Academic literature on the topic 'Independent animated film'

Abstract Throughout its entire history, Slovak animated film has had the form of figurative narrative art or craft. For this reason, the author of this study examines its post-1989 development through the prism of the body. Since the most visible change that has affected contemporary film aesthetics is the feminization of animated film in terms of authorship, the study primarily focuses on the ability of an animated body to represent gender and gender roles. It attempts to capture the most significant changes in the depiction of the body in authorial animated film before and after 1989, in more detail record the post-revolution changes in the body, and relate this to the changes in the institutional background of animated film. Animated bodies have developed from “ordinary people” from a dominant male point of view in socio-critical socialist production through female characters in interaction with clearly distinguished male characters in the films of female authors from the Academy of Performing Arts, the crisis of stereotypical masculinity in the production of male authors to independent women looking for their own identity inside themselves, without relating themselves to their male counterparts.

According to Basic Health Research 2013 states that the age group less than 12 years ie age 5-9 years 28.9% suffered dental caries. The aim of this study is to analyze the effectiveness of animated movies and non- animated movies in improving children’s knowledge and behavior concerning dental health. This study was designed based on quasi experimental design. The samples of this study were the students of Class 3A and Class 3B SDN 03 Kepanjen consisting of 63 students. The independent variables of this study were animated movie and non-animated movie concerning dental health while the dependent variables were children’s knowledge and behavior. The collected data were analyzed using Mann Whitney test. The findings of this study show that the respondents are aged between 8 and 10 years old. There is difference in terms of knowledge before and after the students received intervention through animated movie and non-animated movie. Animated movie seems to be more effective in improving the respondents’ knowledge to maintain dental health than non-animated movie as indicated by the average score for animated movie intervention is higher than non-animated movie intervention.

Early Childhood has a variety of interests, one of them is the fondness of watching television shows that are animated cartoons. At an early age, children have a strong tendency to mimic everything they see. This becomes important considering that a lot of animated cartoon films are shown and are often seen by children which certainly affects the character and personality of children.This study aims to determine the values of character education forearly childhood contained in the animated film "Nussa". In carrying out this study using a qualitative descriptive approach by analyzing the contents of four randomly selected episodes. The results of this study found that educational valuescharacters for early childhood contained in the four episodes of the animated film "Nussa" are very diverse, among the character values contained such as religious, hard work, independent, friendly and communicative, honest, caring socially, creatively, disciplined, rewarding achievement, and responsibility.

The appearance of Dory, the forgetful blue tang fish, as the main character in Finding Dory (2016), one of Disney’s animated feature films, makes the film popular and has been nominated to 46 awards and won 16 awards. Previously, Dory was a helping character in the original film, Finding Nemo (2003). This study aimed to identify Dory’s characterizations by using textual analysis to find the uniqueness of Dory in the film. The analysis resulted in Dory’s paradoxical characterization where she was forgetful yet creative, reliant yet independent, and anxious yet confident. These paradoxes implied that this film portrays that negative characters can be developed into good characters. Therefore, this film can be used as media to develop characters in informal education.

From 1948–1952, Rudy Vallée, a successful performer whose career spanned radio, film, recorded music and stage entertainment, expanded his operations into the burgeoning US television market with the launch of his independent production company, Vallée Video. One of hundreds of forgotten companies that arose during this period to meet growing demand for programming content, Vallée Video offers an important case study for understanding animation workers’ role in postwar television production. Drawing on corporate records and films preserved in the Rudy Vallée Papers at California’s Thousand Oaks Library and the UCLA Film and Television Archive, the authors’ analysis documents Vallée’s use of freelance artists and external animation houses for work ranging from camera effects for illustrated musical shorts to animated commercials and original cartoon series. These productions demonstrate the fluid movement of animation labor from theatrical film to small screen markets and participated in larger aesthetic shifts toward minimalist drawing styles and limited character animation that would soon dominate mid-20th century US television.

