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Journal articles on the topic 'History of animation'

Author: Grafiati

Published: 7 June 2025

Last updated: 2 August 2025

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1

Bahaa Mustafa. "The Effect of Animation on The Society During The COVID-19 Pandemic." International Journal on Humanities and Social Sciences, no. 52 (December 19, 2023): 161–73. https://doi.org/10.33193/ijohss.52.2023.654.

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Animation has always occupied a special space in the hearts and minds of those that have consumed the media by making it possible to bring to life what would otherwise be impossible. It is because of the spectacle of seeing what otherwise wouldn’t be possible that makes animation so magical, and the almost magical effects that can be achieved through animation has captivated the minds of many throughout history and its many different forms. Animation’s development went hand in hand with the development of the movie or motion picture which captured real-life, and this interdependence is display

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2

Liu, Ying. "From 1950s to 1980s: The Formation, Development and Practice of the “National Style” Animation Concept of Shanghai Animation Film Studio." International Journal of Social Science Research 10, no. 2 (2022): 244. http://dx.doi.org/10.5296/ijssr.v10i2.20158.

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From the 1950s to 1980s, the series of “National Style” animations created by Shanghai Animation Film Studio have made Chinese animation famous both at home and abroad, and the “National Style” animation concept proposed at that time is also considered to be one of the most influential and representative animation concepts in the history of Chinese animation. By analyzing representative animation, and the books, articles, and speeches on the concept of “National Style” animation published by animation directors of Shanghai Animation Film Studio from the 1950s to 1980s, this article aims to exp

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Cao, Luhao. "Regional Roots: A Study of Communication Strategies for the Sustainable Development of China's Animation Industry." Academic Journal of Management and Social Sciences 2, no. 3 (2023): 6–8. http://dx.doi.org/10.54097/ajmss.v2i3.7969.

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Animation industry is known as the most promising cultural industry in the 21st century. China's animation industry, taking advantage of the popularity of international animation, has developed rapidly and produced an astonishing number of animations. How to ensure the high-quality and sustainable development of Chinese animation in the context of high output is an urgent issue that needs to be addressed in current Chinese animation industry. Through the analysis of the relevant literature of Chinese animation, this study, starting from the development history of animation, analyzes the proble

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Mega Iranti and Susyentina Sihite. "The Past And Present Of Moving Images:Transcending The Boundary Across Departments In The Vocational Higher Education." Widya Winayata : Jurnal Pendidikan Sejarah 12, no. 1 (2024): 52–65. http://dx.doi.org/10.23887/jjps.v12i1.71109.

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Animations were given credentials as an effective medium in various campaigns and public service announcements (PSA). It helps to shape and spread information, frame public attitudes, and ensure the roles and responsibilities. History records how animations were utilized as PSA during WW2 in the form of training content, instructions, propaganda and ideological tools to promote and glorify patriotism. In higher education, animations can be utilized to support the socialization material about quality assurance. An animated PSA in the form of a video explainer was produced as a collaboration bet

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Connelly, John, and Marilyn Connelly. "History of Animation." TechTrends 55, no. 3 (2011): 6. http://dx.doi.org/10.1007/s11528-011-0487-7.

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6

Sutrisno, Arif. "STUDI PERBANDINGAN ANIMASI 360 DERAJAT BERTEMA SEJARAH." JADECS (Jurnal of Art, Design, Art Education & Cultural Studies) 6, no. 1 (2021): 22. http://dx.doi.org/10.17977/um037v6i12021p22-34.

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To identify general characteristics of historical-themed 360o animation, visual characteristics, and ways of delivering material in historical learning media, this study attempts to compare three historical-themed 360o animations, namely the game trailler Assassin's Creed Syndicate Jack the Ripper, Dinosaurs World 360 VR, and Dunkirk 'Save Every Breath'. This research method is by determine the benchmark focus, planning and research, data collection, implementation, recommendations, and analysis. In general, historical 360o animation uses 3D animation techniques. The flow used tends to be line

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Stokes, Jane. "Animation: A World History." Historical Journal of Film, Radio and Television 37, no. 1 (2017): 149–51. http://dx.doi.org/10.1080/01439685.2016.1273335.

