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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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Bennett, Elizabeth. "The Cultural Animation Film Festival." Contemporary Pacific 31, no. 2 (2019): 586–88. http://dx.doi.org/10.1353/cp.2019.0041.
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Arcadias, Laurence, and Robin Corbet. "Animating Fermi—A Collaboration between Art Students and Astronomers." Leonardo 48, no. 5 (October 2015): 484–85. http://dx.doi.org/10.1162/leon_a_01123.
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Undergraduate animation students at the Maryland Institute College of Art teamed up with scientists from the Fermi Gamma-ray Space Telescope to produce a set of animations on several astronomy topics. Here, the authors describe the process and discuss the results, educational benefits and the cross-cultural experience. These animations are available for free online.
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Barvinok, Nataliia. "FEATURES OF THE ORGANIZATION OF ANIMATION ACTIVITIES IN HOSPITALITY INDUSTRY INSTITUTIONS WITH THE PURPOSE OF ETHNIC TOURISM DEVELOPMENT." Economies' Horizons, no. 3(25) (September 30, 2023): 68–87. http://dx.doi.org/10.31499/2616-5236.3(25).2023.286923.
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The purpose of writing this article is to study the importance and peculiarities of the organization of animation activities in hospitality industry establishments for the purpose of developing and popularizing ethnic tourism. After all, taking into account the specificity of highlighting the intangible cultural heritage of Ukraine, an important place during such tourism is occupied by an action that can be most successfully organized with the help of animation activities.
The organization of animation activities acquires special importance, because holding various events in an ethnic style contributes to the popularization, protection and development of the national cultural heritage, as well as increasing the attendance of tourist destinations where the establishment of the hospitality industry is located. Taking into account the current trends in the development of tourism and the interest of the world community in Ukrainian customs and culture, a good base is created for the development of ethnic tourism and other related types of tourism, and the issue of organizing animation events in the direction of popularizing cultural tourism is also resolved. the heritage of our country is becoming more and more important.
In addition, the importance of the organization of animation service lies in increasing the quality, variety and attractiveness of the tourist product, increasing the number of regular customers and demand for the tourist product, and therefore increasing the profit of the establishment. Therefore, the animation activity in the ethnic style is considered, firstly, as an important factor for the promotion of the tourist product, and secondly, as a direction of activity for the popularization of ethnic tourism.
Taking into account the peculiarities of ethnic tourism, the article considers classification approaches to determining the types of animation activities in hospitality industry establishments according to the list of intangible cultural heritage with the aim of the most successful selection of animations and creation of animation programs. Special attention is required here to focus on the age characteristics of tourists, their nationality, as well as the specifics of the organization and areas of activity during the organization of animation events in an ethnic style in hospitality industry establishments.
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Marakhovska, Kseniia. "ANIMATION FESTIVAL IN THE MODERN UKRAINIAN CULTURAL SPACE." CULTURE AND ARTS IN THE MODERN WORLD, no. 22 (June 30, 2021): 233–43. http://dx.doi.org/10.31866/2410-1915.22.2021.235919.
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The purpose of the article is to comprehend animation festivals as an important component of the cultural space of modern Ukraine and a decisive factor in the development of the world and domestic animation art. Research methodology. The analytical and synthetic method was used, which made it possible to discover the specifics and directions of development of the large-scale world and domestic animation festivals; owing to the generalisation method, information about animafests was systematised, and their multidimensional abstract review was carried out. The scientific novelty is that the largest world and domestic animation festivals are identified and analysed for the first time, and their specifics are studied. Animation festivals are considered as a kind of indicator of modern culture development. Conclusion. The definition of cultural space as a space of functioning of the animation festival is given, the essential features of the festival as a cultural phenomenon are highlighted. It is ascertained that a festival is a periodic festive event with elements of solemnity and competition, the ultimate goal of which is the demonstration of achievements, creative exchange, professional communication. Festivals differ in direction, themes, programmes. An essential feature of the festival is the presence of a single idea, theme and programme. The information on animation festival activity in Ukraine and the world is generalised and systematised. World and domestic animation festivals are understood from the standpoint of features and directions of their development, new methods and techniques. It is concluded that the demand for animation festivals is increasing every year. Animation festivals have a strong cultural and artistic potential: they showcase new trends and artistic innovations; allow avoiding the isolation of art; allow authors to represent their creations to viewers and experts; provide creative and professional communication. It is noted that animafests are a powerful catalyst for the creative process and contribute to creating the environment for further development and popularisation of animation art.
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Marthana Yusa, I. Made, I. Ketut Ardhana, I. Nyoman Darma Putra, and Ida Bagus Gede Pujaastawa. "Reality In Animation: A Cultural Studies Point of View." Eduvest - Journal of Universal Studies 3, no. 1 (January 20, 2023): 96–109. http://dx.doi.org/10.36418/eduvest.v3i1.720.