ResumoO presente artigo tem como tema a animação experimental e suas características, campo repleto de inovações técnicas e artísticas que é mantido à margem dos estudos sobre o cinema animado. Portanto, tem como objetivos definir certas características de uma animação experimental e identificar e descrever traços e características do que se considera uma animação experimental no curta animado “Begone Dull Care” (1949) de Norman McLaren (1914-1987) e Evelyn Lambart (1914-1999) através de uma pesquisa teórica, bibliográfica e descritiva do tipo qualitativa, de natureza básica/pura a partir da coleta de dados e análise documental que compreende a identificação, verificação e apreciação de documentos (bibliográficos e obras audiovisuais) com determinados fins, como análise de conteúdo por meio da descrição do filme de animação “Begone Dull Care” (1949). Diferente da animação comercial que tem como objetivo comercial agradar o público sem a preocupação da satisfação artística ou pessoal dos animadores dos estúdios, e buscar soluções formais que facilitem a produção em larga escala dos filmes animados, a animação experimental vai se distinguir por experimentações técnicas e estéticas que desafiam os limites da linguagem e ampliam seu potencial expressivo. Com caráter de vanguarda, voltada à criação artística e à experimentação, a animação experimental terá desenvolvimento na Europa do início do séc. XX. Artistas como McLaren e Oskar Fischinger exploraram técnicas que ampliam o potencial plástico das animações. O termo incorporou diversas nomenclaturas ao longo dos anos como animação independente ou de autor. “Begone Dull Care” é produto desse espírito que desafia o tradicional através de experimentações. Nele, McLaren utiliza o método de animação direto sobre a película e sincroniza cores e formas gráficas animadas pelo som de jazz. McLaren e Lambart adotam formas simplificadas e abstratas para maior liberdade de criação e, durante tal processo empírico, incorporam imprevistos, acidentes e materiais não convencionais como potencializadores da expressividade através de suas experimentações com a materialidade do filme.AbstractThe present article has as its theme the experimental animation and its characteristics, a field full of technical and artistic innovations that is kept aside from the studies on animated cinema. Therefore, it aims to define certain characteristics of an experimental animation and to identify and describe traits and characteristics of what is considered an experimental animation in the animated short film Begone Dull Care in Norman McLaren’s (1914-1987) and Evelyn Lambart (1914). Bibliographical and audio-visual works with a specific purpose, such as the identification, verification and evaluation of documents (bibliographical and audiovisual works), of a basic / pure nature, based on data collection and documentary analysis, as content analysis through the description of the animated film “Begone Dull Care” (1949). Unlike commercial animation that aims to please the public without the concern of the artistic or personal satisfaction of studio animators, and seek formal solutions that facilitate the large-scale production of animated films, the experimental animation will be distinguished by technical experimentation and aesthetics that challenge the limits of language and amplify its expressive potential. With avant-garde character, focused on artistic creation and experimentation, the experimental animation will be developed in Europe at the beginning of the century. XX. Artists like McLaren and Oskar Fischinger explored techniques that amplify the plastic potential of animations. The term has incorporated several nomenclatures over the years as independent or author animation. “Begone Dull Care” is a product of this spirit that challenges the traditional through experimentation. In it, McLaren uses the direct animation method on the film and synchronizes colors and graphic shapes animated by the sound of jazz. McLaren and Lambart adopt simplified and abstract forms for greater freedom of creation and, during such an empirical process, incorporate contingencies, accidents and unconventional materials as enhancers of expressiveness through their experimentation with the materiality of the film.

Introduction: Oral health education aims to enable an individual to maintain oral health, one of which is tooth brushing. Education media can determine its success. As the development of technology, audiovisual media is also developing. Audiovisual media are commonly used nowadays for educational purpose in many fields, and simulation media in many forms are often used for education. The purpose of this study was to compare the effectiveness of audiovisual media in the form of animated film and simulation media in the form of a dental model on toothbrushing skills. Methods: Quasi-experimental that tend to comparative analytics was conducted with the sample that was taken by purposive sampling technique. Forty students of Ciganitri 2 State Elementary School (SDN Ciganitri 2) aged 12-year old participated in this study. The students were divided into two groups; the first group received an education with an animated film, and the second group received an education with dental models. Measurement of the students’ toothbrushing skills performed with pre-test and post-test. All data calculated by independent t-test in each group. Results: The film group and the study model group intervention have equal effectiveness. The paired t-test between the two groups resulted in no significant difference between the effectiveness of audiovisual media and simulation media on the students’ toothbrushing skills. Conclusion: Audiovisual media and simulation media group intervention effectively improve toothbrushing skills.Keywords: Audiovisual media, simulation media, toothbrushing skill.

