Academic literature on the topic 'Films d'animation en stop-motion'
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Journal articles on the topic "Films d'animation en stop-motion"
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Karatimur Çutsay, Birnur. "AESTHETIC APPROACHES IN STOP MOTION ANIMATED FILMS." E-journal of New World Sciences Academy 15, no. 1 (2020): 88–98. http://dx.doi.org/10.12739/nwsa.2020.15.1.d0254.
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Yekti, Bharoto. "Study of Laika’s Facial Expression Mechanism System for Stop-Motion Animation Puppet Through Knock-Down Strategies on Home-Scaled 3D Printer." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (2017): 185–93. http://dx.doi.org/10.18844/prosoc.v4i11.2873.
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The growth of 3D printing has been rapid over the decades. Laika is a United States-based animation production company, and the pioneer of 3D printing technology in stop-motion animation. Laika uses this technology in their production pipeline for making stop-motion puppets in most of their films, including their latest films, Kubo and the Two Strings (2016). Due to limited access and information of details of Laika’s facial expression, communities and fans of animation have tried to conduct experiments with their own 3D print, using footages of behind-the-screen processes from Laika studio. This paper explores facial expressions for creating stop-motion puppet using an affordable home scale 3D printer. Using limited technical information collected from documentation video from Laika as well as referring to articles written by stop-motion enthusiasts, this fan-based research ignites creativity to overcome the barriers of technology and access through strategies in producing affordable 3D print stop-motion animation. Keywords: Stop-motion animation, 3D printing, facial expressions.
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Wilson, Ewan. "‘Diagrams of Motion’: Stop-Motion Animation as a Form of Kinetic Sculpture in the Short Films of Jan Švankmajer and the Brothers Quay." Animation 13, no. 2 (2018): 148–61. http://dx.doi.org/10.1177/1746847718782890.
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Jean-Luc Godard wrote that ‘The cinema is not an art which films life; the cinema is something between art and life’ (cited in Roud’s, 2010, biography of Godard), an observation particularly true of stop-motion animation. The filmmakers discussed in this essay, Jan Švankmajer and the Brothers Quay, share a fascination with the latent content of found objects; they believe that forgotten toys, discarded tools and other such objects contain echoes of past experiences. Extrapolating Švankmajer’s belief that memories are imparted to the objects we touch, the manipulation of his found objects as puppets in his films becomes a means of evoking and repurposing their latent content, just as the Quays develop their dreamlike films from the psychic content they perceive in their armatures. Making a case study of a selection of these animators’ short films, this article examines the practice of stop-motion animation against that of kinetic sculpture, unpicking the complexities of the relationship between the inherently static mediums of sculpture and photography – symbolic of a fixed moment in time – and that of stop-motion animation, a temporal pocket in which these fossilized moments are revived once more.
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Sun, Koun-Tem, Chun-Huang Wang, and Ming-Chi Liu. "Stop-motion to foster digital literacy in Elementary School." Comunicar 25, no. 51 (2017): 93–103. http://dx.doi.org/10.3916/c51-2017-09.
