900/.
Full textAbstract:
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.
3
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.
Full text
4
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.
Full text
5
Martinsen, Suzann. "JOURNEY." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3335.
Full textAbstract:
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
6
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.
Full text
7
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.
Full textAbstract:
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 immatérielCurrently, 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
8
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.
Full text
9
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.
Full textAbstract:
[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
10
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.
Full textAbstract:
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
11
Santos, Joana Martins dos. "Eventos e animação turística no RtinGroup." Master's thesis, Universidade de Évora, 2018. http://hdl.handle.net/10174/24254.
Full textAbstract:
O conceito de evento é demasiado abrangente devido à sua natureza intrínseca, ao seu dinamismo e abrangência. Os eventos são classificados de acordo com a sua dimensão e escala. São acontecimentos que exercem um papel fundamental no contexto social, cultural, político e económico de uma região. Segundo a sua tipologia geram oportunidades de viagem, aumentam o consumo, promovem o desenvolvimento e, na maioria das vezes está contextualizada a animação turística. A animação turística é o conjunto de ações e técnicas orientadas para a motivação, promoção e facilitação de uma maior participação do turista no seu tempo de lazer. É um complemento da oferta turística já existente, que destaca uma posição mais competitiva face a outros destinos alternativos. Durante o estágio, foram desenvolvidas atividades na área da animação turística e dos eventos. Um dos objetivos foi entender como a RTinGroup valoriza o património cultural, natural e contribui para o desenvolvimento regional; Abstract:
Events and Turistic Animation at the RTINGROUP
The concept of an event is too broad because of its intrinsic nature, its dynamism and scope. Events are classified according to their size and scale. These are events that play a fundamental role in the social, cultural, political and economic context of a region. According to their typology they generate travel opportunities, increase consumption, promote development and, in most cases, tourist animation is contextualized. The tourist animation is the set of actions and techniques oriented to the motivation, promotion and facilitation of a greater participation of the tourist in his leisure time. It is a complement to the existing tourist offer, which highlights a more competitive position compared to other alternative destinations. During the internship, activities were developed in the area of tourism and events. One of the objectives was to understand how RTinGroup values cultural, natural heritage and contributes to regional development.
12
Dahle, Theo. "Culture and 3D animation : A study of how culture and body language affects the perception of animated 3D characters." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-17242.
Full textAbstract:
This study examined the differences and similarities in how animated 3D characters were perceived by individuals from Sweden and China. The study also attempted to examine how cultural aspects influenced the participants’ perceptions. Parts of the study were conducted through collaboration with the Chinese game company, Focus Games. A literature study focusing on body language and culture was conducted, as well as a game animation analysis featuring games from both western and East Asian developers. Based on the game analysis, 6 animations were created with movement qualities inspired by each of the cultures. The study was conducted through an online questionnaire, as well as shorter semi-structured interviews. The results show that there were certain similarities and differences in how participants perceived the animations, however the reason as to how cultural aspects influenced the responses was partially unanswered due to lack of data.
13
Pegoraro, Celbi Vagner Melo. "Animação e quadrinhos Disney: produção cultural no início do século XXI." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27154/tde-01022017-103935/.
Full textAbstract:
Analisa as influências e as transformações promovidas pelas produções cinematográficas Disney, a partir das mudanças da estrutura corporativa, resultando numa descentralização do processo de produção e a criação de uma nova dinâmica na indústria cultural. Para seu desenvolvimento, utilizou-se o método funcionalista com pesquisa bibliográfica e visita técnica de campo. Com um viés tecnológico, a pesquisa transdisciplinar teve como objetivos analisar o atual processo de produção nas histórias em quadrinhos e animação Disney, com ênfase a partir da década de 1990. O trabalho baseia-se em duas hipóteses: 1) a produção cultural Disney passa por um momento de transição criativa, levando em consideração que o processo é cíclico quando compreendemos o processo histórico Disney e a expansão do universo de personagens; 2) em segundo plano, lançamentos da indústria cultural no início desta década apontam para uma nova dinâmica na produção. Há uma sinergia econômica, tecnológica e cultural na construção do universo Disney, em que as histórias em quadrinhos se colocam em posição privilegiada como matéria-prima em relação as produções audiovisuais. A tese é iniciada com um panorama histórico de diversas perspectivas sobre a produção Disney discutidas por autores como Adorno, Benjamin, Dorfman, Mattelart, Eco, Baudrillard, Swingewood e Watts. A pesquisa apresenta as origens e convergências dos quadrinhos e animação Disney, seguido de um levantamento de dados de produção histórica. Há uma discussão sobre \"o que é arte\" na indústria cultural no contexto da inovação e sua relação com os estúdios de Hollywood. Para compreender a dinâmica dos universos expandidos, analisamos os quadrinhos de Don Rosa e Casty. Duas gestões da Disney (Michael Eisner e Bob Iger) são analisadas em suas diferentes filosofias e estratégias de produção. A análise comprovou a existência do que chamamos de saturação e estagnação da produção do estúdio durante os períodos de transição ocorridos entre os anos 1990 e 2010, e o resultante efeito de \"meltdown\" (colapso) do mercado dos produtores culturais. Na década de 2010, os efeitos da cultura digital e da cultura de fã foram fundamentais para compreender os fenômenos culturais dos super-herois da Marvel e da saga \"Star Wars\". Constatou-se que o storytelling transmídia e os universos expandidos tornaram-se fundamentais para o negócio do entretenimento.Analyzes the influences and the transformation promoted by the Disney film productions, beginning with the changes of corporate structure, resulting in decentralization of the production process and creating a new dynamic in the cultural industry. For its development, we used the functional method with bibliographic research and field trip. Using a technological approach, the transdisciplinary research aimed at analyzing the current production process in comic books and Disney animation, with emphasis from the 1990s. This thesis is based on two assumptions: 1) the Disney cultural production is suffering a moment of creative transition, taking into account that the process is cyclical when we understand the historical process and the expansion of Disney characters universe; 2) beginning in the 2010\'s the cultural industry points to a new dynamic in production. There is an economic, technological and cultural synergy in building the Disney universe, where the comics are placed in a privileged position as a raw material for audiovisual productions. The thesis begins with a historical overview of different perspectives on the Disney production discussed by authors such as Adorno, Benjamin, Dorfman, Mattelart, Eco, Baudrillard, Swingewood and Watts. The research presents the origins and similarities of Disney comics and animation, followed by a survey of historical production data. There is a discussion about \"what is art\" in the cultural industry in the context of innovation and its relationship with the Hollywood studios. To understand the dynamics of the expanded universe, we analyze the comic stories by Don Rosa and Casty. Two terms of Disney management (Michael Eisner and Bob Iger) are analyzed in their different philosophies and production strategies. The analysis confirmed the existence of what we call saturation and production stagnation during the transitional periods that occurred between 1990 and 2010, and the resulting effect of a market \"meltdown\" for cultural producers. In the 2010s, the effects of digital culture and fan culture were fundamental to understanding the cultural phenomena of Marvel superheroes and the \"Star Wars\" saga. It was found that transmedia storytelling and expanded universes have become central to the entertainment business.
14
Kim, Leejin. "Analysis and Construction of Engaging Facial Forms and Expressions: Interdisciplinary Approaches from Art, Anatomy, Engineering, Cultural Studies, and Psychology." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/567.
