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Academic literature on the topic 'Industry of animated film'

Author: Grafiati

Published: 24 April 2022

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Journal articles on the topic "Industry of animated film"

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Wong, Oscar Gordon, and Imelda Ann Achin. "The Hero’s Journey: 12 Stages in The Narrative of Animation Boboiboy Movie 2." Mudra Jurnal Seni Budaya 36, no. 3 (2021): 316–25. http://dx.doi.org/10.31091/mudra.v36i3.1580.

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2019 is a phenomenal year for the development of the Malaysian animated film industry as it has successfully produced two superheroes animated films in total. However, the animated film industry in Malaysia is still not competitive at the international level. This can be seen from the 17 animated films that have been produced from 1998 to 2019, only two superheroes animated films managed to get the attention of the audience. This is due to the lack of knowledge of the concept and function of the hero character in animated films. Therefore, the main objective of this paper aims to demonstrate how the Hero’s Journey narrative structure can be applied in BoBoiBoy Movie 2 (2019). This research method involves the use of video analysis tools namely Kinovea and Motion Picture Analysis Worksheet to explain on how the Hero’s Journey of this film conveys the storytelling. The results of this study found that each semicircle Hero’s narrative structure has an important meaning across from one half-circle to the other half-circle. As a result, it explains the concept of peace and chaos as well as stasis and changes in the narrative structure of superhero animated films. This paper will provide information to researchers on the importance and use of the Hero’s Journey approach to analyze superhero animated films.

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Wang, Yue, and Xiaowen Ji. "A Study of Translation Strategies of Animated Film Titles from the Perspective of Eco-translatology." Journal of Language Teaching and Research 12, no. 1 (2021): 88. http://dx.doi.org/10.17507/jltr.1201.09.

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In recent years, the animated film industry is booming and attracting more and more attention. This study, under the guidance of Eco-translatology, revolves around both E-C and C-E animated film title translation, analyzing its translational eco-environment and three-dimensional transformations. Use of main translation strategies of animated film titles, which are transliteration, literal translation, free translation and creative translation, is analyzed. It is found that free translation is the mainstream in both C-E and E-C translation of animated film titles while that creative translation is the least frequently used method.

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Mulyani, Neni. "PERANCANGAN PROSES PRA PRODUKSI FILM ANIMASI 3D LEGENDA PUTRI MERAK JINGGA." JURTEKSI (Jurnal Teknologi dan Sistem Informasi) 5, no. 2 (2019): 183–92. http://dx.doi.org/10.33330/jurteksi.v5i2.361.

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Abstrack:To produce a 3D animated film requires a long process flow so that the processing time of manufacture is also prolonged. This is a constraint in the development of the local animation film in Indonesia for a long time will lead to high production costs making it difficult to compete commercially with animated films from abroad who have abundant funds and the support of various parties in the country. Therefore, efforts to improve the competitiveness of local animated film and one of these efforts is by analyzing the stages of the manufacturing process and apply it to the process of making the actual 3D animated film.In general there are three stages of the filmmaking process, namely the 3D animation pre-production, production and post-production. Although this time the animation industry in Indonesia has not been detailed separates each of these stages, but still be important for designing detail the activities of these stages, in order to see the strengths and weaknesses of each process that existed at that stage. Therefore, this study was conducted with the hope to provide recommendations to improve the local animation industry. Keywords: 3D Animation, Animation Film Pre-Production Stage, Princess Peacock Orange Abstak: Untuk menghasilkan sebuah film animasi 3D membutuhkan alur proses yang panjang sehingga waktu pembuatannya juga berlangsung lama. Ini yang menjadi kendala dalam perkembangan film animasi lokal di Indonesia karena waktu yang yang panjang akan mengakibatkan tingginya cost production sehingga sulit untuk bersaing secara komersial dengan film animasi dari luar negeri yang memiliki dana berlimpah dan dukungan dari berbagai pihak di negaranya. Untuk itu diperlukan upaya untuk meningkatkan daya saing film animasi lokal dan salah satu upaya tersebut adalah dengan menganalisa tahapan-tahapan proses pembuatan dan menerapkannya pada proses pembuatan film animasi 3D yang sebenarnya.Secara umum ada 3 tahapan proses pembuatan film animasi 3D yaitu pra produksi, produksi dan paska produksi. Meskipun saat ini industri animasi di Indonesia belum secara detail memisahkan setiap tahapan tersebut, namun tetap menjadi penting untuk merancang detail aktifitas dari tahapan tersebut, dengan tujuan untuk melihat kekuatan dan kelemahan dari setiap proses yang ada pada tahapan tersebut. Kata Kunci: Animasi 3D, Tahap Pra Produksi Film Animasi, Putri Merak Jingga