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Although digital media literacy is recognized as the essential competencies required for living in a new media age, it just starts to gain focus in Taiwan's elementary education. One of the reasons is examination-oriented education, with the result that diverts scarce resources away from this informal learning. The other reason is that educators tend to think digital media education as a series of purely technical operation, which might lead student digital media learning to mindless work. Therefore, this study designed a media exhibition based on Kolb's experiential learning model for teaching students concepts of stop-motion films and techniques of film production. A design experiment involved 247 third-grade elementary students that were grouped to visit the experiential exhibition. The findings suggest that the students have improved their knowledge of stop-motion films. Analysis of these produced films also shows that they have improved their media ability to represent their ideas and communicate with others. Through the analysis of the influence of demographics on the knowledge test, the findings revealed that the experiential exhibition is more effective for female elementary students and students' relevant previous experiences may not affect their acquired knowledge. Given those results and observations, we believe that the proposed experiential exhibition is a promising way to carry out digital media literacy education in elementary schools.Although digital media literacy is recognized as the essential competencies required for living in a new media age, it just starts to gain focus in Taiwan's elementary education. One of the reasons is examination-oriented education, with the result that diverts scarce resources away from this informal learning. The other reason is that educators tend to think digital media education as a series of purely technical operation, which might lead student digital media learning to mindless work. Therefore, this study designed a media exhibition based on Kolb's experiential learning model for teaching students concepts of stop-motion films and techniques of film production. A design experiment involved 247 third-grade elementary students that were grouped to visit the experiential exhibition. The findings suggest that the students have improved their knowledge of stop-motion films. Analysis of these produced films also shows that they have improved their media ability to represent their ideas and communicate with others. Through the analysis of the influence of demographics on the knowledge test, the findings revealed that the experiential exhibition is more effective for female elementary students and students' relevant previous experiences may not affect their acquired knowledge. Given those results and observations, we believe that the proposed experiential exhibition is a promising way to carry out digital media literacy education in elementary schools. A pesar de que la alfabetización digital en medios se reconoce como una de las competencias esenciales necesarias para vivir en una nueva era de los medios de comunicación, solo acaba de empezar a ganar atención en la educación primaria de Taiwán. Una de las razones es la educación orientada a los exámenes, y como consecuencia, el que se desvíe muy pocos recursos para este aprendizaje informal. La otra razón es que los educadores tienden a pensar en la educación en medios digitales como una serie de operaciones puramente técnicas, lo que podría llevar a los estudiantes de medios digitales a aprender a trabajar sin sentido. Por lo tanto, este estudio diseñó una exhibición de contenidos basada en el modelo de aprendizaje experiencial de Kolb con el fin de enseñar a los estudiantes conceptos de videos stop-motion y técnicas de producción cinematográfica. El experimento diseñado involucró a 247 estudiantes de tercer grado de primaria que fueron agrupados para visitar la exposición experiencial. Los hallazgos sugieren una mejora en los estudiantes de su conocimiento de videos stop-motion. El análisis de los vídeos producidos también muestra que han mejorado su capacidad mediática para representar sus ideas y comunicarse con los demás. A través del análisis de la influencia de la demografía en la prueba de conocimiento, los hallazgos revelan que la exposición experiencial es más efectiva para los estudiantes de primaria femeninos, y que las experiencias anteriores relevantes de los estudiantes no deberían afectar a los conocimientos adquiridos. Teniendo en cuenta estos resultados y observaciones, creemos que la exposición experimental propuesta es una forma prometedora de llevar a cabo la educación en alfabetización digital en las escuelas primarias.
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Purwaningsih, Dominika Anggraeni. "Eksplorasi Material Alternatif dalam Pembuatan Puppet dan Set untuk Produksi Animasi Stop-Motion Berjudul “Junk Food”." Ultimart: Jurnal Komunikasi Visual 14, no. 1 (2021): 10–21. http://dx.doi.org/10.31937/ultimart.v14i1.2030.
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Traditional stop-motion animated films have unique visual characteristics so that they have many fans, but the number of stop-motion filmmakers is actually very minimal. This is understandable because compared to other animation techniques that are done digitally, stop-motion seems impractical because it requires longer time, higher production costs, and more tools and materials. This paper discusses the exploration and utilization of alternative materials from well-known conventional materials in making puppets and sets for stop-motion animation. The alternative materials in question will use used goods, household inorganic waste, and other reusable materials while still paying attention to function and aesthetics so as to contribute to waste recycling. This is in line with the theme of the film “Junk Food” which raises the issue of environmental pollution, where the results of this research will be applied. This qualitative research is project-based and uses literature study, observation, and experiment methods to collect data. The results of this research are up to the stage of making 2 puppets and 2 sets to answer the problem of exploring alternative materials from used goods.
Keywords: stop-motion animation, puppet, set, alternative materials
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Sputnitskaya, Nina Yu. "Soviet Puppet Cinema of the 1930s: from Avant-Garde to Mainstream." Journal of Flm Arts and Film Studies 8, no. 3 (2016): 8–18. http://dx.doi.org/10.17816/vgik838-18.