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This research discerns at animation as a text by focusing on the investigation of the aspects and concepts that define a reality in the world of animation. By looking at the reality in the animation, clues and texts can be generated that contribute to understanding the postmodernity framework and the concept of representation from the point of view of cultural studies. This qualitative research uses a cultural studies approach, with the method of intertext analysis of texts from literature studies and interviews with expert source persons in the field of animation. Postmodernism and hyper-reality theories are used eclectically with the concepts of simulation and representation to support hermeneutic reasoning models. This research resulted in the formulation of the concept of reality in animation with the point of view of cultural studies which includes a description of the concept of reality in the presence of animated works, the components of reality in animation, and the meaning of reality in animation
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Marthana Yusa, I. Made, I. Ketut Ardhana, I. Nyoman Darma Putra, and Ida Bagus Gede Pujaastawa. "Reality In Animation: A Cultural Studies Point of View." Eduvest - Journal of Universal Studies 3, no. 1 (January 20, 2023): 96–109. http://dx.doi.org/10.59188/eduvest.v3i1.720.
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This research discerns at animation as a text by focusing on the investigation of the aspects and concepts that define a reality in the world of animation. By looking at the reality in the animation, clues and texts can be generated that contribute to understanding the postmodernity framework and the concept of representation from the point of view of cultural studies. This qualitative research uses a cultural studies approach, with the method of intertext analysis of texts from literature studies and interviews with expert source persons in the field of animation. Postmodernism and hyper-reality theories are used eclectically with the concepts of simulation and representation to support hermeneutic reasoning models. This research resulted in the formulation of the concept of reality in animation with the point of view of cultural studies which includes a description of the concept of reality in the presence of animated works, the components of reality in animation, and the meaning of reality in animation
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Dong, Jun, and Lihui Liu. "Rhythmic Vitality: A Study of the Artistic Expressions of Chinese Animation Master Te Wei." International Journal of Culture and History 10, no. 2 (October 10, 2023): 40. http://dx.doi.org/10.5296/ijch.v10i2.21330.
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The author intends to do a comprehensive analysis and examination of Mr. Te Wei's notable animation works, including "Tadpole Looking for Mother," "Pastoral Flute," "Landscape," "Proud General," and several more. To commence, this analysis will begin by examining the works of Mr. Te Wei and their significance as a foundation for understanding. Subsequently, the locations within Mr. Te Wei's works that hold educational value will be scrutinised, leading to the formulation of the research's objective. This text elucidates the comprehensive process of Mr. Te Wei's creative cognition, effectively conveying a denouement that is both comical and dramatic. In contemporary culture, the intensification of labour and the pace of life have contributed to an increasing burden on individuals. Notably, a considerable number of Chinese animations have excessively emulated Japanese animations, therefore neglecting the distinctive cultural attributes of our own nation. Hence, this article endeavours to systematically expound upon the artistic style and expressive techniques of Mr. Te Wei, a renowned figure in Chinese animation, by analysing representative works such as "Shepherd's Flute" and "Landscape". The aim is to cultivate the audience's appreciation for Mr. Te Wei's creations and enhance their comprehension of his artistic expression. The artistic expression exhibited by Mr. Te Wei, a prominent figure in Chinese animation, has the potential to evoke inspiration and contemplation among viewers. Specifically, his work prompts reflection on the dearth of humour within contemporary society and the absence of national cultural elements in the realm of animation.
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Luo, Jie. "The Characteristics and Paths of the Dissemination of Intangible Cultural Heritage in the Form of Animation in the New Media Environment." Journal of Environmental and Public Health 2022 (July 30, 2022): 1–9. http://dx.doi.org/10.1155/2022/7857816.
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In recent years, the state and even the society pay more and more attention to the protection of the intangible cultural heritage. How to effectively protect and inherit the intangible cultural heritage is the main work at present. Based on the role and influence of animation in the protection of intangible cultural heritage, this paper systematically discusses the promotion role of animation in the inheritance and dissemination of intangible cultural heritage. First, the role of animation communication in the protection of intangible cultural heritage. Finally, this paper takes the combination of intangible cultural heritage culture and animation as an example to discuss and design the combination of intangible cultural heritage protection animation and specific cases. This paper regards animation as a cultural medium, which is of great significance to the effective protection, dissemination, and inheritance of the national intangible cultural heritage.
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Zheng, Yuanyue. "Animation-constructed National Images: Cross-cultural Communication among Youth Groups." Lecture Notes in Education Psychology and Public Media 47, no. 1 (April 3, 2024): 107–11. http://dx.doi.org/10.54254/2753-7048/47/20240892.
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Animation is a form of cultural communication in which a nation displays its own culture and the value system behind it to specific audience groups of other cultures, and the widest audience of this form of cultural communication is the youth group. Therefore, analyzing the essence and path of cross-cultural communication of animation, this paper tries to explore the possibility and importance of shaping the image of the nation with animation as the ontology in cross-cultural communication. This paper firstly analyses that animation, as an art form showing culture and spiritual core, is a cultural system constructed by nationalities as the cultural foundation, and animation, in turn, shows national uniqueness as a means of communication; on this basis, through the analysis of the unconscious cultural projection phenomenon of the youth audience group, this paper elaborates that animation is an important way to build up a country's image at the initial stage. This paper then analyses the key to cross-cultural communication through animation is to find the common accepted universal values in different cultural backgrounds, and to find the universality of spiritual values; on the basis of universality, in the process of animation creation and dissemination, it is necessary to strengthen the establishment of cultural self-awareness and cultural identity of the nation in order to enhance the cohesion of the country's image.
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Esseku, J. F., V. Q. N. Teye, M. Musa, and K. A. Agyemfra. "The Role of Animation in Preserving Ghanaian Cultural Heritage." International Journal of Research and Innovation in Social Science, no. VI (2023): 795–805. http://dx.doi.org/10.47772/ijriss.2023.7663.
