Relevant bibliographies by topics / History of animated film

Contents

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

Academic literature on the topic 'History of animated film'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "History of animated film"

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Šošková, Eva. "The Reincarnation of Animated Film." Slovenske divadlo /The Slovak Theatre 65, no. 4 (2017): 331–44. http://dx.doi.org/10.1515/sd-2017-0019.

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Abstract Throughout its entire history, Slovak animated film has had the form of figurative narrative art or craft. For this reason, the author of this study examines its post-1989 development through the prism of the body. Since the most visible change that has affected contemporary film aesthetics is the feminization of animated film in terms of authorship, the study primarily focuses on the ability of an animated body to represent gender and gender roles. It attempts to capture the most significant changes in the depiction of the body in authorial animated film before and after 1989, in more detail record the post-revolution changes in the body, and relate this to the changes in the institutional background of animated film. Animated bodies have developed from “ordinary people” from a dominant male point of view in socio-critical socialist production through female characters in interaction with clearly distinguished male characters in the films of female authors from the Academy of Performing Arts, the crisis of stereotypical masculinity in the production of male authors to independent women looking for their own identity inside themselves, without relating themselves to their male counterparts.
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Ainiyah, Kurniyatul, Nurul Hidayah, Faradilah Putri Damayanti, Indana Nuril Hidayah, Juniardi Nur Fadila, and Fresy Nugroho. "Rancang Bangun Film Animasi 3D Sejarah Terbentuknya Kerajaan Samudra Pasai Menggunakan Software Blender." JISKA (Jurnal Informatika Sunan Kalijaga) 5, no. 3 (2020): 164. http://dx.doi.org/10.14421/jiska.2020.53-04.

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Indonesian people's knowledge about the history of kingdoms in Indonesia was decreased. Now the existence of history books was shifted by the rapid development of technology. Realized this, many educational institutions were involved in technology to their learning media. To support that, the writer will use technology to create a learning media, named 3D short animated films. This kind of film turned out to attract the publics' attention, ranging from children to adolescents. The animated film will be designed with the theme of the first Islamic kingdom in Indonesia, named the Samudra Pasai kingdom with a duration of approximately 3 minutes. this animated film was made by Blender software version 2.79. The design of this animation aims to increase knowledge as well as learning media for students about the history of the Indonesian people, especially the history of Samudra Pasai kingdom.
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Sandi, Supriyadi. "Perancangan Animasi Stopmotion Pangeran Diponegoro Berbasis Sinematografi." Jurnal Komunikasi 10, no. 2 (2019): 145–52. http://dx.doi.org/10.31294/jkom.v10i2.6181.

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Nowadays animated films are developing rapidly in Indonesia. Animated films are in demand because they are entertaining, but rarely found educative animated films that tell about history. In general, historical documentation is only based on thick textbooks, and the placement of photos of heroes on classroom walls is generally not interesting for students to enjoy. This encourages researchers to make an animated film that has historical and educational value. With appropriate cinematography, a film can have high artistic value. In addition, the film can also convey information and implied messages that can be used as lessons in life. To attract students, stopmotion technique was chosen. This stopmotion animation is created by applying the sine matography technique so that what will be conveyed in this animated film can be conveyed well to the audience. All of this aims to make the animation look livelier, smoother in its movements, and produce a more attractive appearance and is liked by the audience. It is better to make a stopmotion animation in a detailed storyboard design, so there are no mistakes when making motion, camera angles, type shots, and video translation. Stopmotion filmmaking is inseparable from photography and cinematography
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Gordziejuk, Ewelina. "Polski film animowany – gdzie jest i dokąd zmierza?" Kultura Popularna 3, no. 57 (2018): 2–10. http://dx.doi.org/10.5604/01.3001.0012.7284.

