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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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Lemon, Nicole E. "Previsualization in Computer Animated Filmmaking." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345569188.
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Tronerud, Nathanael D. ""Maly Trebacz"| An original score for a short animated film." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1524171.
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<p> This project report will provide a description and analysis of the original musical score, as composed and arranged by the author, for the short animated film <i>Mały Tre¸bacz,</i> which was produced in collaboration with the film's director, Monica Kozlowski. It will detail the process of the music's composition, including those decisions which were made whilst scoring the picture, the reasons and justifications for so doing, a scene-by-scene analysis of the film and accompanying music, background information concerning the film's origins and influences (including the historical origins of the narrative), the role of the film's score in communicating the story of the film to the audience, how certain choices in scoring impacted the direction of the film's narrative, and a short discussion of the major themes and musical motifs heard within the score (including its incorporation of the <i>Hejnal mariacki</i>).</p>
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Reichl, Veronika Anna. "Meaning matches meaning : animated film as metaphor for philosophical texts." Thesis, University of Portsmouth, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.478932.
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Mee, Laura. "Re-animated : the contemporary American horror film remake, 2003-2013." Thesis, De Montfort University, 2014. http://hdl.handle.net/2086/10596.
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This doctoral thesis is a study of American horror remakes produced in the years 2003-2013, and it represents a significant academic intervention into an understanding of the horror remaking trend. It addresses the remaking process as one of adaptation, examines the remakes as texts in their own right, and situates them within key cultural, industry and reception contexts. It also shows how remakes have contributed to the horror genre’s evolution over the last decade, despite their frequent denigration by critics and scholars. Chapter One introduces the topic, and sets out the context, scope and approach of the work. Chapter Two reviews the key literature which informs this study, considering studies in adaptation, remaking, horror remakes specifically, and the genre more broadly. Chapter Three explores broad theoretical questions surrounding the remake’s position in a wider culture of cinematic recycling and repetition, and issues of fidelity and taxonomy. Chapter Four examines the ‘reboots’ of one key production company, exploring how changes are made across versions even as promotion relies on nostalgic connections with the originals. Chapter Five discusses a diverse range of slasher film remakes to show how they represent variety and contribute to genre development. Chapter Six considers socio-political themes in 1970s horror films and their contemporary post-9/11 remakes, and Chapter Seven focuses on gender representation and recent genre trends in the rape-revenge remake. This thesis concludes with a discussion of the most recent horror remakes, and reiterates the findings from the preceding chapters. Ultimately, genre remakes remain prevalent because they are often profitable and cater for a guaranteed audience. They are commercial products, but also represent some of the more creative entries in horror cinema over the last decade, and their success enables further productions. Rather than being understood as simplistic derivative copies, horror remakes should be considered as intertextual adaptations which both draw from and help to shape the genre.
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Nagtegaal, Jennifer. "(Re)animating history : animated documentaries in contemporary Hispanic cinema." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/60174.
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Animation for adult audiences is a booming sector in Hispanic cinema in both fiction and non-fiction films alike. This is particularly true of the documentary genre, in which Spanish and Latin American filmmakers are employing various animation techniques to essentially (re)animate particularly traumatic periods of history. That is to say, they do the work of reconstructing or re-creating history through the cinematic practice of animation. Jairo Carrillo and Oscar Andrade’s Pequeñas voces (Colombia, 2010), María Seaone’s Eva de la Argentina (Argentina, 2011), and Manuel H. Martín’s 30 años de oscuridad (Spain, 2012) do this work of reconstructing periods of political unrest through a blending of animation and archival materials. The recent turn to animation in recounting historical narratives leads us to contemplate the purpose and effect of veering away from conventional live-action portrayals in documentary history. Accordingly, our first research question asks why and how animation is effective as a representational strategy in the re-telling of the historical moments and subjects that the films in our corpus depict. To answer this first research question, we consider the three functions of animation proposed by leading animated documentary scholar Annabelle Honess Roe (2013): non-mimetic substitution, mimetic substitution, and evocation. Beyond being linked by their exemplification of Roe’s three functions of animation, the films in our corpus all have a relationship to the uncanny that arises directly from the juxtaposition of the animated and the audiovisual archival elements. Animated film scholarship has begun to draw connections between Sigmund Freud’s (1919) notion of the ‘uncanny’ and films that combine animation and the archival. Accordingly, our second research question asks: in what ways does the ‘uncanny’ animated aesthetic in these three films manifest itself, and to what end?<br>Arts, Faculty of<br>French, Hispanic, and Italian Studies, Department of<br>Graduate
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Galpin, Kennedy L. "DuIK Bassel in Usage in After Effects and an Animated Short Film." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/480.
