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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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Safagi, Ardian Yuligar, Kusrini Kusrini, and Hanif Al Fatta. "Analisis dan Pengembangan Pipeline Cloth Simulation Pada Produksi Animasi 3D di MSV Studio." Creative Information Technology Journal 7, no. 2 (2021): 107. http://dx.doi.org/10.24076/citec.2020v7i2.255.
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Pengaruh penerapan pipeline dalam sebuah industry animasi 3d sangat mempengaruhi produksi animasi agar maksimal. Dalam masing-masing divisi juga terdapat pipeline yang digunakan contohnya pipeline pada divisi cloth simulation. Pada MSV Studio pipeline simulasi yang diterapkan di divisi cloth simulation masih terdapat beberapa kendala pada saat produksi. Cara kerja pipeline yang sudah ada yaitu pada saat proses pengecekan data asset yang masih manual antara Sceneres dan Renderes yang diperlukan untuk simulasi cloth masih sering terjadi kesalahan seperti human error dan set up cloth masih dilakukan disetiap shot. Dari masalah tersebut diusulkan untuk dilakukan pengembangan pipeline cloth simulation agar bisa meminimalisir kesalahan dan menghemat waktu pengerjaan. Hasil dari produksi film animasi sangat dipengaruhi oleh pipeline yang digunakan dalam produksi tersebut. Studi ini memberikan gambaran bagaimana sebuah pipeline ikut andil besar dalam sebuah hasil dari produksi film animasi 3D terutama dalam masalah waktu. Pada akhirnya studi ini dapat menjadi acuan dalam pembuatan sebuah pipeline film animasi khususnya pada divisi cloth simulation.Kata Kunci — pipeline, cloth simulation, animasi 3DThe effect of pipeline application in a 3D animation industry greatly influences the production of animation for maximizing. In each division. there is also a pipeline that is used for example the pipeline in the cloth simulation division. In the MSV studio pipeline simulation applied in the cloth simulation division there were still some obstacles during production. The work of the existing pipeline during the process of checking asset data which is still manual between Sceneres and Renderes needed for cloth simulation is still often had an error such as human error and set up cloth still done in every shot. From this problem it is proposed to develop a pipeline cloth simulation in order to minimize errors and saving time processing. The results of the production of animated films are strongly influenced by the pipeline used in the production. This studyprovides an illustration of how a pipeline contributes greatly to the results of the production of 3D animated films, especially in the matter of time. In the end, this study can be a reference in making an animation film pipeline, especially in the cloth simulation division.Keywords — pipeline, cloth simulation, 3D animation
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Szita, Kata, Paul Taberham, and Grant Tavinor. "Book Reviews." Projections 14, no. 2 (2020): 102–23. http://dx.doi.org/10.3167/proj.2020.140210.
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Bernard Perron and Felix Schröter, eds., Video Games and the Mind: Essays on Cognition, Affect and Emotion (Jefferson, NC: McFarland, 2016), 224 pp., $39.95 (softcover), ISBN: 9780786499090.Christopher Holliday, The Computer-Animated Film: Industry, Style and Genre (Edinburgh: Edinburgh University Press, 2018), 272 pp., $39.95 (paperback), ISBN: 9781474427890.Aubrey Anable, Playing with Feelings: Video Games and Affect (Minneapolis: Minnesota University Press, 2018), 200 pp., $25.00 (paperback), ISBN: 9781517900250. and Christopher Hanson, Game Time: Understanding Temporality in Video Games (Bloomington: Indiana University Press, 2018), 296 pp., $38.00 (paperback), ISBN: 9780253032867.
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Halim, Ethannael, Jonathan Russel, and Kevin Nathanael. "Analysis on Laika’s Puppets in Kubo and the Two Strings: A Stop-motion Animated Feature." IMOVICCON Conference Proceeding 2, no. 1 (2021): 46–53. http://dx.doi.org/10.37312/imoviccon.v2i1.35.