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The article aims to define Polish animated film and its place within contemporary Polish cinematography as well as to predict its future. Based on the literature review, the author's own reflections and the opinions of critics, film experts and filmmakers, the author provides her own definition of an animated film, presents facts related to the history of the genre and speculates on the future of Polish animated film.
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Hubbes, László Attila. "New Hungarian Mythology Animated." Acta Universitatis Sapientiae, Philologica 5, no. 2 (2014): 223–40. http://dx.doi.org/10.2478/ausp-2014-0016.

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Abstract Hungarian civil religion in general, and various ethno-pagan spiritualities in special are deeply unsatisfied with the canonical version(s) of ancient national history. Screening history is an act of powerful pictorial mythologization of historical discourses and also a visual expression of national characterology. In recent years two animated films were released, telling the ancient history of Hungarians, but the stories they tell are very different. Not long after Marcell Jankovics’s Song of the Miraculous Hind1 (Ének a csodaszarvasról, 2002), a long fantasy animation based on ethnographic and historical data, another similar long animation: Heaven’s Sons (Az Ég fiai, 2010) started to circulate on YouTube and other various online Hungarian video-sharing channels. It seems as if the latter, an amateur digital compilation by Tibor Molnár, would have been made in response to the first film, to correct its “errors”, by retelling the key narratives. Built mainly on two recent mythopoetic works: the Arvisura and the Yotengrit (both of them holy scriptures for some Hungarian Ethno-Pagan movements), Molnár’s animation is an excellent summary of a multi-faceted new Hungarian mythology, comprising many alternative historical theses. My paper aims to present two competing images of the Nation on the basis of several parallel scenes, plots and symbolic representations from the two animations. A close comparative investigation of these elements with the help of the Kapitány couple’s mythanalytic method will show the essential differences between the two national self-conceptions expressed through the imaginary
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Cartwright, Lisa. "The Hands of the Animator: Rotoscopic Projection, Condensation, and Repetition Automatism in the Fleischer Apparatus." Body & Society 18, no. 1 (2012): 47–78. http://dx.doi.org/10.1177/1357034x11432562.

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This article is concerned with the affective relationship among bodies and film technologies in the process of building and using filmmaking instruments, taking as its object the early Rotoscope, a device patented by the legendary American animator Max Fleischer that entailed the projection of live-action film for use as a template in the drawing of animated figures, to which the live-action trace was thought to impart life-like, normative patterns of movement. Drawing from media archaeology, psychoanalytic theories of repetition, projection, and condensation, and object relations theory, this article offers an interpretation of some of the kinds of psychic interactions offered in animated film through traces of the Rotoscope’s production history found in the device’s patent drawings, its patent embodiments, and its published family legend. It is proposed that the device was the locus of a collective fraternal performance, serving as a shared ground for an array of condensations and displacements and enactments of repetition compulsion among the multiple bodies engaged in the production of the device, as well as among the multiple animated and live-action film bodies that crossed its production screens and patent pages. One objective of this article is to shift the interpretive and analytic focus in film studies from the filmstrip and the projected screen image to the relationship between bodies and technologies in the experience of making films, and making the filmic apparatus. A secondary objective of this article is to suggest that the approach to bodily movement embedded in the design of the Rotoscope was hardly normative. The device offered a means to stretch and distort both norms and stereotypes of human expression through movement. The rotoscoped body sometimes performed in ways that pushed the limits of viewer expectations about how a given body will, or should, move, in space or across the screen.
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Wright, Julie Lobalzo. "Animation and the Star Body." Film-Philosophy 23, no. 2 (2019): 194–211. http://dx.doi.org/10.3366/film.2019.0109.