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Evaluation of Russian animated cartoons of the 1930s wasnt positive for a long time; historians of cinema, directors, artists marked this period as the era of hard times, as formalism and imitation Disney's esthetics. However the films considered in the article have played a significant role in development of world cinema. Particularly they have influenced upon moulding of the Czech, Polish and Ukrainian stop motion animation of the post-war years. Unfortunately, some works released in the Union of puppet animation at Mosfilm studios under the leadership of A.L. Ptushko have been lost, and nowadays it is impossible to establish precisely their actual released number. In the article the experimental animation films of the second half of the 1930s which have remained on film and also in the form of editorial scripts (RGALI, Mosfilm, Gosfilmofond) are being analyzed. It should be noted/ that five films of the group shot with P. Mershin's method are restored (method of time-lapse reconstruction) by N. Mayorov and V. Kotovsky (on the remained color negatives) in the 2010s. So it is possible now to estimate innovation and originality of these films, and to define a role of school of the Soviet animation in development of the world stop motion. Special attention is drawn to the socio-cultural context accentuating peculiarities of reading the films, which formed their imagery and on specific reflection of a defence discourse in the Soviet animation of 1935-41s.
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Cen, Hui, and Piet M. Lugt. "Effect of start-stop motion on contact replenishment in a grease lubricated deep groove ball bearing." Tribology International 157 (May 2021): 106882. http://dx.doi.org/10.1016/j.triboint.2021.106882.
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Lee, Laura. "Between frames." Alphaville: Journal of Film and Screen Media, no. 5 (August 1, 2013): 25–43. http://dx.doi.org/10.33178/alpha.5.02.
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This article explores how the appearance of composite media arrangements and the prominence of the cinematic mechanism in Japanese film are connected to a nostalgic preoccupation with the materiality of the filmic image, and to a new critical function for film-based cinema in the digital age. Many popular Japanese films from the early 2000s layer perceptually distinct media forms within the image. Manipulation of the interval between film frames—for example with stop-motion, slow-motion and time-lapse techniques—often overlays the insisted-upon interval between separate media forms at these sites of media layering. Exploiting cinema’s temporal interval in this way not only foregrounds the filmic mechanism, but it in effect stages the cinematic apparatus, displaying it at a medial remove as a spectacular site of difference. In other words, cinema itself becomes refracted through these hybrid media combinations, which paradoxically facilitate a renewed encounter with cinema by reawakening a sensuous attachment to it at the very instant that it appears to be under threat. This particular response to developments in digital technologies suggests how we might more generally conceive of cinema finding itself anew in the contemporary media landscape.
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Ciccone, Michael A., and Joann K. Wells. "Improper Shoulder Belt Use by Maryland Drivers." Human Factors: The Journal of the Human Factors and Ergonomics Society 30, no. 3 (1988): 359–66. http://dx.doi.org/10.1177/001872088803000309.
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This study was undertaken to determine the types and frequency of improper shoulder belt use–with particular emphasis on belt slack—in a state where belt use is mandatory. Motion picture films of drivers approaching stop signs in Maryland were analyzed by a trained panel to ascertain belt use and misuse. Over half the drivers of 1974–1987 model vehicles were observed to be belted. Slack in shoulder belts was the most common type of misuse and was much more prevalent among drivers of domestic cars than of imported cars. For belted drivers of domestic cars, 27% had 25–50 mm of slack in their belts, and 8% had 75 mm or more. By contrast, only 5% of belted drivers of imported cars had 25–50 mm of slack, and none had 75 mm or more. The window shade slack mechanism, found only in domestic vehicles, was most often associated with the slack.
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Junguitu Dronda, Maitane. "El camino de la coproducción en el largometraje de animación vasco." Con A de animación, no. 6 (May 16, 2016): 190. http://dx.doi.org/10.4995/caa.2016.4804.