Audiovisual translation encompasses a number of dissimilar areas. To quote Frederic Valera Chaume, AVT “covers both well-established and new ground-breaking linguistic and semiotic transfers like dubbing, subtitling, surtitling, respeaking, audiosubtitling, voice-over, simultaneous interpreting at film festivals, free-commentary and goblin translation, subtitling for the deaf and the hard of hearing, audiodescription, fansubbing and fandubbing” (2013, p. 105). This paper analyses the importance of culture-specific elements in audiovisual products and strategies of their transfer to the target culture. Practical investigation is based on a case study of an animated film “Shrek the Third” and its Lithuanian dub. The choice for the case study was determined by the fact that the history of dubbing animated movies in independent Lithuania started with “Shrek,” the first Hollywood film dubbed into Lithuanian, which has achieved unprecedented success and become an example for further dub localizations. The aim of the research was to determine the relationship between types of synchrony that should be maintained in dubbing and culture-specific items that should be localized in the target text. The study is complemented with a research survey that questions the importance of different types of synchronies in translation. As there is no consensus about the importance of lip synchrony in dubbing, and some scholars (Doane, 1980; Chaume, 2012) claim that it plays a dominant role in dubbing, whereas others (Herbst, 1994; Jüngst, 2010) declare its overestimation, the survey research attempts to answer this debatable question.

The prevailing view in modern film studies is that television documentary drama (docudrama) is either a hybrid, a synthesis, or a documentary film genre. The author of the article hypothesizes that docudrama has long exceeded the boundaries of documentary films and asserted its own place in the system of screen arts on par with feature films, documentaries and animated films. The author claims that docudrama is a unique phenomenon generated by television and it combines all the modern innovations in cinema. Docudrama allows for the text information to be reformatted into an audio-visual experience in an emotional, spectacular and accurate way, therefore possessing the inherent features of other screen arts. Like other forms of screen arts, it forms an image capable of evoking certain emotions and makes the viewer think and draw their own conclusions. The combination of artefacts and quotes adds volume and artistic value to the image. The article explores the genesis and development of television docudrama and gives it a definition based on key characteristics. It shows how films of various genres can be created within docudrama, proving that docudrama is not a subgenre within the genre of documentary film but a new independent branch of screen arts. The author highlights that the reason for the popularity of docudrama lies in the fact that the historical and informative material, which can be interesting and useful to the viewer, is presented in a spectacular and lightweight form. This idea is supported through the analysis of the documentary drama trilogy The Chronicle of the Minsk Ghetto, in which an image of the Holocaust, the unspeakable tragedy of the Jews during the Second World War, is shown.

The aim of this research is to get an overview of the values of character education in the animated film Nussa Rara Official youtube channel production. In this research using descriptive analysis method, the data taken in this study is a dialogue on the episode who are we ?, eat not just eat, be independent !!!, which contains the value of character education. The value of character education that appear among them, trying to know the solar system, attitudes and behavior that adhere to the eating procedures that have been taught by the Prophet, the behavior shows a sincere effort to get the best results, actions that show a sense of happiness in working together and mutual help, encouraging and acknowledging the success of others. The relevance of the value of character education on Nussa's official youtube channel among them curiosity, religious, hard work, friendly or communicative, appreciate chievement.

This chapter examines the use of the tracing of lines over live-action footage, or rotoscoping, in animation practice. In particular, the chapter makes a distinction between rotoscoping by outline, in which the animator traces over the boundaries of an actor’s body at every frame, and rotoscoping by through-line, wherein the animator draws according to lines of force that underlie an actor’s movements. In rotoscoping by through-line, used at Disney, the drawn line seems part of the footage beneath it. In rotoscoping by outline, used by Ralph Bakshi and the Fleischer studio, the line seems partially independent of the footage; this, the chapter argues, is where the oft-noted unsettling quality of some rotoscoping comes from. The chapter then examines a use of rotoscoping by outline in Mary Beams’s film Going Home Sketchbook (1975), which paradoxically has none of this unsettling quality. By having a line snake freely over light values around live-action figures, the film exhibits an intimate, even loving, attachment to its footage.