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Animation has employed film stars throughout its long history; however, there have been few studies that have examined the relationship between film stardom and animation. This article explores the fantasy and illusion that is present through individual film stars and the medium of animation by investigating one particular example of the employment of a film star image within animation, Dwayne “The Rock” Johnson in Moana (Ron Clements and John Musker, 2016), and with a particular focus on the human and animated body.
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Juprinedi, Juprinedi, Arta Uly Siahaan, and Cahya Miranto. "ANALISIS MAKNA DENOTATIF DAN KONOTATIF DALAM FILM UPIN & IPIN EPISODE KENANGAN MENGUSIK JIWA." JOURNAL OF DIGITAL EDUCATION, COMMUNICATION, AND ARTS (DECA) 3, no. 01 (2020): 1–17. http://dx.doi.org/10.30871/deca.v3i01.1986.

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Representations of public life in recalling past events or history can be found, among others, in 3D animated films. An interpretation of connotative meaning, as the second layer meaning, arises when a symbol is associated with its psychological aspects, such as feelings, emotions, or beliefs, which are closely related to culture, knowledge, and history. This study aims to interpret symbols in the Kenangan Mengusik Jiwa episode of Upin & Ipin animated film for their denotative and connotative meaning to better understand the context of the story and the moral message conveyed. A questionnaire was used in this research to increase validity. In processing questionnaire data, a calculation is conducted using the Likert scale. The results of the study indicate that the main moral message conveyed in this episode is to never forget history or established culture. This interpretation is supported by results from questionnaire data.
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Roe, Annabelle Honess. "Absence, Excess and Epistemological Expansion: Towards a Framework for the Study of Animated Documentary." Animation 6, no. 3 (2011): 215–30. http://dx.doi.org/10.1177/1746847711417954.

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This article gives an overview of the history of animated documentary, both in regard to the form itself and how it has been studied. It then goes on to present a new way of thinking about animated documentary, in terms of the way the animation functions in the texts by asking what the animation does that the live-action alternative could not. Three functions are suggested: mimetic substitution, non-mimetic substitution and evocation. The author suggests that, by thinking about animated documentary in this way, we can see how animation has broadened and deepened documentary’s epistemological project by opening it up to subject matters that previously eluded live-action film.
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Krivulya, Natalia G. "Development of the Animated Poster in the First Half of the XX century." Journal of Flm Arts and Film Studies 8, no. 3 (2016): 19–33. http://dx.doi.org/10.17816/vgik8319-33.

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The genre of animated posters emerged at the dawn of animation. In 1899, A. Cooper an English director created one of the first movie-posters in the history of world animation. The need for movie-posters with propaganda characteristics arose during the period of the WW1. During that time, the genre of the animated poster had been developed and had even become a stimulus to the development of the animation and film industry. It had achieved its greatest success in the UK due to the advanced level of printed graphics, as well as the fact that the British pioneered the development of systematic promotion approaches. German animators also worked in the genre of animated posters, but they filmed mostly instructional movies which presented technical or military information in a clear and simple form. By the end of the WW1 the structure of movie posters had evolved from transparent to narrative. During the war the genre of the animated poster was not developed in Russia. After the war, propaganda film-posters disappeared from the screens. Their place was taken by mostly political, educational and promotional posters. The time of experimentation with figurative language, technology, and structure of the animated poster was in 1920-1930s. Themes, targets and the form of presentation had changed, but the function remained the same - informational and visual propaganda. As the commercial poster had developed predominantly in European and American animation, the release of political posters initiated the development of Soviet animation. Sentiment changes in global politics and the situation in Europe during the late 1930s which evolved into the WW2, once again stimulated the entertainers interest for the genres of political-propaganda, patriotic, and instructive posters. During the war the production of animated posters formed a considerable portion of all the animation filmed in Soviet as well as American studios. With the cessation of hostilities films in the poster animation genre almost disappeared from the screens.
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Dissertations / Theses on the topic "History of animated film"

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Baldwin, Frances Novier. "The Passage of the Comic Book to the Animated Film: The Case of the Smurfs." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84167/.