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Stop-motion is one of the highly regarded animation/film techniques in the industry. Although infamous for its long production time, stop-motion can take advantage of literally every other artform and technology. But, one medium that stop-motion never strays far from is puppetry. This is because puppets can easily be made to resemble living beings. Also, they are reusable. In this digital age, efficiency and effectiveness became the top priorities in any form of production. In this context, puppet animation (puppetry in stop-motion) is considered too pricey and not ideal for the rapid competition happening throughout the industry. This is why the genre started to fade in the ‘90s. Fortunately, a western animation studio bearing the name Laika brought puppet animation back to life, making the genre popular again. Their works reached the hearts of their audience through smooth animation, breathtaking visuals, and cool-looking puppets. This may seem like a mere pipe dream for their predecessors, but Laika has done it with the help of cutting-edge technology — making the production process way cleaner than ever. As time keeps on flowing, innovations and new ideas are needed to sustain creativity and value in the industry. Therefore, this journal is a study to prove how relevant Laika’s innovative puppets are in the stop-motion world. All data used in this journal is acquired through literary studies across the online web.
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Amalia, Julia Rizky, and Prima Widia Wastuty. "SEKOLAH MENENGAH KEJURUAN DESAIN ANIMASI DI BANJARBARU." LANTING JOURNAL OF ARCHITECTURE 10, no. 1 (2021): 159–66. http://dx.doi.org/10.20527/lanting.v10i1.747.
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Animation is a sub-sector of the creative industry that has promising business opportunities and is able to absorb a lot of creative labor. The increasing number of animation creators in Indonesia shows the increasing demand for animated films, unfortunately the quality of animators has not been able to compete internationally due to inadequate infrastructure and low education. The government also encourages the development of the animation industry by opening vocational education, where the Animation Vocational School can become a special forum for learning activities in the field of animation technology which aims to improve Human Resources (HR). The Interactive Space theme offers problem-solving for Animated Vocational Schools which have an interactive platform. The method used is to create a place to stimulate ideas. Like a waiting room which can be a collaborative space for discussion and relaxation.
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Posada, Tim. "THE COMPUTER-ANIMATED FILM: INDUSTRY, STYLE, AND GENRE By Christopher Holliday. Edinburgh: Edinburgh UP, 2018. 272 pp. $84.53. paper." Journal of Popular Film and Television 47, no. 3 (2019): 180. http://dx.doi.org/10.1080/01956051.2019.1642719.
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Banerjee, Sikata, and Rina Verma Williams. "Making the nation manly: The case of Bhaag Milkha Bhaag (2013) and India's search for regional dominance in an era of neo-liberal globalization." Studies in South Asian Film & Media 10, no. 2 (2019): 179–93. http://dx.doi.org/10.1386/safm_00013_1.
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Abstract This article unpacks a particular gendered vision of nation that we term muscular nationalism. Briefly put, muscular nationalism is an intersection of a specific vision of masculinity with the political doctrine of nationalism. This idea of nation is animated by an idea of manhood associated with martial prowess, muscular strength and toughness. A particular interpretation of muscular nationalism has unfolded in India within a cultural milieu shaped by an assertive self-confidence fuelled by 'liberalization', a process by which India has been integrated into the global political economy, coupled with the prominence of Hindu nationalist politics. India's prolific commercial film industry centred in Mumbai has used images of manhood to express and valorize these cultural changes. We use the popular and critically acclaimed film Bhaag Milkha Bhaag (2013), directed by Rakesh Omprakash Mehra, to illustrate how athleticism and India's desire for regional dominance in South Asia shape muscular nationalism.
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Carr, Joi. "Crafting Longevity." Pacific Coast Philology 56, no. 1 (2021): 60–77. http://dx.doi.org/10.5325/pacicoasphil.56.1.0060.