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This thesis was made with the goal of creating a 2D short film in the end, with mainly using a program that is not normally used for character animation: Adobe After Effects. With the usage of an originally French plugin called DuIK Bassel (v16.0.9), I was able to create a model in Adobe Photoshop and then put it into After Effects. When the files were imported, the plugin would then assist in the rigging process, wherein I would be able to create the character’s rig and make the 2D model within the program. This document discusses the entire creation of the short film that I progressed through, from the storyboarding, character creation, rigging process, and putting the elements together.
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Holliday, Christopher David. "From the Light of Luxo : the new worlds of the computer-animated film." Thesis, King's College London (University of London), 2014. https://kclpure.kcl.ac.uk/portal/en/theses/from-the-light-of-luxo(b871b59b-e72d-47fc-8053-755313c182c1).html.
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Emerging at the intersection of feature-length animated cinema with computer-generated imagery (CGI), and preceded by a cycle of preparatory shorts released during the 1980s, the computer-animated film has become the dominant form of mainstream animation. But while the field of animation studies has expanded dramatically in the last twenty years, reflective of increased levels of academic interest in the subject, the computer-animated film as an example of feature-length narrative cinema remains rarely investigated. This research argues that computer-animated films, including their continued evolution and mutation, can be critically evaluated through the rubric of genre. An approach is developed which elaborates upon their unique visual currencies and formal attributes, reconceptualised and organised as a generic framework that supports the study of computer-animated films as a new genre of contemporary cinema. This thesis is therefore centred on locating where the features of this genre may reside, individuated across three chapters concerned with issues of fictional world creation, performance and animated acting, and comedy. These subjects have been identified for their significant, and often highly problematic, relationship to traditions of animated filmmaking. Each chapter sets out to situate the computer-animated film within these traditions, before pursuing fresh lines of enquiry that target directly it’s determining generic codes, narrative conventions and common aesthetic tropes. Informed throughout by focused textual analysis of individual computer-animated films, the genre is discussed and debated through its relevant connections to a variety of topics. These include cinephilia and intertextuality, anthropomorphism, junk art, puppetry and the Western tradition of performing objects, film sound theory, narrative literary theory, and seventeenth-century Mannerist art. Animatedness is a term that is developed across the thesis, invoked to promote the key specificities of this new digital cinema and the richness, energy and vigour of its film worlds. This thesis is framed by the question of the particular ‘animatedness’ of computer-animated films, and my research reveals the distinct terms and novel perspectives through which this otherwise undiscovered genre of contemporary film can be examined.
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Cecil, Amber. "Mental Process Narrative Film: Design Techniques for Visualizing Character Psyche in Animated Shorts." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1285009380.
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Davis, Amy Michele. "Disney's women : changes in depictions of femininity in Walt Disney's animated feature films, 1937-1999." Thesis, University College London (University of London), 2001. http://discovery.ucl.ac.uk/1382007/.
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The animated films of Walt Disney have played an important role in American culture. Most Americans, either during childhood or adulthood, have been exposed to at least some of them. The films themselves have, in some respects, reflected American society and culture. They may also, at least to some extent, have influenced them. As academic scholarship on the history of Hollywood film has grown, various aspects of Disney's influence and cultural position have likewise come to be the focus of study. In recent decades, also, there has been a continually greater interest in the role of women in American society and how that role is constructed. Uniting both these scholarly interests, this thesis analyses how Disney films depict femininity, and the ways in which such depictions correspond with those in the larger arena of Hollywood film. To make these issues more comprehensible, it describes the beginnings of animated film in the United States, together with the early career and works of Walt Disney. In order to cast light on the manner in which such portrayals have changed over time, the films examined are analysed in relation to three particular time periods: 193 7-67, 1967-89, and 1989-99. By examining the depictions to be found within individual films, and comparing these depictions both with one another and with selected live-action, mainstream Hollywood films of the same eras, a better understanding of the make-up of the Disney films as a body of work is achieved, and a corrective offered to some of the misconceptions of Disney to be found within American society in general.
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Whybray, Adam Gerald. "Animate dissent : the political objects of Czech stop-motion and animated film (1946-2012)." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/17936.