Full textAbstract:
The topic of this dissertation is the anatomical, psychological, and cultural examination of a human face in order to effectively construct an anatomy-driven 3D virtual face customization and action model. In order to gain a broad perspective of all aspects of a face, theories and methodology from the fields of art, engineering, anatomy, psychology, and cultural studies have been analyzed and implemented. The computer generated facial customization and action model were designed based on the collected data. Using this customization system, culturally-specific attractive face in Korean popular culture, “kot-mi-nam (flower-like beautiful guy),” was modeled and analyzed as a case study. The “kot-mi-nam” phenomenon is overviewed in textual, visual, and contextual aspects, which reveals the gender- and sexuality-fluidity of its masculinity. The analysis and the actual development of the model organically co-construct each other requiring an interwoven process. Chapter 1 introduces anatomical studies of a human face, psychological theories of face recognition and an attractive face, and state-of-the-art face construction projects in the various fields. Chapter 2 and 3 present the Bezier curve-based 3D facial customization (BCFC) and Multi-layered Facial Action Model (MFAF) based on the analysis of human anatomy, to achieve a cost-effective yet realistic quality of facial animation without using 3D scanned data. In the experiments, results for the facial customization for gender, race, fat, and age showed that BCFC achieved enhanced performance of 25.20% compared to existing program Facegen , and 44.12% compared to Facial Studio. The experimental results also proved the realistic quality and effectiveness of MFAM compared with blend shape technique by enhancing 2.87% and 0.03% of facial area for happiness and anger expressions per second, respectively. In Chapter 4, according to the analysis based on BCFC, the 3D face of an average kot-mi-nam is close to gender neutral (male: 50.38%, female: 49.62%), and Caucasian (66.42-66.40%). Culturally-specific images can be misinterpreted in different cultures, due to their different languages, histories, and contexts. This research demonstrates that facial images can be affected by the cultural tastes of the makers and can also be interpreted differently by viewers in different cultures.
15
Farský, Pavel. "Strategie a metody socio-ekonomické animace na příkladu hudebního odkazu skladatele Anthonyho Philipa Heinricha." Master's thesis, Vysoká škola ekonomická v Praze, 2011. http://www.nusl.cz/ntk/nusl-71865.
Full textAbstract:
Animation of music heritage is a process, incorporating partly forgotten music work back to the cultural life of the society. The aim of the animation is to get back the music work into the current life. The idea is creation of the animation strategy, which lies insights in musiocological and economical views. The music work of Anthony Philip Heinrich is a suitable example to create the conception, methods and processes of the practical animation strategy. The personality of this composer, comming from the Bohemia on the edge of the 18th and 19th century, became famous in the United States as a musician, composer and organiser of the musical life. Although his life and work are wellknown in the United States, it si not the case of the Czech Republic. The awareness of Heinrich's life and work is relatively low in the Czech society due to distortions of culture after World War II. The knowledge of his work is restricted in the community of the musicologists, nowadays. The composer is not forgotten, however, his life deserves a comeback to the Czech music life. This thesis is a case study providing the animation strategy of the A. P. Heinrich's music work. The application of such a case study will contribute to incorporation of a partly forgotten composer into the Czech concert life and particularly into the cultural economics.
16
Jones, Timothy. "Animating community : reflexivity and identity in Indian animation production culture." Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/53461/.
Full textAbstract:
Animating Community examines the cultural practices of animators in India, and particularly the role of practitioner testimony in conceiving and negotiating social structures underpinning the nascent Indian animation industry. Recognizing a tendency in practitioner accounts towards theorization of contested industrial discourses, this research takes as its object the reflexive practice of animators in trade texts and interviews. These reveal how local practitioners understand production culture as an emergent phenomenon, resulting from learned processes of negotiation and collective action. However, practitioner testimony also reflects dramatically different degrees of agency in cultural production and discourse. Focusing on the identity work of diverse creative professionals – corporate elites, freelancers, teachers, and students – reveals underlying tensions between global industrial constraints and local social capital. Based on discursive analysis of testimony, this thesis asks how Indian animation practitioners conceive of their creative activity and identity in relation to negotiating a culture of animation production, and how the shared discourses and modes of engagement that result both shape and are shaped by institutional structures. These questions are addressed through practitioner accounts in three sectors of Indian animation: first, the context of production – considering large outsourcing firms and smaller studios; second, the provision of education – instruction in skills and social norms supplied by the public and private sectors; and third, the creation of dedicated community structures – professional organizations and trade information networks. Animating Community is most interested in how local media professionals articulate different discourses from aesthetic to economic value in order to approach an imagined sense of cultural identity. This sheds light on the way practitioners make sense of their creative and professional worlds. Ultimately, the conclusions offered in this project argue for a more nuanced conception of the relationship between critical practice and creative labour, and greater understanding of the different contexts where this may emerge.
17
Doneman, Michael. "Creative industries development in regional Queensland." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16281/1/Michael_Doneman_Thesis.pdf.
Full textAbstract:
Creative industries have significance in considerations of regional development because of their potential for both social-cultural and political-economic benefit. This is especially the case in Indigenous communities, given the potential of traditional and contemporary cultural expression for industry development and employment. This research set out to explore and evaluate an action research approach to creative industries development in regional contexts, stimulated by a research initiative of Queensland's Department of State Development in cooperation with Queensland University of Technology's Creative Industries Research and Applications Centre. It is based on an analysis of seven pilot projects undertaken between 2002 and 2004, most of which involved Indigenous participation and which gave rise to consideration of the additional value of Indigenist research perspectives. The research found that an action research methodology, informed by Indigenist research values, can assist creative enterprise development in a regional context through the development of new businesses or by value-adding to existing businesses, and the consequent generation and exploitation of new intellectual property. In this process, it found that there is an emerging role for the creative entrepreneur, such a role arising from the practices of community cultural development and social-cultural animation.
18
Doneman, Michael. "Creative industries development in regional Queensland." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16281/.
Full textAbstract:
Creative industries have significance in considerations of regional development because of their potential for both social-cultural and political-economic benefit. This is especially the case in Indigenous communities, given the potential of traditional and contemporary cultural expression for industry development and employment. This research set out to explore and evaluate an action research approach to creative industries development in regional contexts, stimulated by a research initiative of Queensland's Department of State Development in cooperation with Queensland University of Technology's Creative Industries Research and Applications Centre. It is based on an analysis of seven pilot projects undertaken between 2002 and 2004, most of which involved Indigenous participation and which gave rise to consideration of the additional value of Indigenist research perspectives. The research found that an action research methodology, informed by Indigenist research values, can assist creative enterprise development in a regional context through the development of new businesses or by value-adding to existing businesses, and the consequent generation and exploitation of new intellectual property. In this process, it found that there is an emerging role for the creative entrepreneur, such a role arising from the practices of community cultural development and social-cultural animation.
19
Turková, Kateřina. "Možnosti animace sakrálních památek na příkladu poutního kostela ve Skokách." Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-198481.
Full textAbstract:
The thesis studies the possibilities of cultural animation of unused sacral monuments, especially churches. The theoretical part is searching for the reasons of the current poor condition of these buildings that have lost their regular liturgical function. The aim is to describe the position of religion and sacredness in the contemporary Czech society. It reviews the concept of cultural animation and its application on the specific case of the church. The practical part of the thesis is focused on the Karlovy Vary region, which was affected by the social discontinuity as a result of the post-war expulsion of Germans. There are many abandoned and ruined churches due to this reason. As a particular example of a successful animation is described Church of the Visitation of the Virgin Mary in Skoky by Žlutice and its animation activities initiated by members of the association Pod střechou.
20
Karlsson, Emil, and Lina Nilsson. "Animerad TV-vinjett : utsmyckning eller genre? En studie i animerad TV-vinjett." Thesis, University West, Department of Economics and IT, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-2539.