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This intimate conversation with Emmy Award winner and Tony Award nominee Keith David traverses his expansive career and the invaluable lessons he has gleaned along the way: performance craftwork, author’s intent, and finding the humanity in each character toward exploring the human condition. At the heart of his success is thoughtful artistry, which has helped him craft longevity in the television and film industry. Keith David’s perspective on the craft is deeply rooted in the text and consists in “finding a kind of engaged objectivity”—his desire and ability to tap into the tone of each story he encounters. This interview explores David’s remarkable credits from his iconic ensemble performance in Oliver Stone’s Platoon to his more recent critically acclaimed lead role in OWN’s Greenleaf, from his numerous television, feature film, and theatrical appearances, to his award-winning documentaries, animated features, video gaming, and commercials.
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Ciszewska, Ewa. "Who Benefits from the Past? The Process of Cultural Heritage Management in the Field of Animation in Poland (The Case of the Se-Ma-For Film Studio in Łódź)." Animation 14, no. 2 (2019): 117–31. http://dx.doi.org/10.1177/1746847719857837.
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With a view to studying the social and institutional practices related to the post-1989 approaches to film animation under socialism, this article addresses the transformation of the state-owned Se-Ma-For Film Studio in Łódź and the private company that later took over its name (the Se-Ma-For Film Company). The chronological scope of the study extends from 1989 to 2016; however, to identify the impact of the 1989 watershed on the animation market in Poland, modalities of operation of animation film studios in state-socialism era are presented. This article addresses the question of which heritage communities work with the memory of the animated film studio in Łódź, as well as the issue of the ways in which cultural heritage management processes have taken place. The article makes the case that the approving attitude towards the organizational and aesthetic values of Poland’s film industry under socialism has become a characteristic feature of strategies leading to the cultural heritage management of Polish film animation from this period. In conclusion, the author asserts that the commercialization of the cultural heritage of the former state-owned studio benefited the economic and symbolic capital of two institutions, the Museum of Cinema and the Se-Ma-For Film Company, as well as the city of Łódź, which branded itself as a city of film.
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Demina, Olga V. "Linguistic and Stylistic Means of Satire Construction in the Animated Series." RUDN Journal of Language Studies, Semiotics and Semantics 12, no. 4 (2021): 1124–46. http://dx.doi.org/10.22363/2313-2299-2021-12-4-1124-1146.
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The study is devoted to the description of linguistic and stylistic means of satire construction in modern American animated series. The article deals with a detailed analysis of the linguistic and stylistic means that actualize the satiric and ironic meanings for a satire creation based on the examples of American series. Cartoonists often resort to satire as a unique genre of art to express direct or indirect criticism of the structure of modern society. Modern satirical cartoons contain vivid elements of parody and caricature. An obligatory consequence of satirical creativity is exposure and laughter. The methods of socio-political satire of modern animated serials are enhanced by the interplay of irony and sarcasm, hyperbole and grotesque, allegory and allusion, paraphrase and play on words. American animated series mirror modern reality, they reflect numerous facts of daily life and current environment touching their most critical sides: economics, politics, education, religion, ethnic issues, international ties and relations, interpersonal dealings. Socio-political satire is peculiar in that it does not spare not only the ruling branch of power, but also an ordinary, ordinary, gray person. In this dullness and ignorance of his, the average man in the street is ready to blindly obey the most ridiculous and absurd orders. Of course, an animated series cannot solve acute social or political problems facing society. But the fact that these questions are raised means that the problems are urgent. The purpose of such satire is to reflect on mistakes and not repeat them in the future. For example, South Park, Rick and Morty, Family Guy, F is for Family parody the modern family, social order, exaggerate social issues to the extreme. The relevance of this study is due to several reasons: first, the abundance of cartoon products on the modern film industry market. Secondly, the role that cartoons and serials play in the life of a modern person and in the culture of postmodernity. It is common knowledge that over the past few years, the TV series and animated series industry has changed a lot: streaming services (Netflix, Hulu and Amazon) appear, new formats are released, and more and more cartoon characters are voiced by famous actors. Thirdly, it is confirmed by the idea of the existence of the phenomenon of the "Big Serial Bang", expressed by Doctor of Philosophy, Professor of the Higher School of Economics V.A. Kurenniy. The fact that modern TV series are a cultural product that accurately reflects the spirit of the times remains an indisputable fact. Such a visual narrative fits perfectly into the framework of modern society.