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The importance of animation to the preservation of Ghana’s cultural legacy is the focus of this study. The potential of animation as a medium for preserving and promoting Ghana’s cultural history is being investigated at a time when globalization and modernity provide obstacles to cultural preservation. The research examines the state of cultural preservation efforts in Ghana at the present time and studies the ways in which animation might be used to both portray and preserve aspects of Ghanaian culture such as folklore, traditional dances, and historical events. An investigation into how well animation can engage and inform a wide variety of audiences about the cultural traditions of Ghana is being carried out. In addition, we investigated cutting-edge animation methods that, when applied appropriately, can improve the conservation and transfer of cultural property. The study also looked at the effects that animation has had on Ghanaians’ cultural understanding, appreciation, and identity, as well as its potential to inspire future generations. By embracing animation, Ghana is able to secure the continuation of its cultural traditions and build a greater awareness for Ghanaian cultural heritage.
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Stewart, Michelle. "Posthumous Portraits in Motion: Experimental Animation, Metamorphosis and Reflections on Mortality." Animation 19, no. 1 (March 2024): 6–26. http://dx.doi.org/10.1177/17468477241233480.
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This article details an oil paint-on-glass animation depicting posthumous portraits of unclaimed deceased from a Johannesburg mortuary in South Africa. The creative project engages with Western traditions of posthumous, focusing on the iconography of the corpse. The author explores how these traditions are approached through the moving image, metamorphosis and experimental animation processes. The animation uses metamorphosis not just as a symbolic strategy to serve the idea of transformation – but also as a self-referential engagement with animation’s contradictory life-giving and destructive traits. The article and the creative project it illuminates present a critical awareness of the ethical concerns associated with representing the dead and the cultural and historical traditions from which this subject emerges.
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Fu, Xianrui. "Multiple Linear Regression Analysis of the Animation Score." Highlights in Science, Engineering and Technology 49 (May 21, 2023): 183–88. http://dx.doi.org/10.54097/hset.v49i.8501.
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With the development of China’s economy, people’s living standards continue improving. This makes the cultural industry flourished. As an important part of the cultural, the animation industry is entering a golden age of development. The rapid development of the animation industry has led to a large number of national comics of varying quality. Based on the cultural atmosphere of domestic animation is not strong, the originality of animation production is not strong, the animation industry chain needs to be improved and other problems. This paper analyzed the significant factors affecting animation ratings through multiple linear regression models to make some suggestions for the future development of domestic animation. The summary analysis shows that name, storyboard and protagonist have a significant positive influence on the score. From the results, China's animation industry should pay attention to plot development and character building. It is hoped that the findings of this paper can have some guiding significance for the development of national comics.
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Mohd Khalis, Faryna, Syazliyati Ibrahim, Shafilla Subri, Nurul Atikah Adnan, and Abdullah Kula Ismail. "Japanese and Western Influences on the Local Animation Character Design Identity in Malaysia." Journal of Visual Art and Design 15, no. 2 (January 23, 2024): 153–64. http://dx.doi.org/10.5614/j.vad.2023.15.2.5.
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Identity is regulated by culture and can be delivered meaningfully in numerous expressions, among which animated designs. In tandem with technological evolution, animation today shows fusions of various cultures. Two main influences in the Malaysian animation industry are Japan and Western countries due to their status as pioneers in animation. Therefore, this study aimed to examine the influence of Malaysian, Japanese and Western animated character designs on the local university students’ production of their character designs. This study was conducted based on semiotic theory, followed by a research method that employed a content analysis approach using the SPSS software. Through the analysis of cross-distribution and Chi-Square, it was found that the criteria of physique, national characteristics, and colors in the students’ work showed similar characteristics to both local and foreign animations. Consequently, further studies should be conducted to comprehend why the students are inspired by Japanese and Western styles. These influences also raise the question of whether these cross-cultural forms lead to a new identity of Malaysian animation or only a trend.
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Cao, Yang. "A Model of Protection of Intangible Cultural Heritage by Commercial Three-Dimensional Animation - Taking “Little Master of Brocade” as an Example." Asian Culture and History 10, no. 1 (September 26, 2017): 1. http://dx.doi.org/10.5539/ach.v10n1p1.
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Though China has carried out protection of intangible cultural heritage by three-dimensional animation, to protect intangible cultural heritage by commercial three-dimensional animation still requires further discussion and promotion. “Little Master of Brocade” (Yun Jing Xiao Dang Jia) is a cartoon gaining a good reputation at home and abroad and it has achieved certain economic benefits and social and cultural benefits in respect of protection of intangible cultural heritage. On the basis the status of protection of intangible cultural heritage by three-dimensional animation, this paper discussed a new model and the future trend of protection of intangible cultural heritage by commercial three-dimensional animation by taking “Little Master of Brocade” (Yun Jing Xiao Dang Jia) as an example.
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Trapeznikova, Yelena Vladimirovna. "Collage Methods in Russian Animation Under Market Conditions." Journal of Flm Arts and Film Studies 6, no. 3 (September 15, 2014): 134–44. http://dx.doi.org/10.17816/vgik63134-144.