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<p>La animación en la Comunidad Autónoma Vasca, aunque no ha gozado de demasiada atención en el ámbito académico e industrial, supone uno de los grandes exponentes cinematográficos del audiovisual en el territorio. Con 40 largometrajes estrenados entre 1985 y 2014, las colaboraciones empresariales han ido en aumento. En la primera década únicamente hay exponentes de producciones totalmente vascas. A partir de la segunda década, las coproducciones entre varias empresas vascas y otras españolas han ido en aumento, para llegar en los últimos años a realizar colaboraciones internacionales.</p><p>Al tiempo que la pluralidad del tipo de producciones iba en aumento, argumentalmente algunos films han seguido presentando ambientaciones locales que han mostrado mensajes universales. A esto también se le han sumado apuestas por géneros como el de terror. Técnicamente también se ha experimentado en la última década, con ejemplos de filmes realizados mediante Flash y stop-motion. Todas estas consideraciones se exponen en el presente artículo, donde el tipo de producción, argumentos y técnica se han puesto en contexto con el fin de identificar tendencias que se han podido dar en el sector en la última década.</p>
Dissertations / Theses on the topic "Films d'animation en stop-motion"
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Menchaca, Brandan Nuria Margarita. "No budget animation : la référence à l'objet dans l'animation stop-motion." Master's thesis, Université Laval, 2009. http://hdl.handle.net/20.500.11794/21314.
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À travers le long parcours qu'implique la production d'une animation en stop-motion, l'objet animé subit une longue chaîne d'interprétations qui transformeront son identité. L'objet concret, bien que matériellement absent de l'oeuvre animée, aura la capacité de nous référer à sa réalité, même à partir d'un contexte fictif. J'analyse quatre éléments propres à l'animation image par image : objet, image, séquence et animation, depuis le point de vue de chaque participant de la triade spectateur/oeuvre/artiste. À partir des points de rencontre de tous ces éléments, je fais un survol du processus de création d'une oeuvre animée. En traitant différents sujets, j'essaie de comprendre l'évolution d'un objet à partir de sa réalité, suivant par la transformation de son image jusqu'à son assimilation dans une oeuvre d'art. Ce travail de recherche accompagne une production artistique basée dans le concept d'animation. Les idées présentées naissent de mes expérimentations dans le domaine du stop-motion pendant ma maîtrise en arts visuels. Ces oeuvres sont les composantes d'une exposition nommée No Budget Animation.
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Blair, Jeremy Michael. "Animated Autoethnographies: Using Stop Motion Animation As a Catalyst for Self-acceptance in the Art Classroom." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804983/.
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As a doctoral student, I was asked to teach a course based on emerging technologies and postmodern methods of inquiry in the field of art education. The course was titled Issues and Applications of Technology in Art Education and I developed a method of inquiry called animated autoethnography for pre-service art educators while teaching this course. Through this dissertation, I describe, analyze, interrogate, value, contextualize, reflect on, and artistically react to the autoethnographic animated processes of five pre-service art educators who were enrolled in the course. I interviewed the five participants before and after the creation of their animated autoethnographies and incorporated actor-network theory within the theoretical analysis to study how the insights of my students’ autoethnographies related to my own animations and life narratives. The study also examines animated autoethnography as a method of inquiry that may develop or enhance future teaching practices and encourage empathic connections through researching the self. These selected students created animations that accessed significant life moments, personal struggles, and triumphs, and they exhibited unique representations of self. Pre-service art educators can use self-research to create narrative-based short animations and also use socio-emotional learning to encourage the development of empathy within the classroom. I show diverse student examples, compare them to my own animations, and present a new model of inquiry that encourages the development of self by finding place in chaos, loving the unknown, embracing uncertainty, and turning shame into a celebration of life.
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Jacobs, Daneille. "Entering the grotto of the biomechanical puppeteer : exploring the grotesque in stop motion puppetry." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/96010.
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Thesis (MPhil)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis investigates the significance of stop motion puppetry as an artistic device that enables illustrators to explore the notion of the ‘grotesque’. Mikhail Bakhtin and Wolfgang Kayser’s theorisation of the grotesque provides the foundation for my analysis of the manifestation of the grotesque in the puppets and stop motion techniques utilised in Jan Švankmajer’s Something from Alice (1988) and a selected film from my own work entitled Bad Man He Comin’ (2011). A comparative study of these two films demonstrate that stop motion puppetry is an apt medium for facilitating and exploring forms of the grotesque.