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Yali, Cheng, and Chen Kaiju. "Appropriation, Rewriting and Alienation: A Postcolonial Critique of Mulan." International Journal of Social Science Studies 9, no. 3 (2021): 82. http://dx.doi.org/10.11114/ijsss.v9i3.5226.
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Released in September, 2020, Mulan, a live-action film starring Liu Yifei, was adapted by Disney from the Ballad of Mulan[1]. The film was produced from its animated version Mulan (1998) which hit global box office amounting to 304 million with marvelous reputation. However, the live-action movie Mulan did not continue the brilliant results of the previous work. Instead, Mulan (2020) disappointed most Chinese audience[2] because historical facts and cultural values about Mulan were excessively appropriated, rewritten and alienated. Applying theories of Postcolonialism, this essay analyzes the live-action movie Mulan revealing the ethnocentric abuse of the target culture as the “other”: arbitrary appropriation, rewriting and distortion of its historical events and traditional values. Also, theories of popular culture will be used to analyze the cultural industry strategies applied in this unsuccessful film.[1]the Ballad of Mulan (Chinese: 木兰辞; pinyin: Mù lán cí), a famous folk song of the Northern Dynasty in China.[2]The investment in the live-action film Mulan is as high as US$200 million (about 1.4 billion RMB). As a result, the global box office is less than US$70 million. Also, the score in Douban is only 5.0 points. (the full mark is 10.)Sources:https://new.qq.com/rain/a/20201102A0J6EO00,https://movie.douban.com/subject/26357307/
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Widiastomo, Yohanes Merci. "Business Aspect of Intellectual Properties “Si Juki”." IMOVICCON Conference Proceeding 2, no. 1 (2021): 64–72. http://dx.doi.org/10.37312/imoviccon.v2i1.63.
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Si Juki is an example of a thriving local Indonesian IP management. Starting from 2010 with a comic strip uploaded via social media, Facebook has developed into an IP that the Indonesian people love. Si Juki is also an animated feature film with the most significant number of viewers. This phenomenon, of course, has attracted more attention from the Indonesian people. In developing an IP, 2 essential aspects must be considered by the IP maker must consider two essential aspects, namely the creative element and the business aspect. Without thinking about the business aspect, Ip is just an ordinary art that cannot survive in the industry. The Author, on this occasion, will examine the business aspects carried out by the Juki IP development team in Indonesia based on data available online based on business and marketing theories.
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Sayfo, Omar. "Mediating a Disney-style Islam: The Emergence of Egyptian Islamic Animated Cartoons." Animation 13, no. 2 (2018): 102–15. http://dx.doi.org/10.1177/1746847718782892.
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As early as the 1930s, Egypt was the first Arab country to establish an animation production. While the majority of productions in the eight-decade history of the industry have been aimed at a national audience and conveyed through locally relevant messages, a growing number of films and series on Islamic topics targeting a transnational Muslim audience have emerged since the 1990s. This article examines the growth and characteristics of Egyptian Islamic animated cartoons and the Islamization of animation. It explores how the Egyptian state’s politics in the 1990s and its tightening affiliations with al-Azhar, the country’s highest religious authority, paved the way for such a production. Through a close study of the case of Qisas al-Qur’an (Stories from the Qur’an), the country’s most significant production to date in terms of budget, quality and distribution, this article provides an introduction to the characteristics of Egyptian Islamic animation.