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M.Fadly, S.I.Kom, M.I.Kom, M. Fadly, S. I. Kom, M. I. Kom. "ANALISIS PERKEMBANGAN ANIMASI INDONESIA DALAM KONTELS ANIMASI DUNIA." Profilm Jurnal Ilmiah Ilmu Perfilman dan Pertelevisian 1, no. 2 (2025): 98–106. https://doi.org/10.56849/jpf.v1i2.18.

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The purpose of this study is to evaluate the development of animation in Indonesia based on historical studies to map Indonesian history in the context of world/global animation history at the same time. This study also examines the relationship between the history of Indonesian animation and the history of the first films in Indonesia that occurred during the Dutch colonial period. According to Stephen Cavalier, the entire history of animation can be divided into five major periods, starting with the pre-digital era (The Origin of Animation) and ending with the digital era (1986-2010). Based

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Asti Haningtyas, S.I.Kom, M.I.Kom, Asti Haningtyas, S. I. Kom, M. I. Kom. "ANALISIS PERKEMBANGAN ANIMASI INDONESIA DALAM KONTELS ANIMASI DUNIA." Profilm Jurnal Ilmiah Ilmu Perfilman dan Pertelevisian 2, no. 1 (2025): 17–25. https://doi.org/10.56849/jpf.v2i1.21.

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The purpose of this study is to evaluate the development of animation in Indonesia based on historical studies to map Indonesian history in the context of world/global animation history at the same time. This study also examines the relationship between the history of Indonesian animation and the history of the first films in Indonesia that occurred during the Dutch colonial period. According to Stephen Cavalier, the entire history of animation can be divided into five major periods, starting with the pre-digital era (The Origin of Animation) and ending with the digital era (1986-2010). Based

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Kurnianto, Arik. "Tinjauan Singkat Perkembangan Animasi Indonesia dalam Konteks Animasi Dunia." Humaniora 6, no. 2 (2015): 240. http://dx.doi.org/10.21512/humaniora.v6i2.3335.

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The purpose of this study was to assess the development of animated films in Indonesia based on historical studies to determine simultaneously mapping the history Indonesia in the context of world/global animation history. This study also examines the relationship between the histories of Indonesiananimated films with history first entry of the film in Indonesia which began the Dutch colonial era. According to Stephen Cavalier, the world history of animation was divided into five large round starts from the era before 1900 (The Origin of Animation) to the digital era (1986-2010). Based results

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Maksudova, Donokhon. "History of Technological Development in Animation till Early Computer Graphics." European Journal of Applied Science, Engineering and Technology 2, no. 6 (2024): 185–96. https://doi.org/10.59324/ejaset.2024.2(6).18.

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The aim of this research paper is to construct the exact timeline of the development in technology used for animation, beginning at the paleolithic age, and ending with the rise of digital animation. The research paper consists of a number of investigation and research papers on the various sub topics, as well as a look into official documentations published by companies this paper investigates. This paper investigates animation in 3 major sections; Beginning with the early historical trajectory of animation, the pre-film era and finlay the industrialization of animation. The study synthesis t

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12

Liu, Wenyao. "The Audio-Visual Cultural Construction and Future Prospect of Chinese Original Animation - Taking the "Light Chaser Universe" by Light Chaser Animation Studio in China as an Example." Advances in Education, Humanities and Social Science Research 13, no. 1 (2025): 570. https://doi.org/10.56028/aehssr.13.1.570.2025.

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In the past five years, Light Chaser Animation Studio in China has produced a series of classic domestic animations such as White Snake, New Gods and Chang An, which has set off a wave of understanding Chinese history and culture through aesthetic film works, and built a unique "Light Chaser Universe" at home and abroad. This paper explores the innovative measures and practical limitations, and then gives reference suggestions of Light Chaser Animation from five aspects, including Myth and Legend IP, Visual Innovation, Eastern Heterogeneous Space Construction, Role Shaping and Value Reconstruc

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Ge, Yangchenxu. "The Integration and New Structure of Chinese Historical Ethnic Cultures in Animation." Transactions on Social Science, Education and Humanities Research 7 (May 6, 2024): 383–87. http://dx.doi.org/10.62051/5nktqd40.