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Czech animated allegories of the period of 1946 to 2012 encode their political ideas in objects and things, rather than through conventional narrative techniques such as voice-over or dialogue. The existence of these objects in cinematic time and space is integral to this process of political encoding, which is achieved through the selection of objects, cinematography and editing. In some of these films, time and space themselves are politically encoded. Materialist critical approaches to the film texts can help illuminate these latent political meanings. 'Thing theory', which puts a critical emphasis upon reading objects and things, exposes the politically resistant role of simple, domestic objects in the films of Jiří Trnka and Hermína Týrlová. Trnka's cinema in particular defends traditional, pastoral modes of being in which the individual is rooted within their environment. 'Actor-network-theory', a means of interrogating the relationship between actors in networks, resonates with the political ideas present in the cinema of Surrealist artist Jan Švankmajer. Švankmajer's central political project is an interrogation of anthropocentrism and attempts by humans to exert systems of control and order upon non-human actors. Rather than celebrating functional, domestic objects like Trnka or Týrlová, Švankmajer's cinema is radically anti-utilitarian. Objects are depicted as things that resist categorisation. 'Rhythmanalysis' – a mode of poetic-scientific investigation developed by philosopher Henri Lefebvre – can be used to unpick the rhythms in the animations of Jirí Barta. Barta's films critique rational clock time and the design of urban spaces through the use of editing patterns and repetition. Finally, all three materialist approaches in combination help illustrate the political content of animated films (and live-action films with significant passages of animation) produced in the wake of the Velvet Revolution. Such films often question the relationship between the individual Czech citizen and the Czech capital city of Prague. The animated films of the aforementioned directors and historical periods, tend to give precedence to the material world of objects over the semiotic world of humans, though these two realms are often shown to be inter-dependent. To this end, the political messages of the films are conveyed not through language, but through images and things.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the Twenty-First Century American Musical." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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Carter-Hansen, Jill, University of Western Sydney, and of Performance Fine Arts and Design Faculty. "Travelling light - with a case for discovery : the making of the film Songs of the Immigrant Bride." THESIS_FVPA_XXX_CarterHansen_J.xml, 1997. http://handle.uws.edu.au:8081/1959.7/680.
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This paper examines the background, development and production of the film ‘Songs of the immigrant bride’ and explains the general decisions made throughout the creation of the film. It proposes the idea that visuals, combined in an abstract narrative with music/sound, can create a language outside that generally accepted in real-time film (generally) and animation (specifically) to create a communicating ‘mythopoetic’ film-style from combined, selected elements, of both genres. Some of the issues presented and examined are: how relevant background experiences and influences directed the image-making in the production of the film; the experimental use of symbols and metaphor for an ‘evocative’ narrative in both visuals and sound, and the use of these within the film; the relevance of the theme of journey to viewers of the film; the part played by ‘Chance’ as an accepted phenomenon in shaping the direction of the film; production considerations, other than those of image and sound, to enhance audience perception and understanding of the film; ‘understanding’, as a physical as well as an intellectual phenomenon<br>Master of Arts (Hons)
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Scheuermann, Melina. "Animated Memories : A case study of the animated documentary 'Saydnaya – Inside a Syrian Torture Prison' (2016) and its potential within social memory." Thesis, Stockholms universitet, Filmvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-185061.
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Through its ability to create images of non-representable incidents animation expands the range and depth of what documentary can represent and how. This master thesis investigates the potential of animated documentary within social memory exemplified by the interactive animated documentary Saydnaya – Inside a Syrian Torture Prison (Forensic Architecture, 2016). By applying a feminist spatial approach, I aim to contribute to the understanding of the role of animated documentary images within social memory.Embodied and haptic spectatorship as well as haptic materiality are crucial in this case study due to the nature of the virtual screen images and interactive navigation (compared to montage) of the architectural 3D model. Testimonies and evidence presented in documentary film require a discursive establishment of truth. Indexicality is discussed in this regard and eventually a theoretical shift towards movement suggested. I demonstrate that Saydnaya extends the strategies in animated documentary that have been in focus so far, such as representing mental states and subjective experiences, by deploying methods of forensic aesthetics. This opens up novel ways to establish truth claims and persuasion in documentary filmmaking that require future research.
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Amir, Shahkarami Sayed Najmedin. "The pre-production phase in the making of Iranian full-length animated films 1979-2012." Thesis, University of West London, 2013. https://repository.uwl.ac.uk/id/eprint/611/.