AFRIKAANSE OPSOMMING: Die klem in hierdie tesis val op die belangrikheid van stop-aksie poppespel as ‘n artistieke toestel wat kunstenaars kan gebruik om idees van die groteske weer te gee deur die gebruik van objekte sowel as die destruktiewe aard van die animasie proses. Mikhail Bakthin en Wolfang Kayser se idees rondom the groteske, vestig die grondslag vir die studie, om karaktereienskappe van die groteske te ontbloot in die poppe en metodes wat gebruik is in Jan Švankmajer se film Something from Alice (1988), sowel as ‘n geselekteerde film van my eie werk genaamd Bad Man He Comin’ (2011). ‘n Vergelykende studie, weerspieël dat groteske karakteruitbeelding verkry kan word deur sekere materiale te gebruik om poppe-liggame te skep. Die studie ontul verder dat die groteske geïdentifiseer kan word in die animasie proses waarin die verwronging en afbreking van objekte, tyd, spasie en beweging plaasvind.
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Saini, Laura. "Nouveaux outils pour l'animation et le design : système d'animation de caméra pour la stop motion, fondée sur une interface haptique et design de courbes par des courbes algébriques-trigonométriques à hodographe pythagorien." Phd thesis, Université de Valenciennes et du Hainaut-Cambresis, 2013. http://tel.archives-ouvertes.fr/tel-00835671.
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Dans la première partie de la thèse, nous présentons un nouveau système permettant de produire des mouvements de caméra réalistes pour l'animation stopmotion. Le système permettra d'enrichir les logiciels d'animation 3D classiques (comme par exemple Maya et 3D Studio Max) afin de leur faire contrôler des mouvements de caméra pour la stop motion, grâce à l'utilisation d'une interface haptique. Nous décrivons le fonctionnement global du système. La première étapeconsiste à récupérer et enregistrer les données envoyées par le périphérique haptique de motion capture. Dans la seconde étape, nous réélaborons ces données par un procédé mathématique, puis les exportons vers un logiciel de 3D pour prévisualiser les mouvements de la caméra. Finalement la séquence est exécutée avec un robot de contrôle de mouvement et un appareil photo. Le système est évalué par un groupe d'étudiants du Master "Art plastiques et Création numérique" de l'Université de Valenciennes. Dans la deuxième partie, nous définissons une nouvelle classe de courbes à partir des courbes polynomiales paramétriques à hodographe pythagorien (PH) construite sur un espace algébrique-trigonométrique. Nous montrons leurs propriétés fondamentaleset leurs avantages importants par rapport à leur équivalent polynomial, grâce à l'utilisation d'un paramètre de forme. Nous introduisons une formulation complexe et nous résolvons le problème d'interpolation de Hermite.
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Young, Tamlyn. "Animated storytelling as collaborative practice : an exploratory study in the studio, the classroom and the community." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95797.
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Thesis (MPhil)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis investigates stop motion animation as a form of socially engaged visual storytelling. It aims to expand commonly held perceptions that associate animation with the mass media and entertainment industries by investigating three non-industry related contexts: the artist studio, the classroom and the community. In each respective context the coauthoring of stop motion animation was employed as a means to promote collaboration between artists, students and members of the public. This was intended to encourage participants to share their stories regardless of language differences, contrasting levels of academic development and diverse socio-cultural backgrounds. Thus, animation making provided a means of promoting inclusivity through active participation and visual communication. This process is perceived as valuable in a South African context where eleven official languages and a diversity of cultures and ethnicities tend to obstruct an integrated society. My fundamental argument is that animation can be used as a tool to facilitate the materialisation, dissemination and archiving of stories whilst promoting the creative agency of the storyteller.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek stop-aksie animasie as ‘n tipe van sosiaal-geaktiveerde visuele vertelkuns. Die studie is daarop gerig om algemene aannames oor animasie – wat animasie assosieer met die massamedia en die vermaaklikheidsindustrie – te verbreed deur drie nienywerheidsverbonde kontekste te ondersoek: die kunstenaar se ateljee, die klaskamer en die gemeenskap. In elk van die onderskeie kontekste word die gesamentlike skepping van die stop-aksie animasie gebruik as ‘n manier om samewerking tussen kunstenaars, studente en die algemene publiek te bevorder. Die doel is om deelnemers aan te moedig om hul stories te deel, ongeag taalverskille, verskillende vlakke van akademiese ontwikkeling, en diverse sosio-kulturele agtergronde. Daarom verskaf die skepping van animasie ‘n geleentheid om samewerking te bevorder deur aktiewe deelname en visuele kommunikasie. Die proses word veral in die Suid Afrikaanse konteks as waardevol beskou, waar elf amptelike tale, asook ‘n diversiteit van kulture en etniese groepe, dikwels die skep van ‘n geïntegreerde samelewing belemmer. My hoofargument is dat animasie met vrug gebruik kan word as ‘n metode om die skepping, disseminasie en argivering van stories te fasiliteer en terselfdertyd ook die kreatiewe rol van die storieverteller aan te moedig.