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The purpose of this study is to explore the influence of history and culture on the passage of the comic book to the animated film. Although the comic book has both historical and cultural components, the latter often undergoes a cultural shift in the animation process. Using the Smurfs as a case study, this investigation first reviews existing literature pertaining to the comic book as an art form, the influence of history and culture on Smurf story plots, and the translation of the comic book into a moving picture. This study then utilizes authentic documents and interviews to analyze the perceptions of success and failure in the transformation of the Smurf comic book into animation: concluding that original meaning is often altered in the translation to meet the criteria of cultural relevance for the new audiences.
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Graf, Matthew D. "The animation paradox : a study in believability." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1397373.

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Animation has been an integral part of the entertainment industry for over seventy years. What is it about animated films that make them just as, or even more, captivating than live-action films? While animation is most typically associated with fantasy or escapism, there is certainly an element of reality exploration that causes animation to be more believable. Through examination of this and previous creative projects, it was found that a balance of fantasy and reality exploration, along with other key factors, help to make animation successful in relating to the viewer.<br>Department of Telecommunications
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Hu, Tze-yue Gigi. "Understanding Japanese animation : from Miyazaki and Takahata anime /." Thesis, Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B24729954.

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Chow, Cheuk-wing, and 周卓穎. "Nostalgia, nature, and the re-enchantment of modern world in Hayao Miyazaki's anime." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B4839449X.

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The association between nostalgia, nature and disenchantment has been and still is a very common trope in cultural and literary studies (Saler 138) within the scope of modernity. In fact, it has almost become “a cliché of our time” (Saler 138) in which people often view modern experience as an oppressive status of disillusionment rather than a liberating condition of enlightenment. Since this thesis aims to open up and point at different dimensions of modernity and become “part of a grandiose modernist project yet to be finished” (Hu 23-4), I would like to use Miyazaki’s works to argue that modernity is never a simple, one-sided condition of being ‘disenchanted’ as proclaimed by many scholars. In order to pinpoint some of the contradictory impulsions and potentialities of the experience of modernity, this thesis would first start with a brief overview on the ideas of ‘disenchantment’ and ‘nostalgia’ and their relations to the experience of modernity. The second part would be a general introduction to Miyazaki’s anime, briefly introducing his works in terms of style, content, characterization and such. In particular, I would like to point out how Miyazaki’s works have created alter-tales about disenchanted modernity by showing the multiple facets of modern life and exploring the possibility to (re)enchant modern experiences through his childlike protagonists and the fantastical form of anime. Part three to five would be comprehensive textual analyses about Laputa: Castle in the Sky (1986), Nausicaa of the Valley of the Wind (1984) and Spirited Away (2001) respectively, examining their relationships with and responses to the ambivalent experiences of modernity. The concluding part of this thesis would reflect on the contribution as well as the limitation of my research in regards to the writing of modern experiences and the ongoing modernist project.<br>published_or_final_version<br>Literary and Cultural Studies<br>Master<br>Master of Arts
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Meachem, Dhugal. "Virtual worlds, non humans and power beams : a neoformalist analysis of the digital animation aesthetic in Hong Kong's mythical martial arts films." HKBU Institutional Repository, 2003. http://repository.hkbu.edu.hk/etd_ra/513.

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Kovacic, Mateja. "Technologies and paradigms of vision: from the scientific revolution of the Edo period to contemporary Japanese animation." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/317.