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As the pre-production phase is a vital process in feature-length animation filmmaking, this study focuses on the arrangement of this phase in Iranian animation film projects. They are Mouse and Cat, Tak Taz, Namaki & The Giant, The Sun of Egypt, Jamshid & Khorshid, Simorq’s Heart and Tehran 2121. In support of the investigation of these, the research reviews the background of Iranian cinema, television and animation. It looks also at the emergence and evolution of the pre-production phase in Disney and Pixar studios. Moreover, comparisons of pre-production phases implemented by Japanese, British and Pixar filmmakers are complementary contexts highlighting this process. It comprises four key stages: writing stages e.g. script; visualization stages e.g. concept design; scene setting e.g. storyboard, and a rough version of a film in the form of a story reel (Yun Mou et al, 2013). Implementation of these stages needs strategies to be employed by successful filmmakers. Based on such facts, a theoretical comparison analyses the arrangement of the pre-production phase in the seven projects. The findings indicate two types of factors affecting the arrangement of this phase. Indirect factors such as the dependency on management by government and its financial support constitutes issues influencing productions. Direct factors include filmmakers’ abilities and their direct actions on production.
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Solbrig, Heide Frances. "Film and function : a history of industrial motivation film /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3142448.
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Aguas, Alexandra. "Tesla's Totally True Adventures." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/977.
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A half-hour adult animated pilot partially based on eccentric inventor Nikola Tesla.
Logline: Brilliant engineering student Dot must keep her boss, famed eccentric inventor Nikola Tesla, out of trouble as his unhinged contraptions wreak havoc on 1920s New York City while he battles his longtime rival, Thomas Edison.
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Trowell, Melody Cukor-Avila Patricia. "A test of the effects of linguistic stereotypes in children's animated film a language attitude study /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3605.
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Trowell, Melody. "A test of the effects of linguistic stereotypes in children's animated film: A language attitude study." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3605/.
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This study examined the claim that animated films influence childrens' opinions of accented-English. Two hundred and eighteen 3rd through 5th graders participated in a web-based survey. They listened to speakers with various accents: Mainstream US English (MUSE), African American Vernacular English (AAVE), French, British, and Arabic. Respondents judged speakers' personality traits (Work Ethic, Wealth, Attitude, Intelligence), assigned jobs/life positions, and provided personal information, movie watching habits, and exposure to foreign languages. Results indicate: (1) MUSE ranks higher and AAVE lower than other speakers, (2) jobs/life positions do not correlate with animated films, (3) movie watching habits correlate with AAVE, French, and British ratings, (4) foreign language exposure correlates with French, British, and Arabic ratings.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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Ben, Ayed Maya. "Le cinéma d'animation en Tunisie : genèse et évolution (1965-1995)." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0047.
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Ce travail cherche à comprendre comment le cinéma d’animation en Tunisie, une pratique artistique « en marge », à la fois dans son monde de l’Art et dans la société dans laquelle elle est produite, puisse s’ériger en tant que vecteur de contestation dans un contexte autoritaire. Il s’agit de tracer l’histoire méconnue de cet art depuis sa genèse et sur toute la période étudiée (1965-1995). Une histoire qui se confond avec celle des changements sociopolitiques du pays sous les deux régimes autoritaires postindépendance. Nous entendons dégager la ou les forme(s) de contestation en interrogeant, d’une part le matériau filmique etd’autre part les sources orales, mémoires vivantes de cet art. Nous confrontons deux discours celui du régime (du centre) et celui de l’art (la périphérie) afin de révéler le mécanisme de formulation du propos contestataire dans le cinéma d’animation tunisien<br>This work seeks to understand how animation in Tunisia – an artistic activity on the fringes, both in the art world and in the society in which it is produced - became a vehicle for political protest within an authoritarian context. It recounts the hitherto untold history of this art form together with the socio-political changes under the two post-independence authoritarian regimes. We intend to reveal the form(s) of protest by examining, on the one hand, the cinematic material and, on the other, live testimonials, first-hand memories of the art form. We confront two different types of rhetoric, that of the regime (core values) and the art of animation(marginal culture) to reveal the mechanisms used to formulate the protest statements in Tunisian animation
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Chambers, Amy Catherine. "Film and history : 'Planet of the Apes' as history." Thesis, Bangor University, 2013. https://research.bangor.ac.uk/portal/en/theses/film-and-history--planet-of-the-apes-as-history(39b22b04-8e3d-4ede-a115-88157aba52ca).html.