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The subject matter of the article is the collage methods in the Russian animation of the last three decades. These methods allow the animator to manipulate not only the standard inventory of space-forming elements, but also various languages and cultural codes which leads to creating a varied complex spatial structure to be interpreted.
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Chen, Peng, Youngwon Park, and Jinwoo Kim. "Research on the Features of Wuxia Animation in the Context of Chinese Wuxia Culture." Global Knowledge and Convergence Association 5, no. 2 (December 31, 2022): 109–41. http://dx.doi.org/10.47636/gkca.2022.5.2.109.
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Wuxia culture is the vigilante culture, which is an extremely important part of the Chinese national culture, it is also a cultural feature which is full of legend and charm, which has always fascinated people for thousands of years. In the process of cultural inheritance, Wuxia animation, as an audio-visual carrier of Wuxia culture, has gradually become better in the development process in recent years, and has become a representative type of Chinese animation revitalization. The boom of Wuxia animation is bound to be closely related to the renewal of Wuxia culture, exploring the reasons for the prosperity of Wuxia animation need to trace the origin of Wuxia culture, based on exploring the modern inheritance and later influence of Wuxia culture, analyze the core vigilante world and its composition in Wuxia animation from the angle of animation creation, moreover, focus on studying some performance features and their significance in Wuxia animation. This paper takes Wuxia animation broadcast in China in recent years as the research object, and uses the untangling, comparison, case analysis and other research methods analyze and study Wuxia culture, Wuxia animation and their features. The conclusion of this paper points out that in the context of Wuxia culture, the construction of vigilante in Wuxia animation works is the bone of Wuxia animation, and the use of their animation features is the soul of Wuxia animation, and the fusion of the two is the successful foundation of a Wuxia animation.
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Zhang, Xinge, and Julina Ismail@Kamal. "Animation Technology to Enhance Communication of Cultural Heritage: A Systematic Review." Malaysian Journal of Social Sciences and Humanities (MJSSH) 8, no. 6 (June 30, 2023): e002230. http://dx.doi.org/10.47405/mjssh.v8i6.2230.
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Cultural heritage is the wealth of people all over the world. The question of how to effectively improve the preservation and communication of cultural heritage has become an important research hot-spot. The available research results show that animation technology is an exciting avenue for preservation and communication. This systematic review examines how animation technology can be used to protect and disseminate cultural heritage, whether it has a positive impact on cultural heritage as a whole, and identifies the factors that influence the communication effect. This study conducts the systematic analysis by integrating the quantitative results of a total of 36 papers that measure the impact of animation technology on cultural heritage. The research results confirm that animation technology (VR, 3D, 2D, and interactive technology) has a moderate impact on the effectiveness of audience perception and attitude. In addition, this study analyzes the role of moderating variables such as technology type, personal factors, and environmental factors. Ultimately, this study reveals a gap in the empirical comparative study of the effectiveness of different animation techniques in the field of cultural heritage.
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Bai, Yuxian, and Junjie Fan. "The Influence of Virtual Geometry Technology on Animation Industry." Learning & Education 10, no. 2 (September 16, 2021): 92. http://dx.doi.org/10.18282/l-e.v10i2.2285.
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The emergence of virtual geometry technology has changed the cost and way of animation production, which has promoted the improvement of animation level and the output of high-quality animation, reduced the threshold of animation production, and enabled more people to transfer cultural connotation through such forms of expression of animation.
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Lv, Chan, Tzu-Fan Hsu, Xian-Feng Tu, and Jia Li. "Schoolchildren’s motivation for viewing Chinese opera animation according to opera genre." PLOS ONE 18, no. 10 (October 11, 2023): e0292744. http://dx.doi.org/10.1371/journal.pone.0292744.
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The emergence of Chinese opera animation allows a wider audience, especially a younger audience, to access and embrace the art of opera heritage. This study used a two-way mixed-design ANOVA to explore the effect of Chinese opera animation on schoolchildren’s viewing motivation; the independent variables were the children’s grade level and the opera genre of the animation. Grade level was divided into three groups: lower, middle, and upper (grades 2, 4, and 6, respectively). Opera genre consisted of Peking, Yue, and Henan opera. The dependent variable, viewing motivation, comprised six dimensions: entertainment and relaxation, learning knowledge, escapist pastime, aesthetic appreciation, empathic identification, and socializing and sharing. After statistically analyzing the evaluations of 457 participants, the results showed the following: (1) Peking and Yue opera animation had a better entertainment and relaxation effect on the lower and middle groups. Henan opera had a better escapist pastime effect on the upper group but less effect on the lower group. (2) In terms of learning knowledge, empathic identification, aesthetic appreciation, and overall performance, Yue and Henan opera animations were more effective for enhancing viewing motivation compared with Peking opera animation. (3) The middle and lower groups showed higher viewing motivation than the upper group in the learning knowledge, empathic identification, and socializing and sharing dimensions. Overall, grades 2 and 4 were appropriate stages for schoolchildren to engage with opera animation. Our findings can provide a reference for promoting cultural heritage sustainability and support follow-up research on integrating opera animation into children’s education.
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de Paula, P. A., I. Hazin, H. Soto, C. P. Coelho, Y. Solovieva, and C. N. Andrade. "The Genesis of the 'Animation Complex' Concept in the Historical-Cultural Psychology." Cultural-Historical Psychology 19, no. 2 (July 7, 2023): 88–98. http://dx.doi.org/10.17759/chp.2023190212.