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Desrianti, Dewi Immaniar, Ahmad Nur Firdaus, and Deny Pangestu Gunawan. "ANIMASI DENGAN GAMBAR BERGERAK MENINGKATKAN DAYA TARIK PROGRAM PROMOSI." CCIT Journal 10, no. 1 (2017): 114–26. http://dx.doi.org/10.33050/ccit.v10i1.526.

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The development of creative industries is growing, as evidenced by the many industry-emerging creative industry. The media campaign is currently very helpful in supporting the information and communication All of that is because of the many interests of the creative industry services. Many competitors require companies to do promotions to attract customers. Penyajiaan media ads interesting and entertaining will encourage the general public to find out more detail and have an interest to join a company or institute of technology is so rapid in PT.Movio Screen as a company engaged in the creative industry. Have a good portfolio will make promotion and enhance the corporate image. 3D animation movie series is a very good portfolio and attractive for media promotion for a company in the field of creative industries, in addition to the 3D animated film can enhance a company's image. In the 3D animation movie of the series can also be a support to increase the creation of the nation of the 3D animated film, to be more creative again in making animated films in 3D and can inspire people to work in the creative industries in order to generate industry local animation, based on a story in this animation.

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Pikkov, Ülo. "On the Topics and Style of Soviet Animated Films." Baltic Screen Media Review 4, no. 1 (2016): 16–37. http://dx.doi.org/10.1515/bsmr-2017-0002.

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Abstract This article provides a survey of Soviet animation and analyses the thematic and stylistic course of its development. Soviet animated film emerged and materialised in synch with the fluctuations of the region’s political climate and was directly shaped by it. A number of trends and currents of Soviet animation also pertain to other Eastern European countries. After all, Eastern Europe constituted an integrated cultural space that functioned as a single market for the films produced across it by filmmakers who interacted in a professional regional network of film education, events, festivals, publications etc. Initially experimental, post-revolutionary Russian animation soon fell under the sway of the Socialist Realist discourse, along with the rest of Soviet art, and quickly crystallised as a didactic genre for children. Disney’s paradigm became its major source of inspiration both in terms of visual style and thematic scope, despite the fact that Soviet Union was regarded as the ideological opposite of the Western way of life and mindset. The Soviet animation industry was spread across different studios and republics that adopted slightly varied production practices and tolerated different degrees of artistic freedom. Studios in the smaller republics, such as Estonia, Latvia and Lithuania in particular, stood out for making films that were more ideologically complicated than those produced in Moscow.

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Sayatman, Sayatman, Nugrahardi R, Anjrah H, Rabendra Y, and Kartika Kartika. "DESAIN MODEL KARAKTER CLAY UNTUK MENDUKUNG PROMOSI ANIMASI STOP MOTION." Jurnal Dimensi Seni Rupa dan Desain 11, no. 2 (2014): 197. http://dx.doi.org/10.25105/dim.v11i2.104.