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This thesis contends that all types of film hold historical value and should be appreciated as relevant and valuable sources for contemporary historians. It is argued that feature films, and in particular fictional feature films, are overlooked as sources of information for scholars analysing contemporary history. Planet of the Apes (dir. Franklin J. Schaffner, 1968) is used as a case study to indicate the breadth of information available within the complex audio-visual text. This study contributes to the study of the under-researched film Planet of the Apes that holds an important place within the history of the American science fiction genre. The film is worthy of study because it can be understood as a countercultural document. It reflects upon, engages with and at times critiques the complexities of the political and social culture of the United States in the 1960s. Close analysis of the film provides insight into the attitudes of the filmmakers and their intended audience revealing a intricate commentary on a broad array of concerns and movements including the civil right movement, the women’s liberation movement, the Vietnam War and the fear of the advancement and proliferation of nuclear technology. Fictional feature films, such as Planet of the Apes, can and should be used to provide a better understanding of a particular historical period supplementing the archival materials traditionally consulted by historians. Film is interpreted in this thesis as a primary source deserving of respect and incorporation into the study of contemporary history.
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Finkelstein, Seth. "Toonmates." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/987.
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It's a dream come true when flesh-and-blood fanboy Alex Kepple moves in with cartoon former child star Roy Thompson. Now, he just has to hide that his family are the ones gentrifying the toon town he now calls home.
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Mercer, Joanne. "Imag(in)ing God in animation : towards a theological understanding of the textuality of the animated film." Thesis, University of Wales Trinity Saint David, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683340.
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Carrière, Louise. "Les films d'animation à l'O.N.F. (1950-1984) et la protestation sociale /." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75929.
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The animated film in Canada has come of age and may be regarded as a distinct genre in Canadian cinema. Animated films produced in Canada can now be ranked with the works of other artists, including docudrama films. In this study, we show that, during their formative periods, Canadian authors of animated films shared a number of preoccupations with their fellow Quebec literary and pictorial artists, and cinematographers, the most important of which was a commitment to social protest.<br>This study is a detailed analysis of some 250 short animated films produced at the National Film Board between 1950 and 1984. In their choice of themes, frequent didactic stance and experiments with image and sound, almost all animated film creators are seen to be engaged in questioning the status quo and/or calling for social and political change. Their films might be best characterized as exploratory, informative and persuasive. The analysis permits us to further classify the films as contributions made by Canadian men or women, English- or French-speaking animators, and foreign guests.<br>In this study we have paid particular attention to the historical, esthetic and socio-cultural influences on the development of the contemporary animated film in Quebec during the different stages of its evolution.
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Harvey, Louise, and n/a. "The Best of Both Worlds: The Application of Traditional Animation Principles in 3D Animation Software." Griffith University. Griffith Film School, 2007. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070810.105026.
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This research assesses the skills and knowledge necessary for the creation of animation in the 3D computer medium. It responds to the argument that students of this new form of animation must learn to apply principles and theories of animation that had their genesis in the early years of traditional, hand-drawn animation (Kroyer, 2002). Many industry notables argue for the use of traditional animation principles in 3D computer animation. John Lasseter, executive vice president at Pixar studios in the United States, represents one such example. He states that 'These principles were developed to make animation, especially character animation, more realistic and entertaining. These principles can and should be applied to 3D computer animation' (Lasseter 1987). The importance of animation principles in all animation mediums is stressed by Oscar-winning traditional animator Gene Deitch. He states that 'Every animated film made today uses those same basic principles developed at the Walt Disney studios during the 1930s. They still apply, no matter which technology is used' (2001). This research report examines the validity of this argument and identifies the tools, principles, and procedures that professional 3D animators are using. Central to this research is the dynamic of the contemporary relevance of traditional animation as an aesthetic, craft and economic entity. Most importantly this research considers how that dynamic might translate into the teaching of 3D animation courses. It is claimed that the findings of this research benefits 3D animation teachers, students, and those who employ them. To conduct on-site research with professional animators, this study enlisted the participation of a small number of animation studios in south-east Queensland, Australia by ensuring the protection of their Intellectual Property. Close observation of their working practices was made and numerous secondary sources of information (3D animation tutorials, books, DVDs, software manuals etc.) examined in order to locate the tools, processes, and principles that CG animators engaged. The findings were applied and critically assessed by means of a practical project (a seven-minute 3D-animated film) which was created concurrently with the research. Recommendations were formulated as to the most useful tools, processes, and principles for the student of computer animation by way of a revision of the existing Queensland College of Art syllabus for teaching computing animation. What follows is an account of the development and context of the project, the research methods applied, and critical analyses of the findings. The research concludes that it is necessary and advantageous to apply traditional animation skills to 3D computer work.