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<p>The animation complex is a child development milestone widely used in historical-cultural psychology. However, the emergence of the animation complex concept predates the emergence of cultural-historical psychology. This paper is a narrative review whose main objective is to recover the genesis of the concept of the animation complex and the process of linking and appropriation of this by historical-cultural psychology. Bibliographical research was carried out on the publications from 1960 to 2021, from which a difference between its uses in reflexology and historical-cultural psychology was deduced. Starting from the centrality of this construct for development research, we sought to reconstitute the genealogy of this concept from the rescue of these different conceptions of complex animation.</p>
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He, Jing. "Education and Research on Animation Creation Based on Northeast Regional Culture." Review of Educational Theory 3, no. 4 (November 4, 2020): 5. http://dx.doi.org/10.30564/ret.v3i4.1973.
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With the rapid development of the Internet era, the way people get information is also changing. The way to obtain information becomes more convenient and efficient, so the effective utilization of mobile digital terminals can spread information more widely and quickly. Using animation as a medium to express cultural information through the Internet has become an important means of regional cultural communication. As creators and producers of animation determine the quality of animation, how to cultivate such talents has become an issue worth thinking deeply in the process of animation education. Therefore, this paper attempts to explore how to create animation based on the northeast regional culture and in line with the current social aesthetic awareness and development trend in the process of animation education and teaching.
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Wang, Yijing, and Yin Zhang. "Giving a Voice to Minority: Practical Exploration of Ethnographic Animation." International Journal of Computer Graphics & Animation 12, no. 3 (July 31, 2022): 1–8. http://dx.doi.org/10.5121/ijcga.2022.12301.
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Ethnographic animation, a novel form of visual ethnography, is capable of recording and representing traditional cultures, experiences, memories and other non-textual historical materials and cultural elements of ethnic minority groups. As a medium tasked with recording facts, how to ensure that the content displayed by ethnographic animation is true and accurate is an issue that animators need to pay attention to. Based on the author's ethnographic animated short film Longhorn Miao’s Love Songs, this paper demonstrates that establishing a balanced relationship between etic and emic perspectives and applying participatory design methods in the process of ethnic animation practice can effectively help community members express their cultural views and voice through animation, thus showing the cultural interpretation of ethnic minorities to the greatest extent. The research results of this paper will provide a reference paradigm for animation practice related to ethnic minorities.
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Sun, Qinggang, and Sang-Bing Tsai. "An Empirical Study on Application of Virtual Reality Animation Technology by Big Data Model." Mathematical Problems in Engineering 2021 (June 25, 2021): 1–9. http://dx.doi.org/10.1155/2021/1067954.
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Regional cultural and creative products are paying more attention to the cultural core of their design and communication, while satisfying the basic design elements of appearance, function, and aesthetics; therefore, agricultural cultural and creative image (ACCI) also has its dual attributes of culture and commerce. Virtual reality (VR) animation technology can integrate video, text, and model into one, comprehensively display the three-dimensional digital content of regional cultural characteristics, bring users an immersive viewing experience, and enhance their interest in traditional culture, beneficial to the spreading and inheriting traditional culture. On the basis of summarizing and analyzing previous research works, this paper analyzed the development background, current status, and future challenges of VR animation technology and expounded the research situation and significance of design and dissemination of ACCI. Further, this paper proposed the design method, communication model, and approaches of ACCI based on VR animation technology, explored the reshaping of ACCI’s digital elements, resolution of ACCI’s artistic features, and discovery of ACCI’s artistic values, constructed the platform architecture and implementation technology of VR animation, and finally discussed the issue of the integration and innovation of cultural products and VR animation technology. Excellent regional cultural and creative products can achieve the multiple goals of promoting product sales, improving design aesthetics, and spreading cultural characteristics by pursuing cultural and creative values. The ACCI based on VR animation technology not only makes customers pay attention to the agricultural brands and consuming their products but also promotes regional identity and disseminate regional culture, inspiring the potential awareness of tourism and shopping and driving the economic development.
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Fan, Kuo-Kuang, and Ting-Ting Feng. "Sustainable Development Strategy of Chinese Animation Industry." Sustainability 13, no. 13 (June 28, 2021): 7235. http://dx.doi.org/10.3390/su13137235.
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The animation industry is a crucial part of cultural and creative industries and has formed a huge consumer market all over the world and even become a pillar industry in developed countries. However, in China, the animation industry is still in its infancy, and its development is relatively backward. The main reason is that there is no sustainable development model in the industry. Thus, how to carry out sustainable development has become an important research topic for the Chinese animation industry. This study probed into the challenges and problems faced by China’s animation industry, and based on Porter’s Diamond Model, analyzed the current situation of China’s animation industry from six aspects: production factors, demand conditions, industrial chain, enterprise strategy, cultural factors, and government policies, clarifies the key direction for industrial development, and puts forward relatively comprehensive reference strategies to promote the formation of a sustainable development model for the animation industry. The research shows that the sustainable development of the animation industry must be completed by integrating resources within the industry, improving the chain, upgrading the enterprises, technological innovations, cultural embedding, external personnel training, government support, legal protection, and other aspects.
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Swatriani, Rinkapati. "KONSTRUKSI KARAKTER JABO DALAM ANIMASI BINEKON." Narada : Jurnal Desain dan Seni 7, no. 1 (April 2, 2020): 31. http://dx.doi.org/10.22441/narada.2020.v7.i1.003.