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In recent years, the development speed of Chinese animation is remarkable. In the past ten years, relying on the cultural treasures formed by the precipitation of China's long history, domestic animation creators have created a number of excellent animation works based on Chinese legends, which have caused a stir in the domestic and international animation markets. However, China's animation works in the past decade still have problems such as insufficient story creativity and single art style. Based on the above problems, the article discusses the problems and challenges facing the current de

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Flinn, Margaret. "Book review: French Animation History." Animation 10, no. 1 (2015): 73–76. http://dx.doi.org/10.1177/1746847715570813.

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15

Saber, Zeke. "Animating Goethe." Animation 18, no. 1 (2023): 7–22. http://dx.doi.org/10.1177/17468477231155546.

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Metamorphosis is frequently cited as an inherent feature of animation, but scholars who make this claim have routinely disregarded the influence of Goethean morphology on animation practice and theory. Johann Wolfgang von Goethe’s initial conception of morphology, as outlined in the late 18th and early 19th centuries, has had a significant effect on our understanding of the transformative nature of animation. In this article, the author engages with the theory and practice of figures including Sergei Eisenstein, André Bazin, Alla Gadassik, Caroline Leaf and others in order to insist upon anima

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Zhuang, Muyang. "Animation of Experiment: The Science Education Film and Useful Animation in China." Animation 18, no. 2 (2023): 152–66. http://dx.doi.org/10.1177/17468477231182914.

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From the early 1950s to the mid-1990s, the People’s Republic of China (PRC) produced numerous science education films. Many utilized animated effects, such as illustrations, maps and cartoons, to promote the reception of scientific knowledge and ideological messages by audiences. Current scholarship on Chinese animation history stresses films made by the Shanghai Animation Film Studio, neglecting animation created by filmmakers in science education film studios. In this article, the author argues that the history of useful animation in science education films provides a different approach to u

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Maksudova, Donokhon. "History of Technological Development in Animation till Early Computer Graphics." European Journal of Applied Science, Engineering and Technology 2, no. 6 (2024): 185–96. https://doi.org/10.59324/ejaset.2024.2(6).18.

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Abstract:

The aim of this research paper is to construct the exact timeline of the development in technology used for animation, beginning at the paleolithic age, and ending with the rise of digital animation. The research paper consists of a number of investigation and research papers on the various sub topics, as well as a look into official documentations published by companies this paper investigates. This paper investigates animation in 3 major sections; Beginning with the early historical trajectory of animation, the pre-film era and finlay the industrialization of animation. The study synthesis t

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18

Betancourt, Manuel. "Animating History at a Cellular Level." Film Quarterly 75, no. 2 (2021): 76–79. http://dx.doi.org/10.1525/fq.2021.75.2.76.

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FQ columnist Manuel Betancourt, whose mother ran an animation studio in Colombia, reflects upon the diversity of contemporary Latin American animated production. Unlike in America, where animation has long been misunderstood as child’s play, an ever-growing network of Latin American creators refuse to see animation as beholden to family-friendly fare. Noting the didactic potential of this malleable medium, which is being used to educate children about everything from the Spanish conquest to modern-day environmental issues, Betancourt also calls attention to a growing animated canon bringing In

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Denison, Rayna. "Anime’s Cultural Nationalism: The Politics of Representing Japan in Summer Wars (Mamoru Hosoda, 2009)." Mutual Images Journal, no. 5 (December 20, 2018): 123–42. http://dx.doi.org/10.32926/2018.5.den.anime.