This chapter presents the implementation of a system that visualizes the construction process using 3D modeling data and schedule data to analyze construction planning. Previous papers have emphasized the benefits of visual 4D planning that combines 3D modeling data and process schedule data for work progress control. The proposed methodology offers rapid visualization of work performance with scheduled activity and facilitates construction planning and schedule inspection. Consequently, it should increase productivity and reduce rework. However, even major construction companies will not adopt such a work style, because the existing, well-organized way of working would not be readily changed unless the new style is proven to afford benefits that outweigh the effort and cost required to adapt to the style. The advanced CAD system, for example, is able to simulate the assembly process, and the advanced 3D graphic designer is able to animate the arrangement of objects. Even though each software provides multiple functionalities, the applications in practical use are all independent and specific, such as CAD for designing 3D models, and a project manager for scheduling and analyzing. Therefore, a system that integrates all outputs from each application is required to move from the conventional work style to the new one. This chapter, thus, aims to develop a system that integrates several types of data and enables the simulation of the construction progress by gradually showing 3D models according to the activity schedule. It is also possible to attach material data to each object and to display related information like cost and object properties. The system assumes the following requirements: (1) to import and display the 3D modeling data, (2) to import the project schedule, (3) to link each model and activity, (4) to give the material data on each object to enhance reality, and (5) to show cost accumulation. These functions are supposed to be realized such that the system utilizes the resources previously reserved. Therefore, the system should be able to import a DXF format file for 3D modeling data and access the MDB format database for the project schedule, including costs. The MDB file is originally a database that Microsoft Access creates. Microsoft Project, which is probably the most widely used software for project management, is also able to export the project data in this format. These functions are implemented with Microsoft Visual C++ and DirectX SDK. Although the system displays inaccurate models partially because of the misinterpretation of the DXF file, all of the demands listed above are satisfied currently. The authors of this chapter are now at the stage of implementation of further functions, that is, to display not only structures but also other elements such as the temporal space on the site, the route of delivery vehicles, and the work area of the temporally used heavy machinery, all for the sake of the visualization and analysis of the entire construction site.

Abstract We report on our experience using the Virtual Reality Markup Language (VRML) to collaborate on the design and manufacture of an artifact transport system (ATS). Specifically designed for the purpose of transporting nanometer-scale dimensional artifacts at pressures ∼10−8 Pa, the ATS consists of a transport cart and an ultra-high vacuum (UHV) system. As its name implies, the ATS is to transport an atomically-accurate specimen created in a molecular beam epitaxy (MBE) laboratory to a scanning tunnel microscope (STM) laboratory across the NIST campus, where metrologists verify atomic-scale measurements. The project team involved between 15 and 20 participants — designers, engineers, physicists and manufacturers — and each individual was involved with the design and assembly of the ATS to varying degrees. After the project engineers developed their assembly models with their CAD tools, we exported the components and assemblies to VRML files. These representations were made available, via web browsers with VRML viewers, for feedback to project team members on their own workstations, which included PCs, Macintoshes and Suns. The port involved characterizing the simulation’s performance over a range of parameters such as processor capability, file size, VRAM available and graphics card capability. After meeting with the fabricators and physicists to determine the approximate assembly sequence of the ATS, we edited, augmented and animated the VRML files on a high-end workstation. By visualizing the animation sequence in a common facility with a videowall, participants were able to reach a consensus for the design and assembly changes needed. We conclude that VRML did help our team collaborate in the design and fabrication processes, although the technology supplemented, rather that supplanted face-to-face meetings. Our experience with VRML on multiple workstations leads us also to conclude that the language needs to be characterized to enhance easy development of engineering models and to achieve true and complete platform-independence.