Full textAbstract:
Today, the TV vignette is considered an embellishment to a TV program, despite its broad audiences and unique appearance. We wanted to find out if the television vignette has some common features and conventions but also find out how it relates to genre.We used a case study where we analyzed ten vignettes that we chose from certain criteria. We used a model based on image analysis that we modified to fit our needs. The main parts of each model consisted semiotics, imagery, dramaturgy and sound.We also made a couple of interviews with people who are active or used to work with vignettes. As a result we discovered that the television vignettes consist of certain conventions and that the vignette will not be considered as an independent genre, until the public has accepted it. However, we found that the vignette has common features and conventions that could fit into the established art form Motion Graphics. We see, however, that the vignette has the potential, thanks to digitization, to evolve and become a kind of its own.Today, the TV vignette is considered an embellishment to a TV program, despite its broad audiences and unique appearance. We wanted to find out if the television vignette has some common features and conventions but also find out how it relates to genre.We used a case study where we analyzed ten vignettes that we chose from certain criteria. We used a model based on image analysis that we modified to fit our needs. The main parts of each model consisted semiotics, imagery, dramaturgy and sound.We also made a couple of interviews with people who are active or used to work with vignettes. As a result we discovered that the television vignettes consist of certain conventions and that the vignette will not be considered as an independent genre, until the public has accepted it. However, we found that the vignette has common features and conventions that could fit into the established art form Motion Graphics. We see, however, that the vignette has the potential, thanks to digitization, to evolve and become a kind of its own.
21
Merijeau, Lucie. "Le cinéma d'animation et son image. Étude des pratiques industrielles et spectatorielles du cinéma d'animation américain contemporain. Le cas prototype de Pixar (1995-2010)." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030137.
Full textAbstract:
Parce qu’ils sont les premiers à avoir réalisé un long métrage en images de synthèse, Toy Story, dont le succès artistique et populaire – qui ne se dément pas - a été le déclencheur d’un nouveau cycle de films d’animation, les studios d’animation Pixar occupent une place importante dans le paysage culturel actuel, et représentent une bonne opportunité d’étudier la manière dont les objets des industries culturelles sont créés et consommés. Au travers d’une étude du dessin animé américain, abordé du point de vue historique et esthétique, il s’agit tout d’abord de déterminer l’évolution du système de production et des techniques, qui sont en lien avec les évolutions stylistiques, pour comprendre dans quel système émergent puis s’établissent les films d’animation Pixar. Alors que la manière dont les films sont faits et dont ils sont vus a changé à la fin du XXe siècle, la trilogie Toy Story sera l’objet privilégié d’une étude des mutations du cinéma, et des usages qui en sont faits. Par le statut culturel élevé spécifique à Pixar, par l’ambiguïté textuelle qui les caractérisent et qui sont l’occasion d’interprétation très variées, ou grâce aux nouveaux modèles de féminité et de masculinité qu’ils proposent, les films d’animation tendent à devenir des films "comme les autres", laissant aux spectateurs la possibilité de les appréhender comme ils le veulentAs the first studio to have created a CGI animated feature film, Toy Story, whose success initiated a new era in animation production, Pixar Animation Studios occupy a significant position in the actual cultural landscape, and present a great opportunity to study the ways in which objects from cultural industries are produced and consumed. By examining the animated cartoon, from historic and aesthetic perspectives, I intend to determine the evolution of the production system and of the technics, which are related to stylistic changes as well. This study will help us understand the studio system in which Pixar’s movies have taken place. While the ways films are made and seen changed at the end of the last century, Toy Story’s films are the privileged object for an analysis of the transformations of cinema and its uses. By Pixar’s high cultural status, by the textual ambiguity that characterized them or the new representations of masculinity and femininity that they share, animated feature films tend to become "ordinary films", letting viewers grasp them as they want
22
Leventi-Perez, Oana. "Disney's Portrayal of Nonhuman Animals in Animated Films Between 2000 and 2010." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/communication_theses/81.
Full textAbstract:
This paper used the constant comparative method to examine the 12 animated features released by Disney between 2000 and 2010 for: (1) their representation of nonhuman animals (NHAs) and the portrayal of race, class, gender, and speciesism within this representation, (2) the ways they describe the relationship between humans and NHAs, and (3) whether they promote an animal rights perspective. Three major themes were identified: NHAs as stereotypes, family, and human/NHA dichotomy. Analysis of these themes revealed that Disney’s animated features promote speciesism and celebrate humanity’s superiority by justifying the subordination of NHAs to human agency. Furthermore, while Disney’s representation of NHAs remains largely anthropocentric, most of its animated features do not reflect the tenets of animal rights.
23
Бойко, Ольга Петрівна, Ольга Петровна Бойко, Olha Petrivna Boiko, and А. Марченко. "Роль анімації в музейній діяльності." Thesis, Сумський державний університет, 2021. https://essuir.sumdu.edu.ua/handle/123456789/84708.
Full textAbstract:
Анімація в сучасному суспільстві привертає неабияку
увагу наукової громадськості, викликаючи бурхливі дискусії не лише навколо
своєї значимості, але й завдяки понятійній невизначеності, розпорошеності
поглядів щодо структурно-функціонального та змістовного наповнення,
специфіки соціального призначення та ролі у системі теоретичних наук й
соціально-культурної практики. Виходячи з цього, анімація в соціокультурній
сфері, ще менш розглянута. Тому, метою нашої розвідки є розгляд анімації в
соціокультурній сфері і, безпосередньо, в музейній діяльності.
24
Gomes, Pedro Manuel Serrano. "Vivacidade. A animação do espaço público como estado e como acção municipal." Master's thesis, Faculdade de Arquitectura de Lisboa, 2011. http://hdl.handle.net/10400.5/4058.
Full textAbstract:
Tese de Mestrado em Estudos do Espaço e do Habitar em Arquitectura.No seio do debate em torno de uma alegada crise do espaço e da vida publica contemporâneos, o termo animação surge com alguma frequência, dando conta de dinâmicas de utilização dos espaços, de um tipo de intervenção sobre o espaço publico e, também, como objectivo da actuação sobre o mesmo. E por esta polissemia do termo, significando simultaneamente um estado (a intensidade da vida social e das suas manifestações) e uma acção (de animar, de dar vida), que a presente investigação parte do pressuposto de que a animação do espaço publico constitui uma legitima preocupação dos municípios. No entanto, reconhece, igualmente, que os contornos imprecisos da expressão animação do espaço publico dificultam a sua afirmação enquanto desígnio aglutinador de parte da intervenção municipal sobre o espaço publico. Por conseguinte, busca delimitar o campo de actuação municipal na animação dos espaços públicos, para tal apresentando uma concepção normativa de espaço publico animado, concretizada num conjunto de indicadores; os factores que potenciam a sua existência; e a forma como a administração urbanística e a acção cultural e recreativa podem ser empregues para a sua promoção.
Abstract - The word “animation” appears on occasion within the debate around an alleged crisis of both public life and public spaces in contemporary cities, referring to the dynamics of public space use, to interventions in public space and to the purpose of those interventions.Given the word’s polysemy, meaning both a state (the intensity of social life and of its manifestations) and an action (of animating, of enlivening), this piece of research assumes that public space animation is a legitimate concern of municipalities. However, it also acknowledges that the phrase’s imprecise contours pose an obstacle to boosting public space animation as a policy domain bringing together part of the municipal intervention on public spaces. Consequently, this dissertation seeks to establish the scope of municipal actions of public space animation. To do so, it puts forward a normative conception of animated public space, given shape in a set of indicators; the factors underlying it; and the ways urban administration and cultural and recreational action can be deployed to promote it.