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Staben, Julia L. "The Cartoon Effect: Rethinking Comic Violence in the Animated Children's Cartoon." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1532695541735552.
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Hodges, Peter. "Sound & vision : towards a definition of the dialogical interactions between image and sound effect in animated film." Thesis, University of South Wales, 2017. https://pure.southwales.ac.uk/en/studentthesis/sound--vision-towards-a-definition-of-the-dialogical-interactions-between-image-and-sound-effect-in-animated-film(b4175cec-c2c9-4e9c-bb66-048a50b580ec).html.
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The introduction of synchronised sound to moving pictures brought the birth of a new form of entertainment, the sound film. As a contemporary moving image medium to the live action film, animated film also successfully adopted synchronised sound. The process of animation is, by its nature, inherently silent so any use of sound involves decisions away from the creation of the image. Thus, there are many opportunities for an inventive audiovisual dialogue to affect an animated film's narrative intention. The marriage of sound to image was initially thought to provide two opportunities of interpretation. The first, that the sound could simply match the expectations of everyday life by working in parallel with the visual action, supporting it in a realistic manner. The second suggested enhancing the narrative by providing sound information that acted in counterpoint to the displayed visual, thus providing a new, different interpretation of meaning to this audiovisual event. In film, a dialogue between sound and image can be created through applying a combination of parallel and counterpoint sound throughout a film's duration. However, after ninety years of the sound film, are there any alternative definitions of audiovisual meaning other than in parallel or counterpoint? To investigate this variation in the interpretation of meaning, this study defined a creative methodological framework that considered sound design choices and their relationship to meaning within animated film, and recognised the influences within animated film production on the sound design decisions made. These formed the hermeneutic categories of sound effect choice, and the physical and meta-influences that inform decisions regarding the chosen sound effects. This framework was developed and applied to case studies using an action research approach. The study concludes that a creative methodological framework for sound effect planning in animated film provides a useful understanding and application of the range of influences in animated film sound production. The research also illustrates that the framework's integral hermeneutic categories provide a valid expansion of the parallel- counterpoint position with regard to informing choice and meaning in sound effect planning. Finally, the study recognises that the framework presents a workable methodology to apply to the sound effect planning process in animated film.
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Bornia, Ingrid. "Film och historia Lärares bruk av film i den svenska grundskolans historieundervisning. Film and history The Use of Film in History Teaching in Swedish Compulsory School Ingrid Bornia." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-31066.
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SammanfattningI denna uppsats har jag har valt att fokusera på hur film används i den svenska grundskolans obligatoriska historieundervisning i årskurserna 7-9. Tanken är att belysa hur film används som redskap och komplement i undervisningen och på vilket sätt filmen följs upp. Undersökningen har visat att användandet av film kan fungera som komplement i undervisningen, då detta i mångt och mycket kan ge en djupare förståelse och inblick i människors livsvillkor och samhällets förändringar genom historien. Men det är själva uppföljningen och bearbetningen av filmen som är avgörande om historiefilmer ska fungera i undervisningssyfte. Undersökningen utfördes som en halvtstrukturerad kvalitativ intervju. Detta val av förfarande grundar sig i att jag var ute efter så öppna svar som möjligt, vilket gav respondenterna möjlighet att prata mer öppet. Undersökning har visat att användandet av film i historieundervisningen är ett av många redskap som läraren kan använda sig av för att motivera eleverna för ämnet historia. Undersökningens resultat har även visat att eftersom många av dagens grundskoleelever har stora språksvårigheter, kan det bli svårt för läraren när denne ska välja film. Men trots det faktum att många grundskoleelever har språksvårigheter, borde detta inte vara ett hinder när läraren väljer att visa film i historieundervisningen. Anledningen är att tittaren i mångt och mycket faktiskt förstår vad filmen handlar om även om denne inte förstår vad skådespelarna säger. Det är alltså möjligt för eleven att hänga med i filmen och förstå dess huvudsakliga handling även om skådespelarna talar ett annat språk.
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Lobodenko, Kateryna. "Images fixes – Images animées ˸ les expériences communicables de l’exil russe en France (1920 – 1939)." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030053.