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Claesson, Nils. "Spökmaskinen : Sju förändringar och förflyttningar – gestaltningsprocesser i animerad film." Doctoral thesis, Stockholms konstnärliga högskola, Institutionen för film och media, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-270.
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The Ghost Machine is a practice-based research project that explores the process of embodiment in animated film. It describes the process of transfiguration from the artist’s/auteur’s point of view and not from an outside position. The dissertation follows the embodiment of a dramatic text, the Ghost Sonata by August Strindberg (1907), into an animated film. The starting point is my experience of the drama, at the age of thirteen, when staged by Ingmar Bergman at the Royal Dramatic Theatre. As a teenager, the world of the grown-ups seemed to be corrupt, twisted and ruled by violent power plays and economic sanctions, and this play confirmed my world view. Was I right, as a thirteen-year-old boy? What kind of world emerges in my version of the Ghost Sonata? In this thesis work, the films and the experimental research process meet the practice and art of writing. Using text, not as “theory” separated from “practice” but as a bodily art practice, creates a shifting border between the results and intentions of art and filmmaking, and the results of writing. At the same time a unity emerges where the results of the research process can be seen and experienced in the interaction between the texts and the artwork. The Ghost Machine is a totality where the text, films and artworks included in the project are equally important and must be seen as a unity. The Ghost Machine is a work journey where travelling, animated film practice, networking with colleagues and collecting data are mixed with experiments using methods from contemporary arts practice, performance, reenactment, appropriation and transfiguration, blended with traditional puppet animation in classic Czech style. In collaboration with actors, mime artists, puppet makers, musicians and a minimal film crew, century old stop-motion animation is combined with computer animation. The textual part of the work falls into two categories: life stories and work stories. The work stories traces the forming of an artwork in all aspects. The life stories are related to the subject of ghosts. Suddenly, dead friends and dear family members claimed their space. The understanding of the Ghost Sonata came to be a process of sorting out and following lines of memory using an inverted version of the Orpheus myth as a guide. Instead of never turning around, when walking the dead out of oblivion, I chose to look back, again and again, until I hit something and could not write anymore.https://www.uniartsplay.se/slin
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Brognez, Claire. "Intimité et sensations dans les films d'animation en volume de Girlin Bassovskaja." Thèse, 2016. http://hdl.handle.net/1866/16139.
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Peu satisfaite des concepts généralement mentionnés lorsqu’il s’agit d’écrire sur les films réalisés en stop-motion, je propose d’analyser un corpus de quatre films réalisés par un duo estonien peu connu, les réalisatrices Jelena Girlin et Mari-Liis Bassovskaja, en ancrant mon discours dans une recherche plus large sur l’intimité et la sensorialité en art. J’effleure, par l’entremise d’une revue de littérature, le paradoxe d’animer l’inanimé et l’idée du umheimlich freudien, prégnants dans les écrits substantiels autour du cinéma d’animation en volume. Après avoir démontré que l’œuvre de Girlin Bassovskaja s’incrit dans le domaine de l’intime, j’approfondis l’analyse en m’appuyant sur les théories de la visualité haptique appliquée aux films. Je découvre le corpus à la lumière de ces théories, et évoque l’idée du regard caressant du spectateur vers le film, mais aussi de sa réversibilité. De plus, en tant que réalisatrice-animatrice de court-métrages d’animation, les théories susmentionnées outillent ma pensée afin de décrire ma volonté quasi obsessionnelle de rendre l’intimité tangible par une animation sensuelle en pâte à modeler sur verre.Not satisfied with regular concepts usually used when one speaks about stop-motion animation, I suggest another way to discuss about animation films while analyzing four short films made by estonian directors Jelena Girlin and Mari-Liis Bassovskaja, based on a wider research on intimacy and sensory perception in art. I first explore, through a review of literature, the paradox of animating the inanimate and the Freudian umheimlich, substantially recurring in writings about stop motion films. Having demonstrated that the work of Girlin Bassovskaja be seen against the domain of intimacy, I deepen my analysis of the films by relying on theories of haptic visuality. I discover the body of works in the light of these theories, and evoke the idea of a caressing gaze from the viewer to the film, but also its reversibility. In addition, as a filmmaker creator of short animated films, the above theories are feeding my reflexions and serve to describe my almost obsessive desire to make tangible intimacy with sensual animated plasticine on glass.