25
BELLETTI, MICHELANGELO. "QUALE APPRENDIMENTO PER (RI)ANIMARE CONTESTI EDUCATIVI NON FORMALI ED INFORMALI? UNA RICERCA PEDAGOGICA A SOSTEGNO DELL'INNOVAZIONE DEI SERVIZI EDUCATIVI ED ANIMATIVI DELLA COOPERATIVA SOCIALE VEDOGIOVANE." Doctoral thesis, Università Cattolica del Sacro Cuore, 2022. http://hdl.handle.net/10280/117981.
Full textAbstract:
La presente tesi nasce dalla richiesta di Vedogiovane s.c.s. di costruzione di un nuovo tipo di servizio educativo rivolto a bambini e bambine del doposcuola che possa rafforzare modalità, strategie, tecniche per acquisire competenze dentro il quadro delle otto competenze chiave per il longlife learning utilizzando il metodo dell’animazione sociale e culturale e delle più recenti scoperte riguardo l’apprendimento.
Per far questo è stato necessario:
1) Far emergere quali sono le pratiche professionali in atto in Vedogiovane e quale sia l’efficacia percepita del proprio lavoro sull’apprendimento.
2) Mettere a confronto il contesto locale con i più importanti modelli che permettono di generare apprendimento nei contesti formali, non formali ed informali facendo riferimento ad autori ed esperienze in ambito internazionale.
3) costruire un’ipotesi di servizio insieme agli animatori, frutto del dialogo riflessivo dentro i Laboratori Tematici di Ricerca.
4) verificare l’efficacia del modello attraverso una fase sperimentale nell’organizzazione e le condizioni di trasferibilità agli altri servizi e persone dell’organizzazione stessa (fase interrotta a causa del COVID 19).
Il percorso di ricerca è approdato alla definizione dei principi guida per la costruzione del servizio, del protocollo oltre che della bibliografia specifica sull’animazione e sull’apprendimento in animazione.
È stato anche elaborata un’originale ipotesi sulla dimensione epistemica dell’animazione sociale e culturale.This thesis is the result of a request from Vedogiovane s.c.s. to build a new type of educational service for boys and girls in the after-school sector that could strengthen methods, strategies and techniques for acquiring skills within the framework of the eight key competences for longlife learning using the method of social and cultural animation and the most recent discoveries regarding learning. To do this it was necessary to: 1) To bring out what professional practices are in place at Vedogiovane and what is the perceived effectiveness of their work on learning. 2) Compare the local context with the most important models for generating learning in formal, non-formal and informal contexts by referring to authors and experiences in the international sphere. 3) To construct a service hypothesis together with the animators, fruit of the reflective dialogue within the Thematic Research Laboratories. 4) to verify the efficacy of the model through an experimental phase in the organisation and the conditions for transferability to other services and persons in the organisation (phase interrupted due to COVID 19). The research path led to the definition of the guiding principles for the construction of the service, the protocol as well as the specific bibliography on animation and learning in animation. An original hypothesis on the epistemic dimension of social and cultural animation was also elaborated.
26
Morata, García María Jesús. "De la animación sociocultural al desarrollo comunitario: Su incidencia en el ocio." Doctoral thesis, Universitat de Barcelona, 2009. http://hdl.handle.net/10803/97239.
Full textAbstract:
La tesis es un estudio sobre la Animación Sociocultural y el Desarrollo Comunitario aplicado al ocio de las personas mayores. Con el fin de comprobar la validez de los procesos de Animación Sociocultural para la promoción de un modelo de desarrollo comunitario, se evalúa un programa de ocio dirigido a las personas mayores de 65 años de la ciudad de Granollers, diseñado por la misma autora.
El objetivo que orienta este estudio es verificar cómo la aplicación de la metodología de la Animación Sociocultural puede desarrollar procesos de participación ciudadana, incrementar la iniciativa social y promover la democracia cultural en los barrios, territorios y espacios comunitarios.
Este trabajo consta de dos partes: la primera, de carácter teórico, donde se abordan las siguientes temáticas:
1. Concepto, origen, evolución, definiciones y características de la Animación Sociocultural y del Desarrollo Comunitario, así como las relaciones que se establecen entre ambos conceptos.
2. Ocio y animación sociocultural para las personas mayores. Los contenidos que se abordan hacen referencia a un tipo de ocio solidario, intergeneracional, que construye ciudadanía activa y, que en última instancia, intenta favorecer la construcción de un modelo de desarrollo comunitario.
La segunda parte de la tesis, de carácter empírico, presenta el diseño, la implementación y la evaluación del programa “Implica-Acción”, un programa de ocio dirigido a las personas mayores de la ciudad de Granollers, basado en los fundamentos ideológicos y técnicos de la animación sociocultural y del desarrollo comunitario.
El programa se complementa con una extensa revisión bibliográfica y entrevistas a diferentes expertos del ámbito académico y profesional.
A partir de las conclusiones de este trabajo se aportan nuevas líneas de investigación que puedan contribuir a la mejora de la intervención social y de la acción comunitaria.From socio-cultural animation to community development: its impact on leisure This thesis is a study about the socio-cultural animation and community development applied to leisure of the elderly. The thesis has the aim of checking the validity of the process to socio-cultural animation for the promotion of the community development model, this is reviewed in a leisure programme for people older than 65 years in Granollers, designed by author. The objective that guides this study is to verify how the application of the socio-cultural animation methodology can develop process of citizen participation, increase the social initiative and promote the cultural democracy in the neighbourhoods, territories and communitarians spaces. This Project consists of two parts: the first, theoretical, which address the following topics: 1. Concept, origin, evolution, definitions and characteristics of the socio-cultural animation and community development, as well as the relation between both concepts. 2. Leisure and socio-cultural animation for elderly. The contents have been reference to a type of solidarity leisure, between generations, which build active citizenship and, ultimately, attempt to promote the construction of a community development model. The second part of the thesis, has an empirical carecter, which present the disign, the implementation and evaluation of the program “Implica-Acción”, One of leisure for elderly from Granollers town, based on ideological and thecnical foundations of the socio-cultural animation and communitary development. The program is complemented by an extensive literature review and interviews with various experts from academicals and professional areas. From the findings of this study provides new lines of inquiry that can contribute to the improvement of social intervention and community action.
27
Morata, García Mª Jesús. "De la animación sociocultural al desarrollo comunitario: Su incidencia en el ocio." Doctoral thesis, Universitat de Barcelona, 2009. http://hdl.handle.net/10803/97239.
Full textAbstract:
La tesis es un estudio sobre la Animación Sociocultural y el Desarrollo Comunitario aplicado al ocio de las personas mayores. Con el fin de comprobar la validez de los procesos de Animación Sociocultural para la promoción de un modelo de desarrollo comunitario, se evalúa un programa de ocio dirigido a las personas mayores de 65 años de la ciudad de Granollers, diseñado por la misma autora.
El objetivo que orienta este estudio es verificar cómo la aplicación de la metodología de la Animación Sociocultural puede desarrollar procesos de participación ciudadana, incrementar la iniciativa social y promover la democracia cultural en los barrios, territorios y espacios comunitarios.
Este trabajo consta de dos partes: la primera, de carácter teórico, donde se abordan las siguientes temáticas:
1. Concepto, origen, evolución, definiciones y características de la Animación Sociocultural y del Desarrollo Comunitario, así como las relaciones que se establecen entre ambos conceptos.