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Cette thèse se propose d’explorer, à travers la figure de l’émigré russe dans le cinéma et la caricature de presse parus en France dans l’entre-deux-guerres, les différentes représentations de la Russie. Il s’agit, tout d’abord, de la Russie en exil, une Russie mosaïque regroupant de nombreuses ethnicités venues de différents endroits de l’ancien Empire russe, comprenant, en elles-mêmes, une large palette sociale (des aristocrates et notables aux personnes sans rang, ni profession), professionnelle (artistes, hommes politiques, militaires, ouvriers), politiques (monarchistes, libéraux, révolutionnaires socialistes, anarchistes), religieuse, éducative et culturelle. Nous nous intéressons alors aux façons dont cette Russie en exil est perçue et représentée par les artistes nostalgiques de leur passé, caricaturistes et cinéastes émigrés, mais aussi par les réalisateurs français passionnés de l’orientalisme et de la « mode russe » qui en découle. En deuxième lieu, nous appréhendons les manières dont les artistes émigrés traitent de la Russie soviétique, à savoir : des dirigeants bolcheviques, des Soviétiques ordinaires et de leur quotidien. Nous nous penchons, également, sur la notion d’expérience communicable, employée par Walter Benjamin, et sur les différentes façons dont l’expérience de la vie en exil pourrait être transmise au public émigré et français<br>This thesis proposes to explore different representations of Russia through the figure of the Russian emigrant in the film and press cartoons published in France in the inter-war period. First of all, it discusses Russia in exile, a mosaic Russia which contains numerous ethnicities hailing from various locations of the former Russian Empire. These ethnicities thus comprise a large palette of social features (from aristocrats and notable people to those without any titles or professions), professional ones (artists, politicians, military men, workers), political ones (monarchists, liberals, socialist revolutionaries, anarchists), religious, educational and cultural ones. We are therefore interested in the ways that this Russia in exile is perceived and represented by the artists who are nostalgic of their past, emigrant caricaturists and film-makers, as well as French film directors who were passionate about Orientalism and the subsequent “Russian fashion”. Secondly, we capture the ways in which the emigrant artists deal with Soviet Russia, namely the Bolshevik leaders, ordinary Soviet people and their everyday lives. We also look at the notion of communicable experience, which is employed by Walter Benjamin, and different ways in which the life in exile could be communicated both to the emigrant public and to the French one
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Hoffman, Sarah G. "Not Just Entertainment: Hollywood Animation and the Corporate Merchandising Aesthetics and Narratives for a Children’s Audience." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1490966620486322.
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Baker, Jeremy Charles. "Observational Animation: An Exploration of Improvisation, Interactivity and Spontaneity in Animated Filmmaking." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1357315576.
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Finnane, Gabrielle. "Second nature : artifice and history in film /." View thesis View thesis, 1996. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030909.115616/index.html.
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Jones, Rex Allan. "'We on history channel!' the representation of history in documentary film /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/jones/JonesRA0509.pdf.
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The representation of history in documentary film is problematic. Documentary's creative treatment of actuality and assumed fidelity to perceived truth is at conflict with the historian's pursuit of veracity. Ever since the dawn of photography, artists have manipulated images and compromised facticity in service to aesthetics and drama. This trend continued into the early days of cinema, as newsreel producers adopted a more liberal than literal ethos that persists in documentary to this day. Reality can never be shown just as it is even in the most simplistic treatments of the most banal subjects. The representation of history is not always as absolute as it may seem. Instead of ignoring or denying the authorship inherent in the representation of history in documentary film, filmmakers should embrace it and reflexively provide glimpses of the cinematic process that forms their particular construction of reality. I will argue that the best way to accomplish this goal is to employ the performative mode of documentary representation, which gives the viewer a context to think about the film as a version of history, not necessarily the version of it.
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Svetoft, Erik. "ÄLGEN." Thesis, Konstfack, Grafisk design & illustration, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6925.
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Work process for the production of the short film ÄLGEN (2019); Technical aspects and thematics. Film synopsis: Two animals trying to entertain at a forest zoo get humiliated and decide to run away in search of freedom. At the same time a mysterious shadow haunts the countryside and a national symbol becomes an idol of worship. A short film about national identity, freedom, climate and dancing animals. Graduation project, MFA degree , Konstfack, Stockholm. 2019
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Persson, Daniel, and Theres Hansen. "Film som en resurs i historieundervisningen : Film as a resource in history education." Thesis, Växjö University, School of Humanities, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-1449.
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Ingravalle, Grazia. "Curating film history : film museums and archives in the age of new media." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/16894.