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Japanese animation has longstanding links to nationalism. For example, relatively early in its history, Jonathan Clements quotes sources suggesting that animation was used to promote the singing of Japan’s national anthem before film screenings, through a short film called Kokka Kimigayo (The National Anthem: His Majesty’s Reign, 1931) made by Ōfuna Noburo. It is ‘hence liable to have been one of the most widely seen pieces of domestic animation in the 1930s’ (Clements 2013, 47). Animation’s links to nationalism in Japan developed further during the Second World War, which marked a pivotal mom

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20

Zhang, Xiao, Jinhua Xu, and Wei Yang. "Application and Practice of 2D Animation in Chinese Traditional Elements Based on Deep Learning Model." Mobile Information Systems 2022 (August 24, 2022): 1–10. http://dx.doi.org/10.1155/2022/6453320.

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With the progress and development of science and technology, the development of the animation industry is also rapidly accelerating. The animation industry has an inseparable relationship with the development of computers. Chinese animation originated in the 1920s. Although after so many years of precipitation, there have been some excellent animation works rich in national characteristics and national culture in China, but Chinese animation still lacks professional talents and has a poor creative environment. The problem cannot leave a deep impact on people. China has a long history. How to p

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Khalili, Hamid, and AnnMarie Brennan. "In praise of orthographic projections: Cinematic plans, history and application." Journal of Design, Business & Society 9, no. 1 (2022): 9–39. http://dx.doi.org/10.1386/dbs_00044_1.

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This article offers insights for architectural and design educators that teach emerging cinematic and filmmaking practices. Due to its interdisciplinary nature and its practice-based methodology, this article presents the research, pedagogy and practice for educators in the field of architecture and spatial design as well as other creative disciplines such as film, animation and digital media. The argument is substantiated by empirical observations and qualitative analysis of student filmmaking projects and first-hand experiments in a design studio environment. Direct observations made from ex

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22

Callus, Paula, and Susan Sloan. "Reimaging space through anthropology, architecture and animation." Animation Practice, Process & Production 12, no. 1 (2023): 59–81. http://dx.doi.org/10.1386/ap3_00043_1.

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This article delves into the exploration of space, memory and identity through the lens of animation practices. Grounded in the notion that diverse individuals perceive and interact with spaces in distinct ways, the article scrutinizes the significance of space and place, intertwined with their social and cultural connotations, in the context of history, grand narratives and personal/shared memory. Focusing on the Arts and Humanities Research Council-funded ‘ReSpace’ project, conducted in Rwanda, Kosovo and the United Kingdom, the article highlights the utilization of animation as a catalyst f

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Kurnianto, Arik, and Ahmad Faisal Choiril Anam Fathoni. "Lost in Animation; Finding Indonesian Position in the World Animation History." Advanced Science Letters 23, no. 1 (2017): 232–36. http://dx.doi.org/10.1166/asl.2017.7142.

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24

Wang, Peggy. "Temporalizing landscape to disrupt history." Journal of Contemporary Chinese Art 12, no. 1 (2025): 13–36. https://doi.org/10.1386/jcca_00116_1.

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In his 2007 animation Minguo Fengjing, Qiu Anxiong (b. 1972) braids together different understandings and experiences of China’s volatile Republican period (1912–49). In this article, I show how waves of guoxue re (‘national studies fever’) and minguo re (‘Republican fever’) during the late 1990s and early 2000s motivated the artist to engage in historiographical investigation. Turning first to Qiu’s treatment of Minguo (‘Republican’) and then fengjing (‘landscape’), I argue that Qiu seeks to unfix temporal categories such as ‘tradition’ and upend assumed relationships between the past and the

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Buchanan, Andrew. "Thinking across Frames – Temporally Extended Consciousness and the Animation Timeline." KronoScope 21, no. 2 (2022): 111–31. http://dx.doi.org/10.1163/15685241-12341496.

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Abstract This article explores ways in which animation production technologies (including pre-cinema, film, and digital tools) have evolved as a system that abstracts time, primarily through its spatialization. This abstraction necessitates certain assumptions about the nature of time, including its linearity and directionality. Animation technologies have evolved so as to support various modes of temporally extended consciousness; an animator’s craft thinks and works through time. Embedded within digital production technologies, the animator is faced with a new philosophical instrument: the a

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Oliinyk, Oksana, and Roksolana Diachenko. "Regarding the Socio-Cultural Potential of Hotel Animation." Issues in Cultural Studies, no. 41 (March 31, 2023): 112–20. https://doi.org/10.31866/2410-1311.41.2023.276698.