2. Ocio y animación sociocultural para las personas mayores. Los contenidos que se abordan hacen referencia a un tipo de ocio solidario, intergeneracional, que construye ciudadanía activa y, que en última instancia, intenta favorecer la construcción de un modelo de desarrollo comunitario.
La segunda parte de la tesis, de carácter empírico, presenta el diseño, la implementación y la evaluación del programa “Implica-Acción”, un programa de ocio dirigido a las personas mayores de la ciudad de Granollers, basado en los fundamentos ideológicos y técnicos de la animación sociocultural y del desarrollo comunitario.
El programa se complementa con una extensa revisión bibliográfica y entrevistas a diferentes expertos del ámbito académico y profesional.
A partir de las conclusiones de este trabajo se aportan nuevas líneas de investigación que puedan contribuir a la mejora de la intervención social y de la acción comunitaria.From socio-cultural animation to community development: its impact on leisure This thesis is a study about the socio-cultural animation and community development applied to leisure of the elderly. The thesis has the aim of checking the validity of the process to socio-cultural animation for the promotion of the community development model, this is reviewed in a leisure programme for people older than 65 years in Granollers, designed by author. The objective that guides this study is to verify how the application of the socio-cultural animation methodology can develop process of citizen participation, increase the social initiative and promote the cultural democracy in the neighbourhoods, territories and communitarians spaces. This Project consists of two parts: the first, theoretical, which address the following topics: 1. Concept, origin, evolution, definitions and characteristics of the socio-cultural animation and community development, as well as the relation between both concepts. 2. Leisure and socio-cultural animation for elderly. The contents have been reference to a type of solidarity leisure, between generations, which build active citizenship and, ultimately, attempt to promote the construction of a community development model. The second part of the thesis, has an empirical carecter, which present the disign, the implementation and evaluation of the program “Implica-Acción”, One of leisure for elderly from Granollers town, based on ideological and thecnical foundations of the socio-cultural animation and communitary development. The program is complemented by an extensive literature review and interviews with various experts from academicals and professional areas. From the findings of this study provides new lines of inquiry that can contribute to the improvement of social intervention and community action.
28
Moraes, Ana Carla Machado de. "O ser animado: análise da animação de objetos com referência nas ações básicas de esforçoes de Rudolf Laban." Universidade Federal de Uberlândia, 2012. https://repositorio.ufu.br/handle/123456789/18068.
Full textAbstract:
Esta dissertação vem ao encontro da necessidade cada vez maior de fundamentar e abrir ao
crescente número de interessados, os processos de criação em Teatro nas diferentes
linguagens cênicas. A exploração de uma relação sensível e não utilitária entre sujeito e objeto
está presente na vida cotidiana desde os tempos mais remotos. Assim também passou a ser na
dramaturgia atual, sobretudo no que se convencionou chamar, desde meados dos anos 80,
como Teatro de Objetos, uma linguagem dentro do Teatro de Animação. Esta pesquisa teve
por objetivo investigar alguns elementos encontrados no método de Rudolf Laban que
auxiliassem tecnicamente o trabalho de animação no Teatro de Objetos, do ponto de vista do
movimento expressivo do corpo do objeto, e a possibilidade temática de composição de
partituras de ações a partir da experimentação de relações poéticas inerentes a essa linguagem
cênica denominadas aqui como: Poéticas de Vida, Poéticas de Risco e Poéticas de Morte. As
partituras foram compostas separadamente por três estudantes do curso de Teatro da
Universidade Federal de Uberlândia, de acordo com cada uma das três relações poéticas,
durante a realização do Laboratório Seres, até chegarmos às Partituras Essenciais. Em
seguida, as partituras essenciais das ações dos objetos, filmadas e descritas pelos atores em
fichas, foram analisadas dentro de quadros relacionados aos elementos espaço, tempo, peso e
fluência. Por último, criamos frases de movimento descrevendo as Partituras Essenciais e
localizando as suas ações, estados de espírito e situações. O estudo revelou que essa forma de
análise e registro em Teatro de Objetos, possibilita tanto o aprimoramento técnico dos artistas
quanto o desenvolvimento de cenas a partir de um potencial poético.The present dissertation comes towards the increasing need to found and share with the also increasing number of interested people the creative processes in theater in its different scenic languages. The exploration of a sensitive and non-utilitarian relation between subject and object is present in daily life since earliest times. Therefore, it also became present in the current play-writting, most of all in which we call since the 80´s as ‘Theater of Objects’ - a language inside the Theater Animation. This research had as its goal to investigate some elements found in Rudolf Laban’s method — which would help technically animation work in the Theater of Objects. This help comes from the view of expressive movement in the object body as well as the possibility of composing an action score created from the experience of poetic relations inherent to the scenic language named here as Poetry of Life, Poetry of Risk, Poetry of Death . The scores were created separately by three students from the theater course of Uberlândia’s Federal University, following each of the three poetic relations during the realization of Laboratório Seres (Being Laboratory) to the arrival of Partituras Essenciais (Essential Scores). Hereupon, the Essential Scores of the objects actions, filmed and described in each actor report were analyzed through the board related to Laban´s elements, such as: space, time, weight and fluency. At last, we created movement phrases describing the Essential Scores and identifying its actions, state of spirit and situations. The studies showed that this way of analyzing and registering Theater of Object makes it possible a technical betterment of the artists as well as the development of scenes from the poetic potential.
Dissertação (Mestrado)
29
Pruvost-Delaspre, Marie. "Pour une histoire esthétique et technique de la production animée : le cas de la Tôei Dôga (1956 - 1972)." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030117.
Full textAbstract:
Le studio de la Tôei Dôga, fondé en 1956, est dans le Japon d’après-guerre tout à la fois le creuset d’une certaine conception de l’animation, le cœur de la formation d’une grande partie des techniciens qui vont soutenir l’industrie, mais aussi le lieu d’émergence, d’intégration et de réinvention de l’animation japonaise. En effet, si Hiroshi Ôkawa, qui dirige le studio jusqu’à sa mort en 1971, cherche à définir la structure comme le « Disney de l’Orient », le modèle américain, avidement recopié, a aussi été rapidement mis de côté, pour donner lieu à de nombreuses réinventions, appropriations et innovations technologiques. Etudiées d’un point de vue esthétique et technique, grâce à la conjonction de l’analyse formelle des films et de la prise en compte systématique des témoignages et des documents de production, ces innovations donnent à voir un processus de réappropriation du médium qui touche de près à l’histoire des techniques. Un enjeu important, dans le cadre de ce travail, consiste également à replacer aussi précisément que possible la production animée dans l’environnement économique et culturel de son époque. Ceci ne prend cependant pas nécessairement la forme d’une approche purement culturelle, mais cherche plutôt à conjuguer, grâce à des outils empruntés à l’histoire de l’art et à l’histoire culturelle, la matière filmique et la mise en question de son « contexte ». Si l’enjeu central de cette thèse aura été de définir, sur un plan esthétique et technique, une histoire de la production animée raisonnée et fondée sur une étude précise des documents disponibles, il apparaît que ses conclusions mettent en jeu les différents modèles de production traversés successivement par la Tôei, comme autant de propositions artistique, politique et stratégique, de ce que peut être le cinéma d’animationThe Tôei Doga studio, founded in 1956, is the place in post-war Japan where was developped a new conception of animation, trained a large part of the technicians who will support the industry in the next decades, but also the place of emergence, integration and reinvention of Japanese animation. Indeed, if Hiroshi Okawa, who will run the studio until his death in 1971, seeks to define the structure as the "Disney of the East", the American model, eagerly copied, was also quickly set aside by Tôei, a process originating many technological innovations. Studied from an aesthetic and technical point of view, through a combination of a formal analysis of Tôei Dôga’s production from 1956 to 1971 and the systematic consideration of the animators’ testimonies and production documents, these innovations make a process of appropriation of the medium visible, questionning the history of technology. A crucial issue in the context of this dissertation also includes replacing as accurately as possible Tôei Dôga’s production in the vibrant economic and cultural environment of its time. This however does not necessarily involve an approach similar to that of cultural studies, but is rather seeking to combine, with tools borrowed from art history and cultural history, film material with the questioning of its "context." If the central issue here has been to implement, on an aesthetic and technical level, a history of the animation production process based on a careful study of available records, it appears that Tôei’s successive production models involve many artistic, political and strategic suggestions of what animation may be
30
Rogoff, Jana. "Audiovisual (a)synchrony in early Soviet sound film." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2016. http://dx.doi.org/10.18452/17533.