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Ruddell, Caroline. "‘Don’t Box Me In’: Blurred Lines in Waking Life and A Scanner Darkly." Animation 7, no. 1 (2012): 7–23. http://dx.doi.org/10.1177/1746847711429632.
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This article seeks to evaluate the visual style of Waking Life and A Scanner Darkly, predominantly through an analysis of the films’ aesthetics. The use of Rotoshop as an expressive means to illustrate character and theme, where identity becomes sketched and multi-faceted rather than fixed or stable is explored here. Yet this aesthetic play with borders has a greater resonance than simply a means by which to delineate thematic preoccupations with troubled identity. While such representations are indeed key to these two films, the darkly outlined contours of character borders, which move and slide incessantly, also comment on the blurred divide between live action and animation. Central to the argument is the use of the animated line in understanding these two films; the line provides impetus for exploring several issues raised by the films and the use of Rotoshop. This article explores the following key ideas: the animated line and aesthetic analysis; Rotoshop technology; the representation of fragmentary identity; and the relationship between photo-real cinema and animation, with a particular focus on narrative and spectacle. The author addresses Rotoshop within the context of technology and spectacle; taking industry practices into account allows for an appreciation of how a technological innovation such as Rotoshop can change the shape of live-action cinema.
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Villén Higueras, Sergio Jesús, Xinjie Ma, and Francisco Javier Ruiz-del-Olmo. "Crowdfunding as a Catalyst for Contemporary Chinese Animation." Animation 15, no. 2 (2020): 130–44. http://dx.doi.org/10.1177/1746847720933792.
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This study explores the online financing forms and practices of contemporary Chinese animation cinema. The research focuses on the use of crowdfunding by this industry, and analyses three recent cases, One Hundred Thousand Bad Jokes (2014), Monkey King: Hero Is Back (2015), and Big Fish & Begonia (2016), selected based on the perspective of the high economic revenue earned and the artistic and creative singularity of these films, as well as the consideration of the undeniable influence of these productions on the imagination of new generations. Using an exploratory and descriptive research methodology, the authors uncover the main features of the production of animated films based on crowdfunding. The results show that obtaining funds is a secondary objective for these movies that mainly use crowdfunding as a promotional strategy for creating an active fan base and channelling their affective involvement towards the communicative interests of each project.
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Chen, Shaopeng. "Social Concern, Government Regulation, and Industry Self-Regulation: A Comparison of Media Violence in Boonie Bears TV and Cinematic Creations." SAGE Open 10, no. 4 (2020): 215824402096313. http://dx.doi.org/10.1177/2158244020963136.
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This article compares the TV and cinematic versions of the Chinese 3D animation Boonie Bears in terms of their representations of media violence within the context of social concern, government regulation, and industry self-regulation. These works are particularly significant among domestically produced animation with respect to their effects on children of exposure to violent programming. The first part of this article examines physical violence and verbal abuse in Boonie Bears and Pleasant Goat and Big Big Wolf, the two most influential and widely watched animated TV series in China. The second part reviews the corresponding public criticism the above two works have received and the reasons behind it. The third part of this article analyzes how and to what extent the production company has reduced the degree of children’s exposure to media violence in cinematic Boonie Bears productions (especially the first two films), which have been deemed acceptable by the majority of potential audience members.
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Golmohammadi, Naser. "An analysis of the circumstances and factors that have influenced the development of Animation Industry in Iran in the 1960-2002 periods." Environment Conservation Journal 16, SE (2015): 61–77. http://dx.doi.org/10.36953/ecj.2015.se1607.
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In the early part of 20th century animation emerged as a revolutionary way of making art. It evolved into a powerful means of expression and creativity of artists who could merge all art genres into one art form. The subsequent developments of animation have opened its diverse uses in entertainment business, education and political propaganda.