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<em>The aim of the article </em>is to update the socio-cultural significance of hotel animation in the context of its comparison with cultural animation and animation pedagogy. The <em>research results </em>analyse the origin, varieties, and organisation of animation, which is an essential component of leisure organisation for hotel customers and belongs to the third type of animation (as defined by M. Smith), ensuring a comfortable, interesting, diverse, and informative stay of hotel guests. The origin of the “animation” concept and the history of its practice direc

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Fei, Ma. "Computer Animation Process Research." Advanced Materials Research 926-930 (May 2014): 3018–21. http://dx.doi.org/10.4028/www.scientific.net/amr.926-930.3018.

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The article talks about the history of animation, focusing on the production of computer-assisted animation effects. Include key technologies of early modeling animation, motion control, distribution plan and other colors. Tracking the most advanced animation techniques and methods. Finally, introduce the application of the major animation techniques.

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Dennis, Laura. "French Animation History by Richard Neupert." French Review 85, no. 6 (2012): 1155. http://dx.doi.org/10.1353/tfr.2012.0156.

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Lagunas Cerda, Samuel, and Ilse Mayté Murillo Tenorio. "Animated erotica: An analysis of the films and archive of Guadalupe Sánchez Sosa." Animation Practice, Process & Production 13, no. 1 (2024): 77–95. http://dx.doi.org/10.1386/ap3_00054_1.

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The objective of this article is the study of the short films ¿Y si eres mujer? (1976) and Niño de mis ojos (2008) by the animator Guadalupe Sánchez Sosa (Córdoba, Veracruz, Mexico, 1955–present), as well as the archive material preserved by the artist, where the filmmaking process is documented. ¿Y si eres mujer? is relevant for the history of animation in Mexico because it is the second animated film directed by a woman and the first realized with techniques like cut-out and collage, steering away from the dominant cartoon tradition. In Niño de mis ojos, Sánchez Sosa experiments with the use

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Mortimer, Jonathan, Nick Pilcher, and Kendall Richards. "Scotland’s History of Animation: An Exploratory Account of the Key Figures and Influential Events." Animation 16, no. 3 (2021): 190–206. http://dx.doi.org/10.1177/17468477211052598.

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Scotland’s history of animation is a forgotten past accomplishment in the animation/VFX sector, with key influential animation professionals having had an impact both at home and abroad. Yet, to date, this history has not been meaningfully documented and such documentation can help inform policy initiatives to help nurture and develop the industry. These developments could help ensure that the importance and accomplishments of its achievements will not be forgotten or remain undeveloped. Indeed, it is argued here that Scotland suffers from historical amnesia with regard to the country’s past a

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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 ethno

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Cook, Malcolm, Michael Cowan, and Scott Curtis. "Useful Animation: Iconography, Infrastructure and Impact." Animation 18, no. 3 (2023): 196–226. http://dx.doi.org/10.1177/17468477231207613.

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This article defines and explores the history of ‘useful animation’. Animation has found frequent application as a powerful practical and conceptual tool in professional fields requiring a versatile instrument for a variety of representational needs, from science and medicine to education and advertising. Today, forms of useful animation populate our television news, social media and urban environments in ways that are no less consequential for their having become second nature. But how did we get here? This tradition is distinct from entertainment or art and its investigation requires a revis

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Horno López, Antonio. "The Origins of Japanese Animation and Its Repercussion on the History of Animation." International Journal of Visual Design 7, no. 2 (2014): 1–5. http://dx.doi.org/10.18848/2325-1581/cgp/v07i02/38735.

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Wu, Weihua. "The Ambivalent Image Factory: The Genealogy and Visual History of Chinese Independent Animation." Animation 13, no. 3 (2018): 221–37. http://dx.doi.org/10.1177/1746847718807708.

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This article examines how the emergence, constitution and diversification of independent animation in mainland China was formed with minjian discourse and the rise of independent creativity over the past two decades. This was an era in which the animation mainstream was transformed from a primarily political discourse to a fully commercialized entity, while the aesthetic parodies and pastiches of an imaginary ‘Chineseness’ have undergone a renaissance within a power struggle between individuality and independency in animation practice.