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KU, CHIH-YING, and 辜豑瑩. "Creation Description of "Slop" and the Study on Aesthetics of Stop Motion Films." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/32017624469246394004.
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碩士國立臺南藝術大學
動畫藝術與影像美學研究所
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“Slop” stop motion short is inspired by my realization the environment surrounded and the observation of the lifestyle in modern society. The first part of this vision statement is about the history of stop motion and the animation artists who influence my creation. The second part is by talking about director’s motivation of making this film to reveal the main theme of the film. The third part is about the making of the film, from puppet making, set building to shooting...etc, and introducing the media which used in this film. The last part is about the development and trend of stop motion technique and the stop motion industry in Taiwan nowaday, as well as my forecast of my future work.
Books on the topic "Films d'animation en stop-motion"
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Cotte, Olivier. Les Oscars du film d'animation: Secrets de fabrication de 13 courts-métrages récompensés à Hollywood. Eyrolles, 2006.
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L' ange et l'automate: Propos sur le cinéma d'animation et autres sujets. 400 coups, 1999.
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The art of stop-motion animation. Thomson Course Technology PTR, 2007.
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The advanced art of stop-motion animation. Course Technology Cengage Learining, 2011.
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Animating with Stop motion pro. Focal Press, 2010.
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Ding ge dong hua: Ru he zhi zuo yu fen xiang chuang yi ying pian = Stop-motion animation. Long xi guo ji tu shu you xian gong si, 2015.
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Lauridsen, Craig. Creating a stop motion story: Unlock your imagination. Acumen, 2015.
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Stopmotion explosion: Animate anything and make movies : epic films for $20 or less, this book will show you how. Nate Eckerson, 2011.
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The stop-motion filmography: A critical guide to 297 features using puppet animation. McFarland, 1999.
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Pettigrew, Neil. The stop-motion filmography: A critical guide to 297 features using puppet animation. McFarland & Co., 2008.
Book chapters on the topic "Films d'animation en stop-motion"
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Shadbolt, Jane. "Coraline’s ‘Other World’: The animated camera in stop-motion feature films." In Coraline. Bloomsbury Academic, 2021. http://dx.doi.org/10.5040/9781501347894.ch-006.
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Kılınçarslan, Yasemin. "A Woman Director in the History of Animated Film." In Advances in Media, Entertainment, and the Arts. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1774-1.ch011.
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Rapidly spreading computer technologies cause many classical art applications to disappear. One of these is the classic stop motion animation cinema. Animation film director Lotte Reiniger has an important place in the history of cinema both through her personality and films. The avant-garde style of the director puts her in the category of modern artists. Reiniger's technical and stylistic innovations in the art of animation are still important. In this study, the artistic life and film aesthetics of the Lotte Reiniger will be discussed and the elements that make it an auteur method will be examined through her animation films.
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Holliday, Christopher. "Pixar, Performance and Puppets." In The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.003.0007.
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As a way of remedying the wider absence of computer-animated film acting within scholarship on film and animated performance, this chapter makes a significant assertion that, in its production, the computer-animated film genre actually cross-pollinates stop-frame techniques with those associated with marionette theatre as part of its style of performance. In the workable geometry of its virtual bodies (skeletal structure, anatomical coherency, joint segmentation and armature), computer-animated films evoke the wealth of string marionettes (as well as rod or hand puppets) moved within a live performance setting. Such puppet-like forms of acting holds the computer-animated film distinct from performances in popular Hollywood cinema achieved through stop-motion frame-by-frame techniques and traditional hand-drawn methods. However, this analysis not only supports the central concept that puppetry has become a more significant concern of the computer-animated film than in other animated media, but also provides a counter-narrative to scholarship that affords generality to motion-capture as the dominant mode of cyber or virtual puppetry. Puppetry can be understood, I argue, as an altogether more inclusive category, and this chapter promotes puppetry as opening up performance in computer-animated films and revealing the sliding scale of puppet processes involved in its creation of acting.