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<p><strong>Abstract</strong><br />The animated film is one of the assets of the national creative industries, which has great potential to be developed into economic creative sectors. Animation products not only featured in the film industry but also widely used for the videography products, advertising and multimedia gaming applications. In<br />addition to the strength of the story, one of the important aspects in the production of the animated film is the character design. The success of delivering the message is heavily influenced by the strength of characters that play the part. This study will discuss the topic of clay based design modelling<br />where it would be useful as an alternate method in designing a clay based animated character and can make a positive contribution to the development of creative industries Indonesia.</p><p> </p><p><strong>Abstrak</strong><br />Film animasi merupakan salah satu aset industri kreatif nasional yang potensial untuk terus dikembangkan menjadi sektor ekonomi kreatif. Produk-produk animasi kini tidak saja digunakan dalam industri film layar lebar, namun juga banyak dimanfaatkan untuk produksi videografi, iklan maupun aplikasi game multimedia. Selain kekuatan cerita, salah satu aspek penting dalam film animasi adalah desain karakter/figur. Karena sebagian besar keberhasilan penyampaian pesan cerita sebuah film termasuk animasi banyak dipengaruhi oleh kekuatan<br />desain karakter/figure yang memerankannya. Penelitian ini akan membahasnya dalam topik rancang bangun karakter modeling berbasis clay. Semoga dapat bermanfaat sebagai alternatif metode dalam desain model karakter animasi berbasis clay dan dapat memberikan kontribusi positif untuk perkembangan industri kreatif di Indonesia.<br /><br /></p>

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Wang, Kai, and Guojun Li. "The Impact of Big Data Technology on the Scale Management of China’s Animation Film Industry." Mathematical Problems in Engineering 2022 (April 13, 2022): 1–14. http://dx.doi.org/10.1155/2022/1060943.

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With the development of science and technology, social networking and digital media technology are also constantly developing. Handheld mobile smart terminals have been continuously promoted and popularized. The promotion and popularization of network and digital media technology bring convenience to people’s life and work. People can use their leisure time to shop online and watch related videos. The advent of the Internet era has promoted the development of China’s industry. The era of big data is coming. Big data analysis brings enormous value to all occupations. At the same time, it has brought new developments to Chinese animation films, realizing the marketing and development design of animated films. At the same time, big data has also brought opportunities for the development of the Chinese animation film industry. The application of big data brings a foundation for China’s animation film industry. From investment and financing, topic development and design, marketing promotion, and distribution and development of derivative products, big data brings huge value to the entire industry chain. However, big data is not omnipotent, and there are certain problems in the use of big data in Chinese animation films. At present, the application of big data in China’s animation film industry also has limitations and practical difficulties. Based on this, this paper focuses on discussing and analyzing the historical status of China’s animation industry. Moreover, it analyzes the future development prospects of the animation industry and other related contents. It is hoped that the brief analysis in this article provides some reference and inspiration for relevant practitioners.

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Krivulya, Natalia G. "Development of the Animated Poster in the First Half of the XX century." Journal of Flm Arts and Film Studies 8, no. 3 (2016): 19–33. http://dx.doi.org/10.17816/vgik8319-33.

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

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Waldburger, Adia. "Sport on the Screen: A Look at Sport Films Featured at Sundance 2011." International Journal of Sport Communication 4, no. 2 (2011): 253–58. http://dx.doi.org/10.1123/ijsc.4.2.253.

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Audiences had the opportunity to applaud for sport films at the 2011 Sundance Film Festival in Park City, UT. Two sport-themed documentary films won audience awards. The U.S. winner, Buck, follows the life of horse trainer Buck Brannaman, and Senna, a look at the life of Formula One hero Ayrton Senna, won in the international category. Other sport films screened this year included Win Win, in which Paul Giamatti stars as a volunteer high school wrestling coach; Benevides Born, about a teen female wrestler trying win a scholarship; and two short movie entries, Bike Race, an animated film about a race and a love triangle, and Skateistan: To Live and Skate Kabul, a documentary about skaters in war-torn Afghanistan. This review provides an examination of the sport films at this year’s festival and discusses the impact that this form of sport communication has on the entertainment industry.

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Yu, Tien Kuei. "Optimize the Study of the Dynamic Film Selection." Applied Mechanics and Materials 320 (May 2013): 768–73. http://dx.doi.org/10.4028/www.scientific.net/amm.320.768.