Full textAbstract:
Die Dissertation ist eine medienhistorische Studie über die Einführung des Tons im sowjetischen Kino, die ästhetische und technologische Veränderungen in einem weiter gefassten politischen und kulturellen Kontext interpretiert. In historischen Untersuchungen des frühen Tonfilms der letzten zehn Jahre wurde der sowjetischen Methode des asynchronen Tons häufig die verbreitetere Methode der möglichst genauen Synchronisation gegenübergestellt, wie sie von der Filmindustrie in Hollywood in den späten 1920er und frühen 1930er Jahren entwickelt wurde. Die Arbeit geht über diese zum Standard gewordene Erzählung hinaus. In einer Reihe von Fallstudien wird die Arbeit sowjetischer Filmemacher, Drehbuchautoren, Filmtheoretiker und Toningenieure analysiert, um zu demonstrieren, dass in der Sowjetunion in der Frühphase des Filmtons sehr unterschiedliche Haltungen zum Ton existierten. Die Dissertation konzentriert sich sowohl auf die Theorien des Filmtons als auch auf die Praktiken, wobei es sich unter anderem auf Dziga Vertov, Nikolai Ekk, Michail Cechanovskij und Pavel Tager bezieht. Die Begriffe „Asynchronizität“ und „Synchronizität“ haben in den Debatten über die Einführung des Tonfilms in der Sowjetunion eine zentrale Rolle gespielt. Die vorliegende Dissertation bietet die erste grundlegende Untersuchung dieser Begriffe innerhalb des Kontextes der komplexen Ursprünge des frühen sowjetischen Tonfilms.The dissertation is a media-historical study of the emergence of sound in Soviet cinema, which links aesthetic and technological changes to the broader political and cultural context. Over the last decade, histories of early sound film have usually contrasted the Soviet method of asynchronous sound to the prevalent method of tight synchronization as it was popularized by the Hollywood film industry in the late 1920s and early 1930s. The dissertation looks beyond this standardized narrative. In a series of case studies, it analyzes the work of Soviet filmmakers, screenwriters, film theoreticians and acoustical engineers to demonstrate that many diverse approaches to sound were actually in play at the onset of film sound in the Soviet Union. The dissertation focuses on both film sound theory and practice mainly in the works of Dziga Vertov, Nikolai Ekk, Pavel Tager and Mikhail Tsekhanovsky. The terms “asynchronicity” and “synchronicity” were central in the debates about the emergence of sound film in the Soviet Union. This study provides the first thorough examination of these terms within the context of the complex origins of early Soviet sound cinema.
31
Beji, Mohamed Nejib. "L'animation culturelle en Tunisie : identification et diagnostic." Paris 10, 1985. http://www.theses.fr/1985PA100063.
Full text
32
Al, Hamid Wail. "Moarabesque : the essence of Arabia : a motion graphics piece that promotes the diverse Saudi Arabian arts and culture /." Online version of thesis, 2009. http://hdl.handle.net/1850/9886.
Full text
33
Braendle, LuciAnna Zihlmann Vera. "SkA goes Business ein empirischer Beitrag zum Entrepreneurship in der soziokulturellen Animation." Rubigen Bern Ed. Soziothek, 2006. http://www.soziothek.ch/?978-3-03796-164-3.
Full text
34
Collin, Isabelle. "Les centres-villes métropolitains au regard des animations culturelles et festives : L'exemple de Lille et de Marseille." Thesis, Normandie, 2019. http://www.theses.fr/2019NORMLH12/document.
Full textAbstract:
L’approche des centres-villes métropolitains, au travers les animations culturelles et festives, permet d’aborder un système urbain complexe. Elles mettent en exergue un réseau d’acteurs actifs qui valorise les différentes facettes du système dans le but de créer un espace singulier. L’action politique et les aménagements réalisés cherchent à soutenir cette singularité spatiale, source de rayonnement et d’attractivité de la cité. L’aménagement des centres-villes métropolitains prend en compte la facette culturelle pour créer des espaces distincts mais rapidement identifiables par leurs usagers, des espaces qui se métamorphosent de façon éphémère ou durable, des espaces qui s’adaptent au temps… Cette prédominance de la culture force l’esprit des lieux à se manifester accentuant la mise en scène des centres-villes métropolitains. Ce corps urbain complexe devient original, entrainé par la facette culturelle, source d’universalité, qui n’implique pas de relation de hiérarchie dans ses fonctions mais des connexions qui enrichissent les dynamiques territorialesThe approach of metropolitan downtowns through cultural and festive animations permits to study a complex urban system. It highlights a network of active stakeholders who valorise various aspect of the system with the aim of creating a singular space The political action and the planning realised, seek to support this spatial singularity which is a source of the attractiveness for the city.The planning of metropolitan downtowns takes care of the cultural aspect to create distinctly spaces but rapidly identifiable by their users and spaces which metamorphose in an ephemeral or durable way, spaces which adapt with the time… This predominance of the culture obliges the manifestation of the soul of the place accentuating the setting scene of the metropolitan downtowns.This complex system becomes original thanks to the cultural aspect, source of universality, which does not involve hierarchical relation in his functions but connexions which improves the territorial dynamics
35
Chateigner, Frédéric. ""Education populaire" : les deux ou trois vies d'une formule." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAA031.
Full textAbstract:
L'expression « éducation populaire » connaît en France une nouvelle fortune depuis les années 1990. La recherche vise à éclaircir le sens et les causes de ce retour en grâce discursif. On définit la séquence « éducation populaire » comme une formule, au sens de l'analyse du discours, en lien avec la notion de catégorie. L'étude du retour contemporain de celle-ci impose un long détour par son histoire. Celle-ci se décompose en deux cycles complet constitués de phases d'émergence, de consécration et de déclin autour d'un usage de la formule comme quasi-catégorie : sous-catégorie de l'Instruction publique entre la Révolution française et les années 1930, puis catégorie détachée de l'École mais associée à des formules concurrentes et bientôt reléguées par elles au rang d'ancêtre mythique. La période contemporaine se présente comme l'émergence d’un usage détaché de l’animation socioculturelle et orientée vers la formation militante et la repolitisation des politiques culturelles ; ce nouvel usage, qui demeure toutefois en concurrence avec une remobilisation du secteur Jeunesse et Éducation populaire, réintroduit en outre les pratiques d’origine scolaires que ce dernier avait écartéesThe set phrase "éducation populaire" has been especially successful in French public discourses since the 1990s. We intend to analyze this lexical comeback. The past life of the phrase can be divided in two cycles, each of them composed of successive phases of emergence, consecration and decline, and revolving around an interpretation of the phrase as a quasi-category. It starts as a subcategory of "Instruction publique" from the French Revolution to the 1930s, then becomes a category detachedfrom schooling but linked with competing phrases, and is soon discarded by these ones as a mythical ancestor. The last years witness a new, yet uncertain phase of emergence which defines "éducation populaire" as a form of radical political education or as a repoliticization of cultural policies. This new use, however, is competing with the remobilization of traditional movements. It also reintroduces the school-rooted practices which had been previously discarded
36
Besse, Laurent. "Les MJC, 1959-1981 : de l'été des blousons noirs à l'été des Minguettes /." Rennes : Presses universitaires de Rennes, 2008. http://catalogue.bnf.fr/ark:/12148/cb41222264n.