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Animation in Indonesia has developed, this time there are many agencies starting designing animations,both 2 dimension ar 3 dimension, just call one of them is Belantara Studio which has made several animated series including Binekon which tells about 5 characters representing the culture of the archipelago. Each character has its own characteristic which is a representation of the archipelago's cultural community, the focus of this research will be on the character of Jabo in the Coconut episode, is described that he can help his friends in solving problems. Primary data in this study is the perception of researchers, in this case, the researcher will give thought in studying visual signs is contained in the Binekon animation with semiotic Barthes analysis.
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Mohd Khalis, Faryna, and Normah Mustaffa. "Cultural Inspirations towards Malaysian Animation Character Design." Jurnal Komunikasi, Malaysian Journal of Communication 33, no. 1 (March 28, 2017): 487–501. http://dx.doi.org/10.17576/jkmjc-2017-3301-32.
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Caride Gómez, José Antonio. "About teachers, school and socio-cultural animation." Educar 13 (February 1, 1988): 69. http://dx.doi.org/10.5565/rev/educar.385.
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Puig, Toni. "History of socio-cultural animation in Catalonia." Educar 13 (February 1, 1988): 105. http://dx.doi.org/10.5565/rev/educar.392.
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Dudová, Anna, Michal Kaplánek, and Richard Macků. "Cultural Animation - Philosophical Grounding and Practical Use." Caritas et veritas 4, no. 2 (September 30, 2014): 69–77. http://dx.doi.org/10.32725/cetv.2014.026.
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Papapetros, Spyros. "In/Animate Victims: Cultural Reactions to Animation." Communication and Critical/Cultural Studies 9, no. 3 (September 2012): 300–306. http://dx.doi.org/10.1080/14791420.2012.708973.
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Krivulya, Natalya. "Cooperation between the Russian Animation Industry and Asian Partners." Journal of Flm Arts and Film Studies 11, no. 4 (December 30, 2019): 126–42. http://dx.doi.org/10.17816/vgik114126-142.
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One of the main trends in the development of the Russian animation industry is the intensification of international cooperation and promotion on international media markets. Russian animators are developing different forms of international cooperation and co-production in the context of the economic crisis, financing problems, lack of second-tier personnel and production capacities, as well as national distribution problems. In the situation of a weakening relationship with European partners, there is an increase in cooperation with Asian companies.
The leading role is given to cooperation with China, due to the policies pursued by the two countries and close cultural interaction supported at the intergovernmental level. Russian companies are moving from outsourcing in film production to other forms of interaction, such as co-financing of projects and co-production. The essay analyzes the co-production experience of such leaders of the Russian animation industry as Riki, KinoAtis and Wizart Animation.
Co-production with foreign companies involves a number of problems caused by cultural, mental, legal and organizational differences. Still, it combines financial efforts and consolidates technical capabilities, raising the quality of films to the world level. Co-production also stimulates international distribution and reduces financial risks, opens up opportunities to conquer new markets and overcome the systems of quotes that exist in some countries. In the Russian animation industry, the number of co-produced films demonstrates a tendency to increase. The development of various forms of interaction between the Russian animation business and foreign partners and the presentation of coproduced films on international media markets contributes to the formation of Russias positive image and promotes its national interests, lifestyle and culture, affirming animations long-standing status of a soft power asset.
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Fan, Yijun. "Analysis of the Development of Japanese Animation Industry and Its Influence on Contemporary Youth." Communications in Humanities Research 18, no. 1 (December 7, 2023): 188–91. http://dx.doi.org/10.54254/2753-7064/18/20231156.
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The animation industry has both economic and cultural value, and has attracted much attention for its strong commercial potential and cultural output. With the rapid development of the Japanese animation industry, the Japanese animation industry is increasingly innovative on the basis of absorbing the excellent traditional culture of the country, and promoting the formation of a complete industrial chain. Its animation content has a wide audience, especially young people. Animation has a dual impact on the psychology of young people, which is manifested in many aspects of thinking mode, values, aesthetic quality and consumption concepts. This paper examines animation communication from the perspective of culture and positive psychology, studies the positive and negative psychological impact of animation culture on young people, and encourages young people to form correct values under the influence of positive psychological states by means of strict access to works, education on social core values and strengthening positive guidance.
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Yasa, Gede Pasek Putra Adnyana, I. Nyoman Darma Putra, I. B. Gde Pujaastawa, and I. Nyoman Larry Julianto. "UPIN IPIN ANIMATION: THE MEDIA OF MALAYSIA'S IDENTITY POLITICS." E-Journal of Cultural Studies 16, no. 3 (August 31, 2023): 37. http://dx.doi.org/10.24843/cs.2023.v16.i03.p04.
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"Upin Ipin" animation is a popular children's film series in Indonesia, including Denpasar from 2010-2023. The Upin Ipin animation shows the background of a Malaysian village with its own culture, and the characters who play a role in it can represent the Malay-Malaysian identity and the various tribes that exist in Malaysia. The research used qualitative methods, and data were analyzed using discourse analysis theory and ideology theory. The results show that the issue of Malay-Malaysian identity plays a role in the production of Upin Ipin animation. The identity is visualized through the characters in the story, along with the environment that considers the socio-cultural background of the local Malaysian community. The construction of the environment, socio-cultural life, religion and culture, and language represent the Malaysian identity. This article contributes to the understanding that Upin Ipin animation is not just entertainment but a medium to introduce the Malay-Malaysian cultural identity.