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A technical computer animation for dynamic film, animated short film production to Taiwan by customers to move to the development of the continent, a shrinking market worries. Visible the Taiwan in animation foundry (low-cost, high-quality, high-efficiency) industry, no longer is an advantage. The other hand, the industry has also been realized to cartoons of the United States and Japan and therefore positive efforts (toward the direction of home-made animation Fanmei Jun, 2004). Secondly, the computer animation at this stage of the development of animation industry in Taiwan is the weakest that is, the ability of the financial, legal, and international marketing. Due to the creation of the marketing practices of the finished product is difficult to both creators oriented (Hongfeng Yi, 2004). The research basis the Tsou-Hsiang Ju (2008) using conjoint analysis, analysis of four different preference cluster analysis, five kinds of film properties and their rights, grey relational analysis of dynamic video library field to be named; understand the Hall field the eyes of the average consumer selection situation, it is recommended to design products to meet consumer preferences, and to continue to innovate and reform, driven by the digital content industry to flourish in the international market and to keep pace with foreign manufacturers.

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Dissertations / Theses on the topic "Industry of animated film"

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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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Montañez-Arica, Jimena-del-Rosario. "Largometrajes animados digitalmente en el Perú. Los casos de Red Animation, Origami Studio y Aronnax." Bachelor's thesis, Universidad de Lima, 2017. http://repositorio.ulima.edu.pe/handle/ulima/4547.

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Esta investigación analiza el panorama de largometrajes animados digitalmente en la ciudad de Lima, Perú, durante los años 2004-2016. Se aborda el proceso de realización de las películas, sus dificultades y características primordiales, a través del estudio de tres productoras: Origami Studio, Red Animation y Aronnax. El presente texto ofrece una perspectiva de la industria de la animación en Lima y desagrega tanto sus capacidades como sus posibilidades de desarrollo<br>The aim of this research is to analyze the feature film digital animation scene, in the city of Lima, Peru, between the years of 2005-2016. To achieve this, the realization process of the animated movies made in the present, along with its main characteristics and difficulties, is investigated through the study of three different production companies: Origami Studio, Red Animation and Aronnax. The text offers an outlook of the animated movie industry and it divides both their capabilities and their development possibilities.<br>Trabajo de investigación

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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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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>Ma&lstrok;y 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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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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Books on the topic "Industry of animated film"

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Dong hua chuang yi chan ye. Dong fang chu ban zhong xin, 2009.

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Canada. Consulate General (Los Angeles, Calif.), ed. Only people can animate: Exploring digital hollywood. Canadian Consulate General, 1998.

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Konsarutingu, Mitsubishi UFJ Risāchi &. Nihon no kontentsu no kaigai tenkai sokushin ni kansuru kiso chosa hokokusho. Mitsubishi UFJ Risāchi & Konsarutingu, 2011.

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Český animovaný film: Czech animated film. Národní Filmový Archiv, 2012.

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Canada. Ministère des affaires étrangères et du commerce international. Culture : échange de notes entre le gouvernement du Canada et le gouvernement de la République Française constituant un accord modifiant l'accord relatif à la promotion de projets de coproduction cinématographique ou audiovisuelle dans le domaine de l'animation du 10 janvier 1985, Ottawa, le 11 avril 1991 et le 8 septembre 1992, 2n vigueur le 8 septembre 1992 =: Culture : exchange of notes between the Government of Canada and the Government of the Republic of France constituting an agreement amending the agreement concerning the promotion of film and video co-production projects in the field of animation of January 10, 1985, Ottawa, April 11, 1991 and September 8, 1992, in force September 8, 1992. Queen's Printer = Imprimeur de la Reine, 1998.

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Ongaku, gemu, anime: Kontentsu shometsu. Kobunsha, 2004.

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Kontentsu bijinesu dejitaru shifuto: Eizō no atarashii shōhi keitai. NTT Shuppan, 2012.

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1951-, Giżycki Marcin, and Zmudziński Bogusław, eds. Polski film animowany. Polskie Wydawn. Audiowizualne, 2008.

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Le donne nel cinema d'animazione. Tunué, 2010.