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Motrescu-Mayes, Annamaria, and Heather Norris Nicholson. "Reimagining Boundaries: Amateur Animations." In British Women Amateur Filmmakers. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420730.003.0008.
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Very few amateur women filmmakers chose to focus on animation and none have been identified in the colonial settings considered in this book. This chapter discusses varied approaches to animation and suggests that early stop motion experiments were entertaining acts of story-telling and capturing scenes of childhood. Some filmmakers added animated titling sequences to their films and used special visual effects, either working on their own, with a partner or as part of a larger group as seen in films by the Grasshopper Group and Leeds Animation Workshop. Working at home characterises many of this chapter's examples although some teachers have explored animation with children of different ages. IAC records and reminiscences trace over eighty years of women's involvement including still active practitioners and many invisible and under-acknowledged contributors to Britain's professional mid century animation industry
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Erish, Andrew A. "1875–1904." In Vitagraph. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813181196.003.0002.
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Chapter One covers the early years of Vitagraph's founders, J. Stuart Blackton and Albert E. Smith, poor immigrants who met in New York as teenagers and pooled their talents to become vaudeville entertainers. An encounter with Thomas Edison's kinetoscope inspired them to become filmmakers. The partners' background in vaudeville would inform the family-friendly variety of their cinematic productions, a key to their success. Smith applied his ingenuity as a magician to several of their early films, which resulted in the development of stop-motion cinematography. In 1898 Blackton and Smith brought a third partner into their company, which they named Vitagraph. William T. Rock secured better vaudeville contracts and opened up other venues for the exhibition of their films. Rock was also instrumental in preventing Vitagraph from going out of business as it combated relentless litigation from Edison's attorneys over patents rights that crippled the company's production activities for several years.
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Kraaikamp, Nanette. "Drawings to Remember." In Drawn from Life. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748694112.003.0008.
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South African Artist William Kentridge’s Drawings for Projection films animate his charcoal drawings. This chapter analyses Kendridge’s animated film Felix in Exile (1994), for which forty charcoal drawings were amended and filmed during each step of the work’s stop-motion animation process. Felix in Exile addresses the traumatic history of South Africa during apartheid and provides a good meta-level insight into the process of drawing. This chapter explores how Kentridge’s drawing mechanisms and the representation of history, time and memory are interrelated. Questions examined include: How are mechanisms of drawing and animation related to history? How does Felix in Exile mediate time and memory? What is it exactly that causes this film’s affect? This chapter reflects on these questions by using Walter Benjamin’s philosophical texts, On the Concept of History (1942) and On the Mimetic Faculty (1933) in conjunction with theoretical literature on drawing in order to analyse Kentridge’s work.
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Näripea, Eva. "Shadows of Unforgotten Ancestors: Representations of Estonian Mass Deportations of the 1940s in In the Crosswind and Body Memory." In Journeys on Screen. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474421836.003.0007.
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The chapter focuses on recent cinematic representations of one of the most dramatic collective journeys of Estonian history – the massive Soviet deportations of Estonians in June 1941 and in March 1949. In mid-June 1941, about 9,000 Estonians, mostly women and children from urban areas, were crammed into cattle cars and exiled to Siberia; in late March 1949, over 20,000 people (more than 2.5% of the Estonian population, two thirds of them women), condemned as ‘the people’s enemies’ by the Soviet authorities, met the same destiny. Portraying these involuntary journeys, both Ülo Pikkov’s stop motion short Body Memory (Keha mälu, 2011) and Martti Helde’s feature-length (live-action) debut In the Crosswind (Risttuules, 2014) take up the complex questions of collective (national) memory and identity by means of experimental narrative and audiovisual form. This chapter investigates how these films engage with the particular historical events, and (collective) memories of them, utilising a study of national narratives on screen by David Martin-Jones (2006), which considers the concepts of national history and identity in the light of Gilles Deleuze’s (1989) and Homi K. Bhabha’s (1990) writings.