 This article attempts to examine the factors that have influenced and shaped the development of animation industry in Iran. It takes a historical view and investigates the impacts of changing socio-economic and political forces that have determined the functions of animation in the Iranian society. The study traces the establishment of the industry to the government-run centres, describing the pioneering role of artists who gave rise to the ‘golden age’ of animation in the pre-revolutionary Iran. Especial attention is throughout paid to the long and rich cultural and artistic heritages, as the thematic basis for indigenously produced animated films in Iran. The growth of the industry is considered in conjuncture with the expansion of feature films cinema and expansion of television networks. The latter is particularly important for the fact that it provides a secured market for a sizeable audience of children and young people in Iran. The study analyses the impact of the 1979 Islamic Revolution on the animation industry from a period of stagnation to a highly promoted and government sponsored artistic and industrial activity. In the post-revolutionary period, the industry was transformed from one reflecting the Iranian history and culture to the one that emphasises the Islamic-Iranian values and Islamic traditions; hence animation has become an ideological means in propagating the cultural policy of the state. Thus, animation has increasingly become a cultural industry assigned to supply growing needs of television and artistic works reserved for international festivals.This research is largely based on extensive interviews with animation artists and those who are working in the industry complemented with a sample of questionnaires addressed to both Iranian artists and foreign observers and participants in the Iranian International festivals on animation. The research methodology is also supplemented with the research on printed materials – very few and often descriptive- and personal experience of working over twenty years in the industry.
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Muliani, Metta. "Analisis Komposisi Soundtrack Epic “You See Big Girl” Karya Hiroyuki Sawano dalam Serial Animasi Attack on Titan." PROMUSIKA 8, no. 2 (2021): 58–68. http://dx.doi.org/10.24821/promusika.v1i2.4454.
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Action-fantasy merupakan genre yang diproduksi secara lebih meluas dalam industri perfilman dan cenderung menggunakan musik cinematic yang mampu menggambarkan suasana dan emosi pada dunia imajiner dalam film tersebut. Pemilihan You See Big Girl sebagai objek penelitian dikarenakan penataan musik cinematic yang megah, kesesuaiannya mengiringi suasana pertarungan pada narasi, juga sebagai musik mandiri yang dinikmati terlepas dari perannya mengiringi adegan. Penelitian kualitatif deskriptif ini bertujuan untuk menganalisis teknik pengolahan komposisi soundtrack You See Big Girl dengan mendeskripsikan elemen musik epic di dalamnya. Metode penelitian yang digunakan adalah studi literatur, studi diskografi, dan observasi, serta pendekatan dengan teori Lehman dan Derrick Werlé untuk menganalisis elemen-elemen musik epic. Hasil penelitian menunjukkan bahwa You See Big Girl merupakan salah satu karya musik epic dengan penggunaan instrumen yang berkaitan dengan pertarungan dan peperangan, serta membangun peningkatan ketegangan dari suatu bagian ke bagian berikutnya melalui poliritmik, aksen marcato, big crescendo, sekuen, sudden silence yang mengakhiri periode kalimat, ostinato, dan abstract theme, untuk menggambarkan suasana megah, semangat, aksi pertarungan dan peperangan, serta kesan hebat melalui musiknya.AbstractEpic Soundtrack Composition Analysis "You See Big Girl" Works by Hiroyuki Sawano in Animated Series Attack on Titan. Action-fantasy are some movie genres that has the most expansive franchises in film industry and tend to use cinematic music to correlate the atmosphere and emotions of the movie’s imaginary universe. The analysis of You See Big Girl is due to its majestic cinematic music arrangement, its suitability in accompanying the battle scene, and also can be enjoyed as an independent track despite of its role in accompanying the scene. This qualitative descriptive research aims to analyze the musical composition technique by describing the epic musical element. This research contains of literature study, discography, and observation as the research methods, along with the approach of Lehman and Derrick Werlé’s examine on epic music to analyze the epic element. The result shows that the You See Big Girl is one of the various epic music with the use of battle and war instrument, as well as tension built gradually from a section to the following by the use of polyrhythm, marcato accent, big crescendo, sequence, sudden silence to ends the musical phrase, ostinato, and abstract theme, to portray a majestic, vibrant, war and battle scene, and the greatness through the music.Keywords: analysis; composition; animation; epic soundtrack; You See Big Girl
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Da Cruz Gonçalves Neto, João. "A pedagogia conservadora do cinema de animação: Os Incríveis (Pixar, 2004)." Revista Interdisciplinar de Direitos Humanos 9, no. 2 (2021): 231–49. http://dx.doi.org/10.5016/ridh.v9i2.108.