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This thesis is mainly concerned with uncovering the meanings and associations embedded in the field of popular culture production in Japanese and European sociocultural contexts, using a comparative approach to unearth the effects, materials, and paradigms of the technological and scientific discourses during the Scientific Revolution. Linking the fields of the anthropology of technology and science, popular culture, and material culture studies, the thesis offers a historical overview of the development of machines and visual technologies in the Edo period, arguing that visuality is the key to delayering the cultural history of technology and science in Japanese popular culture, animation in particular. The objective of this work, therefore, is to look at the assemblage of the scientific, technological, and philosophical discourses to unveil the cultural processes between optical regimes, scientific practices, and popular culture. In its emphasis on the interconnectedness of visual technologies and the field of popular culture production, the thesis asserts that scientific development, particularly under the influence of the Scientific Revolution and Japanese Rangaku scholarship, is closely tied with the function of entertainment in Japanese society. With the understanding of technology as a total social phenomenon that interlocks the material and the symbolic in a complex network, which produces meanings and associations, the thesis further stresses the view that intellectual history cannot be separated from material culture studies; it also grapples with a number of existing scholarships on the history of science, particularly their inattentiveness to cultural histories in their historical surveys of scientific development. Finally, this work closely examines Oshii Mamoru's Ghost in the Shell and its sequels and the anime TV series Psycho-Pass to explore the tangled responses to the ideologies of the Euro-American mode of modernity.
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Thornton, Andrew. "Ces't la vie : an animated film /." Online version of thesis, 1993. http://hdl.handle.net/1850/11773.

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Kochan, Elizaveta. "Creating a Short Animated Film with Cloth Characters." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/526.

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This creative thesis involved making an animated short film from scratch, dubbed “Laundry Day” for the time being. The film follows two sentient clothing characters, a hoodie and a pair of pants, who need to get out of their owner’s room to get to the laundry room after accidentally being left behind. Please watch the short here and use the password “goodiehoodie”: https://vimeo.com/415387205 This was a time consuming, challenging, and multifaceted project, but provided an accurate glimpse into how feature animation is made. The process of making any project like this is commonly called a pipeline, and can be simplified to seven categories: Story, Character, Environment, Animation, Effects, and Rendering. This paper will go into each of these and explain the technical and creative challenges I had to overcome to reach the final product.
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Děcká, Eliška. "Současná praxe nezávislé autorské animace v orální historii autorek působících v New Yorku a Praze." Doctoral thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-373534.

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Edgren, Justin. "ANIMATING DYSTOPIA: AN ANALYSIS OF MY ANIMATED FILM, P19." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/theses/1099.

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In this paper, I discuss the modern socio-technological state of global social control and its representation in my stop motion animated film P19. I will compare the ways in which social control has changed and remained the same from September 11, 2001 to the present. I will discuss the surveillance and control grids permeating all communication networks and how humans are interacting with them. I will conclude with an analysis of some of my techniques and processes in stop motion animation.
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Books on the topic "History of animated film"

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Stoffman, Daniel. The Nelvana Story: Thirty Animated Years. Nelvana Publishing, 2001.

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Giulietta, Fara, and Cosulich Oscar, eds. Future Film Festival, 2005. Pendragon, 2005.

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Before Mickey: The animated film, 1898-1928. University of Chicago Press, 1993.

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Future, Film Festival (9th 2007 Bologna Italy). Future Film Festival, 2007: Www.futurefilmfestival.org. Pendragon, 2007.

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Giulietta, Fara, and Cosulich Oscar, eds. Future Film Festival, 2006: Www.futurefilmfestival.org. Pendragon, 2006.

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Giovanni, Ricci, and Vanelli Marco, eds. Animazione in cento film. Le mani, 2013.

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Sitkiewicz, Paweł. Miki i myszy: Walt Disney i film rysunkowy w przedwojennej Polsce. Słowo/obraz terytoria, 2012.

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Créateurs & créatures: 50 ans de festival international du film d'animation d'Annecy = Creators & creatures : 50 years of the Annecy International Animation Film Festival. Glénat, 2010.

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1962-, Daly Steve, ed. Toy story: The art and making of the animated film. Hyperion, 1995.

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Lasseter, John. Toy story: The art and making of the animated film. Disney Editions, 2009.

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Book chapters on the topic "History of animated film"

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Bendazzi, Giannalberto. "The First Feature Length Animated Film in History." In Twice the First. CRC Press, 2017. http://dx.doi.org/10.1201/9781315149004-6.