Full text
37
Dunten, Stacey. "Remembrance: An Object-Driven Narrative." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555606495788712.
Full text
38
Zhao, Shumeng. "The Boy Who Draws Cats: 3D Animation As a Medium For Telling Culturally-specific Ghost Stories." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461265497.
Full text
39
Brandão, Flávia Christina Leite. "Cinema e animação: poéticas de um vivência." Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/3513.
Full textAbstract:
Submitted by Erika Demachki (erikademachki@gmail.com) on 2014-11-03T18:14:39Z
No. of bitstreams: 7
Dissertação - Flávia Christina Leite Brandão - 2013 (1).pdf: 10714218 bytes, checksum: 01c15423fadd83691774adc8b15d3419 (MD5)
Dissertação - Flávia Christina Leite Brandão - 2013 (2).pdf: 11075441 bytes, checksum: 7b903503ca992b6ac4ede6d7b62512d9 (MD5)
Dissertação - Flávia Christina Leite Brandão - 2013 (3).pdf: 9095853 bytes, checksum: 814f98da99afeb28982bdc101e729996 (MD5)
Dissertação - Flávia Christina Leite Brandão - 2013 (4).pdf: 8768153 bytes, checksum: 1128c7d36c76265bb903e5632ea9cc80 (MD5)
Dissertação - Flávia Christina Leite Brandão - 2013 (5).pdf: 10290632 bytes, checksum: bb3fc00933f006b9d86bc04389339907 (MD5)
Dissertação - Flávia Christina Leite Brandão - 2013 (6).pdf: 9469356 bytes, checksum: bd51bf34c7d39538e3e22c1778c63242 (MD5)
license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2014-11-03T18:15:06Z (GMT) No. of bitstreams: 7 Dissertação - Flávia Christina Leite Brandão - 2013 (1).pdf: 10714218 bytes, checksum: 01c15423fadd83691774adc8b15d3419 (MD5) Dissertação - Flávia Christina Leite Brandão - 2013 (2).pdf: 11075441 bytes, checksum: 7b903503ca992b6ac4ede6d7b62512d9 (MD5) Dissertação - Flávia Christina Leite Brandão - 2013 (3).pdf: 9095853 bytes, checksum: 814f98da99afeb28982bdc101e729996 (MD5) Dissertação - Flávia Christina Leite Brandão - 2013 (4).pdf: 8768153 bytes, checksum: 1128c7d36c76265bb903e5632ea9cc80 (MD5) Dissertação - Flávia Christina Leite Brandão - 2013 (5).pdf: 10290632 bytes, checksum: bb3fc00933f006b9d86bc04389339907 (MD5) Dissertação - Flávia Christina Leite Brandão - 2013 (6).pdf: 9469356 bytes, checksum: bd51bf34c7d39538e3e22c1778c63242 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)
Made available in DSpace on 2014-11-03T18:15:06Z (GMT). No. of bitstreams: 7 Dissertação - Flávia Christina Leite Brandão - 2013 (1).pdf: 10714218 bytes, checksum: 01c15423fadd83691774adc8b15d3419 (MD5) Dissertação - Flávia Christina Leite Brandão - 2013 (2).pdf: 11075441 bytes, checksum: 7b903503ca992b6ac4ede6d7b62512d9 (MD5) Dissertação - Flávia Christina Leite Brandão - 2013 (3).pdf: 9095853 bytes, checksum: 814f98da99afeb28982bdc101e729996 (MD5) Dissertação - Flávia Christina Leite Brandão - 2013 (4).pdf: 8768153 bytes, checksum: 1128c7d36c76265bb903e5632ea9cc80 (MD5) Dissertação - Flávia Christina Leite Brandão - 2013 (5).pdf: 10290632 bytes, checksum: bb3fc00933f006b9d86bc04389339907 (MD5) Dissertação - Flávia Christina Leite Brandão - 2013 (6).pdf: 9469356 bytes, checksum: bd51bf34c7d39538e3e22c1778c63242 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-04-05
This study aimed to mix in the work art experience theory and poetics. Were aggregated at the same level both religious and visual references of the author to produce a short film hybrid between live-action film and animation. The study of the archetypes Umbanda’s entities and the history and principles of animation also contributed, like the film hybrid between film and animation and analysis of the film Kill Bill I, chosen as the reference technique with which we bond our poetic. In the theoretical chapter the history of animation is based on the principles of technological devices of the season coming to current devices such as computers and software that were of great importance to the animation frame by frame made by the author. The choice of technique animated 2D is closely linked to technological devices today. We base ourselves on the theories of film analysis to conduct the analysis of Tarantino's movie and through this stimulus did correlate with in our practice we get elements of great importance for the production of the short film. Added to this analysis we also identify the archetype of character O'Ren Ishii that served us for the construction of the archetypes of our characters, creating a fine line between Tarantino references and references of the author. All this added to the theory and practice experience led us to achieving a live-action film and animation drawing on inspirations on religious experiences and professional author culminating in the production sequence and performing a short film essentially copyright.
Este estudo teve como objetivo unir em mesmo trabalho vivência, teoria e poéticas. Agregaram-se em mesmo patamar as referências tanto religiosas quanto visuais da autora para a produção de um curta-metragem híbrido entre cinema liveaction e animação. Contribuíram também para a construção da poética o estudo dos arquétipos das entidades da umbanda, historia e princípios da animação, filmes híbridos entre cinema e animação e a análise do filme Kill Bill I, escolhido como referência técnica com a qual fizemos interrelação com nossa poética. No capitulo teórico está a história da animação partindo dos princípios dos aparatos tecnológicos da época chegando a aparelhos atuais como computadores e softwares que foram de grande importância para a animação feita quadro a quadro pela autora. A escolha da técnica animada 2D está intimamente ligada aos aparelhos tecnológicos atuais. Baseamos-nos nas teorias de análise cinematográfica para conduzir a análise do filme de Tarantino e através deste estímulo fizemos uma correlação com nossa prática em que conseguimos elementos de grande importância para a produção do curta-metragem. Agregada a essa análise temos também a identificação do arquétipo da personagem O´Ren Ishii que nos serviu para a construção dos arquétipos de nossas personagens, criando uma linha tênue entre as referências de Tarantino e as referências da autora. Toda essa teoria somada à vivência e a prática nos levou a concretização de um filme live-action e animação partindo das inspirações sobre as vivências religiosas e profissionais da autora culminando na sequência de produção e realização de um curta-metragem essencialmente autoral.
40
Sousa, Do Nascimento Silvania. "L' animation scientifique : essai d'objectivation de la pratique des associations de culture scientifique et technique françaises." Paris 6, 1999. http://www.theses.fr/1999PA06A001.