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

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Book chapters on the topic "Industry of animated film"

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

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Plympton, Bill. "Making an Animated Film." In Make Toons That Sell Without Selling Out, 10th ed. CRC Press, 2021. http://dx.doi.org/10.1201/9781003205098-3.

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

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

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

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

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De Vinck, Sophie, and Sven Lindmark. "The Film Industry." In Digital Media Worlds. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137344250_8.

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Lacey, Nick. "Film as Industry." In Introduction to Film. Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-21155-1_4.

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Gibbs, A. M. "The Film Industry, 1946." In Shaw. Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-05402-2_234.

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Spicer, Andrew. "Writing film industry history." In The Routledge Companion to Media Industries. Routledge, 2021. http://dx.doi.org/10.4324/9780429275340-43.

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Conference papers on the topic "Industry of animated film"

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

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

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

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

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

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

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

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Chen, Chuang. "Research on Character shaping in Animated film Monkey King." In 2016 2nd International Conference on Economics, Management Engineering and Education Technology (ICEMEET 2016). Atlantis Press, 2017. http://dx.doi.org/10.2991/icemeet-16.2017.85.

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Wang, Hongwei. "Analysis of the Anti War Thought from Animated Film." In 2014 International Conference on Education, Management and Computing Technology (ICEMCT-14). Atlantis Press, 2014. http://dx.doi.org/10.2991/icemct-14.2014.90.

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Guojun Chen, Quanhui Huang, and Qing Zhu. "Apply 3D digital technology in HBUE virtual campus animated film." In 2010 2nd International Conference on Information Science and Engineering (ICISE). IEEE, 2010. http://dx.doi.org/10.1109/icise.2010.5691522.

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Reports on the topic "Industry of animated film"

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Gil, Ricard, and Pablo Spiller. The Organizational Implications of Creativity: The US Film Industry in Mid-XXth Century. National Bureau of Economic Research, 2007. http://dx.doi.org/10.3386/w13253.

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Galili, Naftali, Roger P. Rohrbach, Itzhak Shmulevich, Yoram Fuchs, and Giora Zauberman. Non-Destructive Quality Sensing of High-Value Agricultural Commodities Through Response Analysis. United States Department of Agriculture, 1994. http://dx.doi.org/10.32747/1994.7570549.bard.

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Abstract:

The objectives of this project were to develop nondestructive methods for detection of internal properties and firmness of fruits and vegetables. One method was based on a soft piezoelectric film transducer developed in the Technion, for analysis of fruit response to low-energy excitation. The second method was a dot-matrix piezoelectric transducer of North Carolina State University, developed for contact-pressure analysis of fruit during impact. Two research teams, one in Israel and the other in North Carolina, coordinated their research effort according to the specific objectives of the project, to develop and apply the two complementary methods for quality control of agricultural commodities. In Israel: An improved firmness testing system was developed and tested with tropical fruits. The new system included an instrumented fruit-bed of three flexible piezoelectric sensors and miniature electromagnetic hammers, which served as fruit support and low-energy excitation device, respectively. Resonant frequencies were detected for determination of firmness index. Two new acoustic parameters were developed for evaluation of fruit firmness and maturity: a dumping-ratio and a centeroid of the frequency response. Experiments were performed with avocado and mango fruits. The internal damping ratio, which may indicate fruit ripeness, increased monotonically with time, while resonant frequencies and firmness indices decreased with time. Fruit samples were tested daily by destructive penetration test. A fairy high correlation was found in tropical fruits between the penetration force and the new acoustic parameters; a lower correlation was found between this parameter and the conventional firmness index. Improved table-top firmness testing units, Firmalon, with data-logging system and on-line data analysis capacity have been built. The new device was used for the full-scale experiments in the next two years, ahead of the original program and BARD timetable. Close cooperation was initiated with local industry for development of both off-line and on-line sorting and quality control of more agricultural commodities. Firmalon units were produced and operated in major packaging houses in Israel, Belgium and Washington State, on mango and avocado, apples, pears, tomatoes, melons and some other fruits, to gain field experience with the new method. The accumulated experimental data from all these activities is still analyzed, to improve firmness sorting criteria and shelf-life predicting curves for the different fruits. The test program in commercial CA storage facilities in Washington State included seven apple varieties: Fuji, Braeburn, Gala, Granny Smith, Jonagold, Red Delicious, Golden Delicious, and D'Anjou pear variety. FI master-curves could be developed for the Braeburn, Gala, Granny Smith and Jonagold apples. These fruits showed a steady ripening process during the test period. Yet, more work should be conducted to reduce scattering of the data and to determine the confidence limits of the method. Nearly constant FI in Red Delicious and the fluctuations of FI in the Fuji apples should be re-examined. Three sets of experiment were performed with Flandria tomatoes. Despite the complex structure of the tomatoes, the acoustic method could be used for firmness evaluation and to follow the ripening evolution with time. Close agreement was achieved between the auction expert evaluation and that of the nondestructive acoustic test, where firmness index of 4.0 and more indicated grade-A tomatoes. More work is performed to refine the sorting algorithm and to develop a general ripening scale for automatic grading of tomatoes for the fresh fruit market. Galia melons were tested in Israel, in simulated export conditions. It was concluded that the Firmalon is capable of detecting the ripening of melons nondestructively, and sorted out the defective fruits from the export shipment. The cooperation with local industry resulted in development of automatic on-line prototype of the acoustic sensor, that may be incorporated with the export quality control system for melons. More interesting is the development of the remote firmness sensing method for sealed CA cool-rooms, where most of the full-year fruit yield in stored for off-season consumption. Hundreds of ripening monitor systems have been installed in major fruit storage facilities, and being evaluated now by the consumers. If successful, the new method may cause a major change in long-term fruit storage technology. More uses of the acoustic test method have been considered, for monitoring fruit maturity and harvest time, testing fruit samples or each individual fruit when entering the storage facilities, packaging house and auction, and in the supermarket. This approach may result in a full line of equipment for nondestructive quality control of fruits and vegetables, from the orchard or the greenhouse, through the entire sorting, grading and storage process, up to the consumer table. The developed technology offers a tool to determine the maturity of the fruits nondestructively by monitoring their acoustic response to mechanical impulse on the tree. A special device was built and preliminary tested in mango fruit. More development is needed to develop a portable, hand operated sensing method for this purpose. In North Carolina: Analysis method based on an Auto-Regressive (AR) model was developed for detecting the first resonance of fruit from their response to mechanical impulse. The algorithm included a routine that detects the first resonant frequency from as many sensors as possible. Experiments on Red Delicious apples were performed and their firmness was determined. The AR method allowed the detection of the first resonance. The method could be fast enough to be utilized in a real time sorting machine. Yet, further study is needed to look for improvement of the search algorithm of the methods. An impact contact-pressure measurement system and Neural Network (NN) identification method were developed to investigate the relationships between surface pressure distributions on selected fruits and their respective internal textural qualities. A piezoelectric dot-matrix pressure transducer was developed for the purpose of acquiring time-sampled pressure profiles during impact. The acquired data was transferred into a personal computer and accurate visualization of animated data were presented. Preliminary test with 10 apples has been performed. Measurement were made by the contact-pressure transducer in two different positions. Complementary measurements were made on the same apples by using the Firmalon and Magness Taylor (MT) testers. Three-layer neural network was designed. 2/3 of the contact-pressure data were used as training input data and corresponding MT data as training target data. The remaining data were used as NN checking data. Six samples randomly chosen from the ten measured samples and their corresponding Firmalon values were used as the NN training and target data, respectively. The remaining four samples' data were input to the NN. The NN results consistent with the Firmness Tester values. So, if more training data would be obtained, the output should be more accurate. In addition, the Firmness Tester values do not consistent with MT firmness tester values. The NN method developed in this study appears to be a useful tool to emulate the MT Firmness test results without destroying the apple samples. To get more accurate estimation of MT firmness a much larger training data set is required. When the larger sensitive area of the pressure sensor being developed in this project becomes available, the entire contact 'shape' will provide additional information and the neural network results would be more accurate. It has been shown that the impact information can be utilized in the determination of internal quality factors of fruit. Until now,

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