Keywords: animation, Upin Ipin, identity politics, Malaysia
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Cante, Fabien. "From ‘animation’ to encounter: Community radio, sociability and urban life in Abidjan, Côte d’Ivoire." International Journal of Cultural Studies 21, no. 1 (April 19, 2017): 12–26. http://dx.doi.org/10.1177/1367877917704489.
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Drawing upon ethnographic research on community radio in Abidjan, Côte d’Ivoire, this article argues that tracking production practices outside of the studio allows researchers to better capture radio’s entanglements with everyday urban life. This spatial reconsideration mirrors a conceptual move beyond community media labels and normative criteria, towards a privileging of context. To illustrate both points, the article centres around ‘animation,’ the practice of enlivening social situations. Animation is central to community radio in Abidjan, but ‘ animateurs’ also practise their trade in a multitude of venues and events around the city. Following animation’s movements between on- and off-air provides an understanding of how community radio is assembled as a porous ‘micro-public’, and insight into the particular kind of sociability that it produces. The article shows that while this sociability is tinged with the quest for status and social capital, it is mostly characterized by indeterminacy, and valued for the unforeseen encounters it can foster.
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Guangyuan Cao, Guangyuan Cao. "The Development Strategy of Nationalistic Derivatives in the Chinese Animated Film Industry." Northeast Asian Arts and Cultural Management Association 1, no. 1 (June 30, 2024): 59–67. http://dx.doi.org/10.69887/jnaacm.2024.1.1.59.
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Purpose – This study explores the utilization of Chinese traditional culture in animation, with a focus on film derivatives. The study analyzes recent growth and challenges in the Chinese animation industry and aims to effectively utilize Chinese culture in developing animation derivatives. Drawing insights from US and Japanese models, the initiative aims to develop a unique Chinese animation industry, with the goal of improving global competitiveness, cultural impact, and market expansion. Design/Methodology/Approach – This study adopts a research methodology primarily focused on deeply mining the rich resources of Chinese traditional culture, coupled with referencing the mature animation industry chains of the United States and Japan, to develop a more ethnically distinctive animation film industry chain in China. The main research methods involve literature review and case analysis, aiming to explore key issues and solutions in the development of ethnic-oriented animation film derivatives in the Chinese animation film industry. Findings – China’s animation industry is progressing, yet it faces challenges in derivative development, which hinders sustained growth. Leveraging its abundant traditional culture can provide a unique competitive advantage. Integrating insights from established US and Japanese animation industries with Chinese culture is crucial for fostering a more ethnically distinctive animation industry in China, which holds significant promise for future development. Research Implications – The proposal innovatively leverages China’s traditional culture for animation growth, providing insights for sustainable development. It highlights the significance of animation derivatives, guiding commercial exploration. By promoting Chinese culture, it enhances the global competitiveness of animation, facilitating international cultural exchange.
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Li, Haoyi. "National Cultural Connotation in Japanese Anime --Taking Detective Conan as an Example." Communications in Humanities Research 13, no. 1 (November 20, 2023): 32–38. http://dx.doi.org/10.54254/2753-7064/13/20230205.
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Japanese animation enjoys a high international reputation, and the animation industry is one of the most influential industries in Japan. It not only entertains the public, but also spreads Japanese national cultural values. Among them, Detective Conan has been broadcasted continuously for more than 20 years and is one of the most influential phenomenal anime works in Japan. Culture is the root and soul of a country, which can unite social consensus and enhance the sense of national identity. One of the major reasons for the great success of Detective Conan is its close integration with Japanese national culture. This paper takes Detective Conan as an example, selects the case of combining the anime plot with Japanese national culture, and analyses the mapping of Japanese animation on Japanese national culture. It helps to improve the knowledge of Japanese culture, and also provides a direction for the development of Chinas animation industry.
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Peng, Baoyi. "Ancient for the Present: Analyzing Traditional Cultural Elements and Unique Modernity in Contemporary Animation Films." Highlights in Art and Design 3, no. 3 (July 20, 2023): 32–37. http://dx.doi.org/10.54097/hiaad.v3i3.11184.
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Entering the 21st century, as global cultures entered a new stage of intermingling, Chinese animation also rode the fast train of the times into a new stage of development, in which Chinese animation pushed the boundaries, from characterization to the cultural core of the story background, Chinese animation emerged as modernity culture wrapped in traditional Chinese culture, the two complement each other and together contribute to the narrative of storytelling expression. This paper takes a typical Chinese animated film between 2016-2023 as the object of study, and conducts theoretical research on Chinese traditional culture and the unique culture of modernity in animation narrative.
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Fang, Zhen, and Noraien Mansor. "Visual significations of Monkey King: Hero is Back and Nezha: Birth of the Demon Child." SEARCH Journal Media and Communication Research 16, no. 1 (March 31, 2024): 67–83. http://dx.doi.org/10.58946/search-16.1.p5.