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Resumo: Uma das mais poderosas formadoras do imaginário coletivo contemporâneo é a indústria cultural e, como produto privilegiado em termos de acesso a ele, há as animações voltadas principalmente para o público infantil produzidas por grandes estúdios de cinema, como a Pixar / Disney. Como contos de fada modernos, suas histórias remetem a belas mensagens morais, como a amizade, a solidariedade, a persistência, o respeito e outros valores edificantes, mas veiculados por mensagens políticas de força pedagógica essencialmente conservadoras ou reacionárias. Decodificar essas mensagens políticas num caso exemplar, o filme Os Incríveis, é o objetivo deste artigo. Isso será feito apresentando um resumo da trama, algumas características contextuais que formam a mensagem política e sua relação com o discurso dos direitos humanos, para ao fim postular as mensagens presumidas pela leitura moralista e pelas leituras contextual e política.
 
 La pedagogía conservadora del cine de animación: Los Increíbles (Pixar, 2004)
 Resumen: Uno de los moldeadores más poderosos del imaginario colectivo contemporáneo es la industria cultural y, como producto privilegiado en cuanto al acceso a ella, existen animaciones dirigidas principalmente a niños producidas por grandes estudios cinematográficos, como Pixar / Disney. Como los cuentos de hadas modernos, sus historias remiten a hermosos mensajes morales, como la amistad, la solidaridad, la perseverancia, el respeto y otros valores edificantes, pero transmitidos por mensajes políticos de fuerza pedagógica esencialmente conservadora o reaccionaria. Decodificar estos mensajes políticos en un caso ejemplar, la película Los Increíbles, es el propósito de este artículo. Esto se hará presentando un resumen de la trama, algunas características contextuales que configuran el mensaje político y su relación con el discurso de los derechos humanos, para finalmente postular los mensajes asumidos por la lectura moralista y por las lecturas contextual y política.
 Palabras clave: Crítica cultural. Derechos humanos. Cine de animación. Conservadurismo. Pixar.
 
 The Conservative Pedagogy of Animation Film: The Incredibles (Pixar, 2004)
 Abstract: One of the most powerful shapers of the contemporary collective imagination is the cultural industry and, as a privileged product in terms of access to it, there are animations aimed mainly at children produced by large movie studios, such as Pixar / Disney. Like modern fairy tales, their stories refer to beautiful moral messages, such as friendship, solidarity, persistence, respect and other edifying values, but conveyed by political messages of essentially conservative or reactionary pedagogical strength. Decoding these political messages in an exemplary case, the movie The Incredibles, is the purpose of this article. This will be done by presenting a summary of the plot, some contextual characteristics that form the political message and its relationship with the human rights discourse, in order to finally postulate the messages assumed by the moralistic reading and by the contextual and political readings.
 Keywords: Cultural criticismo. Human rights. Animated film. Conservatism. Pixar.
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Player, Mark. "Media-Morphosis. Intermediality, (Re-)Animation and the Medial Uncanny in Tsukamoto Shinya’s Tetsuo: The Iron Man (1989)." Acta Universitatis Sapientiae, Film and Media Studies 12, no. 1 (2016): 167–89. http://dx.doi.org/10.1515/ausfm-2016-0009.