Full text
41
Asakura, Kaori. "Translating Cultural References in Japanese Animation Films: The Case of Spirited Away." Master's thesis, 2017. https://repositorio-aberto.up.pt/handle/10216/105914.
Full text
42
Li, Yan-Jie, and 李妍潔. "A Study into Animation Design for Cultural Heritage of TaiwanTraditional Shadow Puppetry." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/85541448811760726109.
Full textAbstract:
碩士樹德科技大學
應用設計研究所
100
"Shadow Play" is a set of comprehensive art involving literature, music, painting, crafts and Chinese drama, which has been a precious cultural asset of Kaohsiung City since its introduction to southern Taiwan from Chaochow in Mainland China three hundred years ago. Since then, Ganashan Cultural Center Shadow Play Museum has become an important cradle for Taiwanese shadow play. Although the once flourishing traditional the shadow play fell into a steep decline during the twentieth century, indeed, shadow play has already evolved in many ways. The purpose of this research was to design a three-dimensional (3D) animation by integrating Taiwan''s traditional shadow play elements into modern animation design process through character design, manuscripts, storyboard and musical elements of traditional culture, which in turn allows users to understand the story and history of the shadow play and culture. It hopes that the digital shadow play could to increase the potential to sublimate culture and tradition.
43
Asakura, Kaori. "Translating Cultural References in Japanese Animation Films: The Case of Spirited Away." Dissertação, 2017. https://repositorio-aberto.up.pt/handle/10216/105914.
Full text
44
Sie, Wun-Lin, and 謝文麟. "Applying Digital Media Animation to Cultural Products－National Palace Museum’s mission in progress." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/f3yjp4.
Full textAbstract:
碩士崑山科技大學
視覺傳達設計研究所
96
In the process of the cultural globalization, the introduction of digital media techniques has speeded up the development of museums. It also has diversified the presenting methods and channels of museums. Under the influence of such trends, the rule of thumb, the fittest survives, has forces the museums to face the crisis of transformation. As a result, the cultural products have extended to the rest of whole wide world in a variety of distribution channels. In doing so, the cultural art can be passed on to the next generations. The museums took action in response to the transformations and changes under the impact of three major aspects, culture globalization, culture industry and digital media science. In this article the discussion and analyses about how the museums proceeded to the action are explored based on the studies of documentary supplements. A case study was brought in to observe how National Palace Museum (NPM), as an example, planned and changed during this period of time. In addition, a comparison among other museums from the rest of world of how they paid attention and accommodated themselves in accordance to the above mentioned trends of changes was made. To conduct a comprehensive survey of NPM’s history background and reactions, this study combined the NPM’s cultural products with Flash animation. Flash, as one of the powerful digital media techniques, has its unique story-telling capability and has played a leading role on the Internet. Flash enhanced the affinity of NPM’s culture products and raises the public’s awareness. Flash vividly removed NPM’s solemn image. Younger generations will be much fonder of the museums. The educational and heritage mission of the museums will then be carried out.
45
Chen, Chung-wei, and 陳仲偉. "The Development Model of Cultural Industry of Globalization: Japanese Animation and Manga as Explanations." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/69946712932337996503.
Full text
46
SungKuyn, Kim, and 金成均. "A study on the Animation secter and Its Govermental Policy among Cultural Industry in China." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/77890768194657700024.
Full textAbstract:
碩士淡江大學
大陸研究所
91
Title of Thesis : A study on the Animation sector Page : 97 and Its Governmental Policy among Cultural Industry in China Name of the Institute : Culture and Education Division The Graduate of China Studies The TamkKang Up Graduate Date : January 2003 Degree Conferred : Master of Arts Name of the Student : Kim SungKyun Advisor : Dr. Yu-min Wang 金成均 Abstract : This thesis analyzes the animation industry in the China culture industry and its policy. The references are collected from China, Korea and Taiwan. Before the 1980’s, culture industry in China was in backward situation under the autocratic controls of the party and government. However, in recent years, Chinese government made lots of efforts on promoting and developing cultural industry. This research finds that there are two major reasons that explain why China started to pay attention on the cultural industry issues. 1.For Chinese government, culture industry can create jobs for people, leas to more economic benefits and generate additional value is some aspects. 2.Worrying foreign cultures will bring different values, influence the Chinese society and challenge the communist regime; Chinese government actively rushes its own cultural industry to minimize the damages resulted from the impact of foreign culture. The animation industry is a part of the cultural industry. Under a well-developed structure and good policies, the animation industries will bring a lot of economic benefits for the country. Unfortunately, Chinese animation industry only targets teenagers and children as their major market; moreover, the government controls the industry and use it as its political and educational tool. The reasons why Chinese animation industry remains in a backward condition are many; for example, the government is incapable of proper policy, the industry is lack of experiences in market analysis and promotion, the public are prejudiced in attitude toward animation products, and the country is in short of experienced worker. If Chinese government fails to undertake the policy appropriate for its animation industry, China will face more and more serious problems on the cultural identification issues.
47
Allison, Brent M. "Authenticity from cartoons U. S. Japanese animation fandom as an agency of informal cultural education /." 2008. http://purl.galileo.usg.edu/uga%5Fetd/allison%5Fbrent%5Fm%5F200812%5Fphd.
Full text
48
Griffin, M., Nancy H. Harding, and M. Learmonth. "Whistle while you Work? Disney Animation, Organizational Readiness and Gendered Subjugation." 2016. http://hdl.handle.net/10454/8482.
Full textAbstract:
yesThis paper introduces the concept of ‘organizational readiness’: socio-cultural expectations about working selves that prepare young people (albeit indirectly and in complex and multi-faceted ways) for their future life in organizations. This concept emerges from an analysis of Disney animations and how they constitute expectations about working life that may influence children through their representations of work and gendered workplace roles. The paper’s exploration of Disney’s earlier animations suggests they circulated norms of gender that girls should be weak and avoid work. In contrast, its contemporary productions circulate gender norms that suggest girls should be strong and engage in paid work. In this reading, the continued circulation of earlier alongside contemporary animations may convey to young viewers a paradox: girls must and must not work; they must be both weak and strong. We thus offer new insights into the puzzle of the continued relegation of women to the side-lines in organizations; although, more optimistically, we also point to ways in which future generations of employees may forge ways of constituting forms of gendered selves as yet hardly imaginable.
49
Stucki, Tracy. "Animation as a medium of socio-cultural critique: thematic development in Hayao Miyazaki's Spirited Away (2001)." Thesis, 2014. http://hdl.handle.net/10539/15032.
Full textAbstract:
With the development of cinema into the digital era, animation has gradually moved into the centre of live-action films mainly due to its capacities to enhance spectacle, which is a very limited and superficial use of the medium. It is consequently necessary to explore its abilities further in order to understand how animation can add deeper layers of meaning to contemporary cinema and to its standalone form. While the focus of the dominating Western mainstream animation industry has mostly been on telling children’s stories of entertaining value with the most recent technology, other countries, most prominently Japan, have further explored the narrative possibilities of animation. Through the analysis of the thematic development of animation director Hayao Miyazaki’s award-winning animated feature film Spirited Away (2001) and with the aid of selected narrative strategies, this research report examines the potential of the medium of animation as a platform for socio-cultural critique.
50
Shang, Wan-Chuan, and 尚琬娟. "A Study of Cultural Consumption and Reproduction With the Effect of Japanese Cartoons and Animation on Taiwanese Pop Culture as an Example." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/03003757660180484439.
Full text