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Visual signs can be differentiated into denotative and connotative messages, where denotative messages form the perceptual foundation of an image, and connotative messages engage with a deeper, culturally cognisant layer, imbued with subjective interpretations and aesthetic significations. This study embarks on a qualitative textual analysis with the main aim to elucidate the connotation and denotation of visual significations in two pivotal Chinese animated films, Monkey King: Hero is Back and Nezha: Birth of the Demon Child. Guided by Roland Barthes’ Semiotic theory and Chen’s study, the research delves into the connotative and denotative meanings embodied in the films’ visual elements. The focus is primarily on facial design, physical appearance, clothing, and props, providing a comparative analysis of how these elements function within each film’s narrative framework. The key findings reveal that the visual significations in both films are not merely aesthetic choices but serve as substantial cultural and narrative tools. The characters’ faces, physical appearances, clothing, and props are intricately tied to themes like Chinese opera masks, subversive reconstructions, natural elements, and intangible cultural heritage. These visual cues play a crucial role in reinforcing cultural heritage, spurring innovation, invoking nature reverence, and bolstering national sentiment within film storytelling. Contrasting with previous research that predominantly focused on characters, this study expands the analytical scope to include props, recognising their significance as visual signs in animation. By expanding the analysis to include props alongside characters and visual elements into the analysis, this research offers a more comprehensive and nuanced understanding of Chinese mythological animations. It enriches the academic discourse on animation studies, demonstrating how visual elements can profoundly influence narrative interpretation and cultural representation. The research affirms the cultural and narrative potency of visual signification in animation and underscores the dynamic interplay between tradition and innovation within the realm of Chinese animated films.
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Ćwikła, Małgorzata, Anna Góral, Ewa Bogacz-Wojtanowska, and Magdalena Dudkiewicz. "Project-Based Work and Sustainable Development—A Comparative Case Study of Cultural Animation Projects." Sustainability 12, no. 16 (August 12, 2020): 6519. http://dx.doi.org/10.3390/su12166519.
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Currently, a growing interest in the issues related to sustainable development can be observed, with the role of culture in stimulating this development increasing simultaneously. Nevertheless, the function and meanings of culture for sustainable development, as well as culture in the context of sustainable development, have so far remained under-emphasised and under-theorised. For this reason, in this paper we will look at practical examples of culture and sustainable development combined. The undertaken research problem explores the project-based work in the field of cultural animation, and its impact on the pursuit of the objectives of sustainable development at the local level. Two case studies of Polish organisations involved in cultural animation activities have been analysed herein. Based on the research results, we showed that cultural animation is an important tool for enabling local communities to achieve sustainable development. What is also important is the fact that cultural animation activities often take the form of project-based work, which significantly affects the methodology and extent of their implementation. Therefore, in this article we also point to the relationship between the management of animation projects and the idea of sustainable development, emphasising both advantages and disadvantages thereof.
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Maksymovska, N. "Culture management as a factor of overcoming social exclusion and alienation: the animation approach." Culture of Ukraine, no. 78 (December 23, 2022): 65–72. http://dx.doi.org/10.31516/2410-5325.078.08.
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The purpose of the article is to substantiate animation approach to sociocultural activities and culture management as a mechanism of overcoming social alienation and exclusion, and to present a system for animation sociocultural activities management.
The methodology. The research is based on a cultural studies paradigm, which provides for establishing a place of social exclusion phenomenon in the contemporary model of humanity’s culture. Interconnected fundamental and applied cultural studies constitute the foundation of deep analysis of culture management and contemporary culture practices. Synthesis of scientific knowledge and generalization of scientific facts acted as a foundation of conclusions about the significance of animation approach in culture processes management. Systemizing and modeling as scientific cognition methods enable designing an animation sociocultural activities system, which allows realizing the process of overcoming social exclusion.
The results. During the research, it was established that characteristic features of culture management, through the prism of animation approach to sociocultural practice, manifest themselves as: stimulation and motivation of people and groups to directly participate in sociocultural processes; ensuring active performance; accompaniment of initiatives in sociocultural field; assistance in self-organizing; ensuring eventfulness and creativity of cultural practices to improve the animation effect. This shapes animation management as a process of creating conditions for uncovering creativity in various manifestations (social — self-organization, artistic – art, civic — social activities etc.). Culture management within the context of applied cultural studies, through the prism of animation approach, must study contemporary practices, ensure culture-creating being, facilitate creative self-development of society’s subjects and improve their participation in opposition to alienation in the sociocultural space.
The scientific topicality. Rethinking of topicality of scientific research in contemporary sociocultural situation is caused by contemporary crisis realities. It is especially related to theoretical generalization of contemporary culture space management, which reacts promptly to challenges under conditions of extermination of our people’s cultural heritage. Special kind of responsibility rests upon those who must ensure active inclusion of society’s subjects into culture-creation processes, facilitate overcoming social alienation, and accompany continuousness of translation of Ukraine’s values on “the culture front”. Under such conditions, cultural practices that possess deep meaning, inspirational, culture-rehabilitating effect, and renew lost faith in the beauty of true human being become topical, which animation approach to sociocultural activities manifests in itself.
The practical significance. A system of animation sociocultural activities was developed, which incorporates animation approach in culture management in order to overcome social exclusion and alienation. The system is based on high level of openness, motivated participation of social subjects in improving system’s functioning, the presence of a great number of various elements, which causes expansion of the system’s organization element etc. Based on the system, contemporary animation culture practices are improved and developed.