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As analogue film approaches obsolescence and new modes of engaging with moving images through digital media displace traditional cinema-going practices, film archives and museums acquire increasing prominence in the cultural scene. These institutions preserve audiovisual works, apparatuses and techniques from the past, exhibiting them as artefacts and records of a cinematic time before the "digital turn." While media and art scholars have addressed the appearance of film, video and digital media artworks in the contemporary art museum, insufficient attention has been dedicated to film museums as sites of moving-image exhibition and historical mediation. This study explores the work of film archivists and curators, with particular attention to the exhibition of early and silent films through different media, institutional settings and historical narratives, shaping contemporary audience's interpretation. This research examines three institutions-the EYE Filmmuseum (EYE) in Amsterdam, the George Eastman Museum (GEM) in Rochester, NY and the National Fairground Archive (NFA) in Sheffield (UK)-that have recently experimented with innovative film exhibition practices, advancing compelling new models of film curatorship. Through archival research, historical analysis and interviews with curators, this study focuses not just on present curatorial work at these archives, but also on their institutional histories and shifting understanding of moving-image historicity. The EYE, the GEM and the NFA represent three alternative curatorial strategies, respectively exhibiting early and silent films through practices of "crowd-curatorship," "fine art curatorship" and "modern cine-variety pastiche," mediating between these archival records and new media cultures. The present research advances a double contribution. On one hand, it proposes a more refined theoretical framework to understand film curatorship within the context of contemporary film historiographical debates. On the other, it provides film museums with a critical analysis of alternative exhibition strategies, highlighting the cultural politics at play within the historical interpretation and exhibition of archival films.
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Björklund, Manne. "The Comet." Thesis, Konstfack, Grafisk design & illustration, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6352.
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Mitt examensarbete bestod av både en gestaltande och en skriftlig del. Mitt arbete handlade om att göra en animerad kortfilm. Under 10 veckor animerade jag en film som kom att heta The Comet. En film om längtan, saknad och känslan av ensamhet. Till detta skrev jag också en rapport där jag redogjorde min process, inspiration, referenser, resultat och tankar kring min utställning i samband med arbetet.<br>My degree project consisted of both a creative and a written part. My work was about making an animated short film. For 10 weeks, I animated a movie called The Comet. A film about longing, missing and the feeling of loneliness. In addition, I also wrote a report describing my process, inspiration, references, results and thoughts about my exhibition in connection with the work.
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Barnell, Anton, and Fredrik Bergström. "Historielärare och film - Lärares erfarenheter av att använda film i historieundervisningen." Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-28773.
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Syftet med denna studie är att undersöka historielärares syften med att använda film i sin undervisning. Studiens teoretiska perspektiv utgår från historiskt tänkande i form av Peter Seixas och Tom Mortons teori i The big six men också Klas-Göran Karlssons teori om historiebruk. Empirin utgår från en kvalitativ metod i form av kvalitativa intervjuer med fem historielärare på gymnasiet. För att analysera datan används en tematisk dataanalys, där de olika teman kategoriseras och ordnas efter studiens teoretiska perspektiv. Resultatet visar att lärarna använder sig av film när de arbetar med historiskt tänkande då det går att urskilja samtliga tankebegrepp ur The big six i deras svar. Dock är de vanligaste tankebegreppen historiska perspektiv och belägg. Studiens resultat visar också på att de flesta lärarna arbetar med historiebruk när de använder sig av film. En av studiens slutsatser är att lärarna främst utvecklar förmågorna 1, 4 och 5 i ämnesplanen för historia på gymnasiet. Studien mynnar ut i tankar kring vidare forskning om att förena elevers och lärares perspektiv om att använda film i historieundervisningen.
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Strömberg, Izabella. "Film som läromedel : Hur ser lärare och elever på användningen av film som läromedel i historieundervisningen?" Thesis, Linköpings universitet, Avdelningen för historie-, turism- och medievetenskap, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-136798.
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Användandet av film som läromedel kan få oförutsedda konsekvenser eftersom lärare är en tidspressad grupp och det kan vara svårt att få tiden att räcka till för att hitta det optimala materialet. Detta kan bidra till att lärare eventuellt har olika attityder till att ta in och använda sig av film i sin undervisning. Därför skulle det vara intressant att undersöka hur attityderna, enligt dagens forskning, till att använda film som läromedel ser ut, både bland lärare och elever. Detta eftersom hur en persons inställning till ett visst verktyg påverkar hur personen väljer att använda sig av det verktyget.
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Hernandez, Nieto Luz Maria [Verfasser]. "What do cartoons tell children about science? A qualitative study of the representation of science and scientists in animated television series / Luz Maria Hernandez Nieto." Bielefeld : Universitätsbibliothek Bielefeld, 2016. http://d-nb.info/1107540615/34.
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