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Puig, Toni. "History of socio-cultural animation in Catalonia." Educar 13 (February 1, 1988): 105. http://dx.doi.org/10.5565/rev/educar.392.

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Mihailova, Mihaela. "Book review: The World History of Animation." Animation 9, no. 1 (2014): 108–12. http://dx.doi.org/10.1177/1746847713518463b.

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Mihailova, Mihaela. "Book review: A New History of Animation." Animation 13, no. 2 (2018): 180–82. http://dx.doi.org/10.1177/1746847718784196.

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Beckman, Karen. "Animation on Trial." Animation 6, no. 3 (2011): 259–75. http://dx.doi.org/10.1177/1746847711416568.

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This article first considers Kota Ezawa’s video installation, The Simpson Verdict within the broader context of the rising interest in animation on the contemporary art landscape. After exploring three trends within this proliferation of artists’ animation – works that animate moments from film history, works that animate ‘reality’, and works that use popular media such as cartoons, television and video games as source material, this article examines the difference between Ezawa’s work, which re-draws already overexposed live footage, and those documentaries that use animation as a supplementa

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Pagès, Maria. "The Golden Age of Spanish Animation (1939–1951)." Animation 15, no. 1 (2020): 37–60. http://dx.doi.org/10.1177/1746847719898851.

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During the 1940s, the Spanish animation industry based in Barcelona reached a high technical level. Despite the Franco dictatorship and austerity following the Spanish Civil War, the Catalan animation industry produced feature-length films that bore comparison with those made elsewhere in Europe. This article looks at the reasons for and the nature of Barcelona’s Golden Age of Animation, and follows the steps on the industry’s path to technical mastery. The author revisits the history of the Spanish Golden Age of Animation (which lasted from 1939 to 1951) in the context of the international an

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Limano, Ferric. "Human and Technology in the Animation Industry." Business Economic, Communication, and Social Sciences (BECOSS) Journal 3, no. 1 (2021): 1–7. http://dx.doi.org/10.21512/becossjournal.v3i1.6748.

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Humanism is a term in intellectual history that is often used in the fields of philosophy, education and literature. In classical greek times, this humanism manifested itself in paideia, a classical greek education system that was intended to translate the vision of the ideal human being. However, this classical Greek perspective departs from a purely natural view of humans. So, humans and education are like two sides of a coin that cannot be divorced. Technology is also the result of educated human beings, technology holds many beautiful promises, but in the experience and history of technolo

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Miner, Joshua D. "Experiments in Hybrid Documentary and Indigenous Model Animation." Animation 16, no. 1-2 (2021): 6–20. http://dx.doi.org/10.1177/17468477211025664.

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Nonfiction has proved to be a long-term strategy of Native/First Nations filmmakers and, as this documentary tradition moves across contemporary mediums, one corner of its experimental aesthetics has focalized around animation. This article explores hybrid documentary approaches in Indigenous model animation across techniques and styles, namely digitally-supplemented stop-motion and game-based machinima. It begins by examining three principal characteristics of Indigenous animated documentaries: (1) they engage with the politics of documentary in the context of Indigenous and settler-colonial

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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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Ward, Paul. "Independent Animation, Rotoshop and Communities of Practice: As Seen Through A Scanner Darkly." Animation 7, no. 1 (2011): 59–72. http://dx.doi.org/10.1177/1746847711428852.

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The article examines a particular instance of animation practice through a reading of how Bob Sabiston’s Rotoshop software was used in the 2006 film A Scanner Darkly. By discussing the notions of ‘communities of practice’ and ‘legitimate peripheral participation’, and contextualizing the film in relation to different modes of working, the author excavates the ways in which a range of people came to work on the project. Moreover, he outlines some of the production history of the film to argue that certain assumptions and expectations about accepted working practice point to wider perceptions of

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Sigit, Sigit, and Belsana Butar Butar. "Aplikasi Multimedia Interaktif Pengenalan Pahlawan Nasional (Studi Kasus: SD Swasta Daan Mogot 1 Keroncong Kota Tangerang)." Indonesian Journal on Software Engineering (IJSE) 4, no. 2 (2019): 55–61. http://dx.doi.org/10.31294/ijse.v4i2.5983.