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Boukary, Sawadogo. "The African animated film." In African Film Studies. Routledge, 2018. http://dx.doi.org/10.4324/9780429508066-6.

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Lee, Newton, and Krystina Madej. "Capturing Life in Animated Film." In Disney Stories. Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-2101-6_7.

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Madej, Krystina, and Newton Lee. "Capturing Life in Animated Film." In Disney Stories. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42738-2_6.

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Glynne, Andy. "Drawn From Life: The Animated Documentary." In The Documentary Film Book. British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_7.

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Tang, Rui, and David Whitley. "From Dogpower to Ratropolis: London in Animated Film." In London on Film. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64979-5_12.

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Hagener, Malte, and Michael Töteberg. "Film history." In Film — An International Bibliography. J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-03686-5_2.

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Rosenstone, Robert A. "History on film." In History on Film/Film on History. Routledge, 2017. http://dx.doi.org/10.4324/9781315113654-1.

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Rosenstone, Robert A. "Epilogue." In History on Film/Film on History. Routledge, 2017. http://dx.doi.org/10.4324/9781315113654-10.

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Rosenstone, Robert A. "To see the past." In History on Film/Film on History. Routledge, 2017. http://dx.doi.org/10.4324/9781315113654-2.

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Conference papers on the topic "History of animated film"

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Baginski, Tomek, and Platige Image. "Animated history of Poland." In ACM SIGGRAPH ASIA 2010 Computer Animation Festival. ACM Press, 2010. http://dx.doi.org/10.1145/1900264.1900269.

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Piechnik, Agnieszka. "Animated History of Poland." In ACM SIGGRAPH 2010 Computer Animation Fesitval. ACM Press, 2010. http://dx.doi.org/10.1145/1836623.1836628.

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Kusumawardhani, Mega Iranti, and Muhammad Cahy Daulay. "Indonesian Traditional Story Content in Animated Short Film: Case Study Students’ Animated Short Film Final Project." In International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imov-18.

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KUSUMAWARDHANI, MEGA IRANTI, and MUHAMMAD CAHYA DAULAY. "Indonesian Traditional Story Content in Animated Short Film: Case Study Students’ Animated Short Film Final Project." In International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imoviccon-18.

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Beyer, Dirk, and Ahmed E. Hassan. "Animated Visualization of Software History using Evolution Storyboards." In 2006 13th Working Conference on Reverse Engineering. IEEE, 2006. http://dx.doi.org/10.1109/wcre.2006.14.

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Neuman, Robert. "Concurrent monoscopic and stereoscopic animated film production." In SIGGRAPH 2009: Talks. ACM Press, 2009. http://dx.doi.org/10.1145/1597990.1598028.

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Sharma, Rajesh, and Brian Wherry. "Software Development for Disney Animated Feature Film Production." In 2009 Agile Conference (AGILE). IEEE, 2009. http://dx.doi.org/10.1109/agile.2009.60.

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Wang, Cong, Dale Mayeda, Jacob Rice, Thom Whicks, and Benjamin Huang. "Cooking Southeast Asia-inspired Soup in Animated film." In SIGGRAPH '21: Special Interest Group on Computer Graphics and Interactive Techniques Conference. ACM, 2021. http://dx.doi.org/10.1145/3450623.3464651.

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Qin, Jianbo. "The Music Aesthetic Analysis of the Animated Film “Coco”." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.76.

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Ambarsih, Yully, Imam Santosa, Hafiz Azis Ahmad, and Irfansyah Irfansyah. "Identified Characters, Dialogue of Ethnicity in Indonesia Animated Film." In Proceedings of the International Conference on Business, Economic, Social Science and Humanities (ICOBEST 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icobest-18.2018.58.

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Reports on the topic "History of animated film"

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Sanders, Eulanda A. Film, Fashion and Form: A Combined Means to Teach Costume History and Fashion Illustration. Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-544.

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You might also be interested in the extended bibliographies on the topic 'History of animated film' for particular source types:
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