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Abstract - The conventional teaching and learning process for most students is very boring, because only listening to the explanation from the teacher and also using the textbook as a reference for learning so that when students learn less attention to the material delivered. To overcome this, an interactive application was made about learning the introduction of Indonesian national heroes. The use of interactive animation as a visual media will make it easier for teachers to deliver material about national heroes and make it easier for students to remember national heroes as well as their his

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R., Pranava Kumar, and Karna Maharajan K. "METAMORPHOSIS OF ANIMATION: COMPUTER AIDED OVER TRADITIONAL MODES OF ANIMATION." International Journal of Engineering Research and Modern Education ( 1, no. 2 (2016): 127–36. https://doi.org/10.5281/zenodo.160940.

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<em>Animation as a technology is generic and as a discipline it has been growing leaps and bounds. Application of animation tools extends even to industry, education, trade and entertainment. In depth understanding of the concept needs a chronological development studies including the history and technological innovations. An attempt to trace the metamorphosis of animation from the stone- age till date so as to get a comprehensive knowledge and thereby analyze the difference between traditional and modern animation techniques is part of the research work, which is underway. Essentially this is

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Mitkus, Tomas. "ASPECTS OF CREATIVITY IN ADULT ANIMATION: AN OVERVIEW OF CENSORSHIP AND SELF-CENSORSHIP IN WESTERN COUNTRIES." Creativity Studies 16, no. 1 (2023): 39–49. http://dx.doi.org/10.3846/cs.2023.15446.

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Today, adult animation is the fastest growing segment in the industry. However, adult animation is also the least researched topic in animation field. In this article, the author explores what key elements hinder the growth in this animation segment with a focus on self-censorship and how it affects modern adult animation creative output and overall production. Also, the author discusses the concept of censorship in animation and its historical development. In other words, the genesis, and then reform of formal censorship systems into the age rating systems. And, while technically, with the ab

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Liu, Fang, and Battsooj. "The Influence of Chinese Clay Sculpture on Chinese Animation Modeling." Journal of Education and Educational Research 6, no. 3 (2023): 23–26. http://dx.doi.org/10.54097/dn71cb90.

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The art of clay sculpture has a long history and rich cultural connotations in China. As a part of traditional Chinese culture, clay sculpture brings infinite imagination and creativity to people with its unique form and vivid vitality. With the rapid development of China's animation industry, clay sculpture art has also begun to have a profound impact on Chinese animation modeling. This article will explore the origin and development of clay sculpture, the current situation of Chinese animation modeling, the influence of clay sculpture art on Chinese animation modeling, and case analysis.

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Jicheng, Cong. "Application of data driven 3D animation special effects in movie advertisements: history of the issue." OOO "Zhurnal "Voprosy Istorii" 2023, no. 7-1 (2023): 214–21. http://dx.doi.org/10.31166/voprosyistorii202307statyi28.

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The new media era has created favourable conditions for the dissemination of film and television advertisements. This article first analyzes the advantages of applying 3D animation technology to film and television advertisements, and then the shooting and performance techniques of applying 3D animation art to film and television advertisements.

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Jianchao, Ren. "The influence of traditional culture on the role shaping of Chinese local film and television animation." OOO "Zhurnal "Voprosy Istorii" 2023, no. 8-2 (2023): 164–69. http://dx.doi.org/10.31166/voprosyistorii202308statyi36.

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This article mainly summarizes the role building of Chinese local film and television animation, analyzes the influence of traditional culture on the role building of Chinese local film and television animation, and introduces in detail the application of traditional culture such as paper cutting art, ink painting art, costume art and opera art in the role building of film and television animation.

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Du, Daisy Yan. "Book review: Animation in China: History, Aesthetics, Media." Animation 11, no. 3 (2016): 317–21. http://dx.doi.org/10.1177/1746847716662547.

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