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Abstract Operating self-sufficiently on the fringes of the Japanese film industry for almost his entire career, the work of independent filmmaker Tsukamoto Shinya1 is perhaps best-known for its uncompromising, musical freneticism, as well as its corporeal spectacle. However, Tsukamoto’s dynamic clashing of visual media signifiers, such as those of theatre and television (industries within which he also operated prior to his film career during the 1980s), and how these impact upon his reflexive cinematic style, has yet to be fully considered. Drawing on Laura Mulvey’s conception of the ‘uncanny’ in response to cinema’s potential to confuse animate and inanimate, as well as Tsukamoto’s own under-discussed background in experimental street theatre and television advertising production, this essay seeks to examine Tsukamoto’s unique method of stop motion photography within his signature, self-produced feature Tetsuo: The Iron Man (1989). The intention is to show that these hyperbolic sequences instil not only an uncanniness in their live-action subjects, who are rendered inanimate then reanimated to form staccato, cyborg characters, but also a ‘medial uncanny’ that simultaneously emulates and subverts the qualities of a vast range of visual media, particularly television and its associated post-medial peripherals and artefacts.
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Park, Kwangtaek, and Sangjoon Bae. "Parody in the Film Viewed through the Theory of Individuation: The Shining in Ready Player One." Academic Association of Global Cultural Contents 39 (May 31, 2019): 66–94. http://dx.doi.org/10.32611/jgcc.2019.5.39.66.
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Parody which used as the way of creating for a long time has stood out by the spread of postmodernism. Parody that is defined as ‘repetition that includes difference’ by Linda Hutcheon structure the new semantic network in the process of transforming the original text. This paper focuses on the generation process of parody from the perspective of Gilbert Simondon, the theory of individuation. Likewise, technics and technical object, also the elements of culture have potential energy causing the transduction to the other individual, and individuation is occurred to form the new meanings. That is, parody is the phenomenon of individuation between the contents that have potential energy inside. Parody is animatedly applicated in the part of visual culture due to the progress of the digital culture. Especially film which is the interface between the technology, the industry, and the art, can be said as the advanced guard of parody aesthetics. After the 1970s, parody applied to begin in earnest in film produce abundant meaning in the network between film connecting the numerous work. One of the node of the film, <Ready Player One>(2018) tried parody covering the entire popular culture not only film but also game and so on. In that, <The Shining>(1980) is recontextualized of high importance. In the <The Shining> in the <Ready Player One>, value-neutral parody with no satirical or respectful intent unfolds icon or settings such as typewriter, anniversary picture, maze, and the banquet room. In this progress, after the fundamental elements in the adventure genre are taken the information of the original text, the internal potential energy form the parody. On the other hand, a filmic element such as a film texture rendering and steadycam commemorate the film historical position of the original, at the same time, those are represented in homage parody varied the meaning. Like the aforesaid parody, this brings about the process of individuation, as well as the nostalgia, which leads to trans-contextualization
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Karen Beckman. "Film Theory's Animated Map." Framework: The Journal of Cinema and Media 56, no. 2 (2015): 472. http://dx.doi.org/10.13110/framework.56.2.0472.
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Sandya, Isha, and Sri Widati. "PERBEDAAN EFEKTIFITAS FILM ANIMASI DAN FILM CERITA TERHADAP PENINGKATAN PENGETAHUAN DAN SIKAP ANAK TENTANG KESEHATAN GIGI." Indonesian Journal of Public Health 14, no. 1 (2019): 60. http://dx.doi.org/10.20473/ijph.v14i1.2019.60-68.
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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.
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Frølunde, Lisbeth. "Animated war." Convergence: The International Journal of Research into New Media Technologies 18, no. 1 (2012): 93–103. http://dx.doi.org/10.1177/1354856511419918.
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In this feature article two DIY (do-it-yourself) film projects are examined from perspectives of resemiosis (transformations in meaning-making) and the textual production practices of contemporary multimedia authorship. These practices are considered as evolving in a complex media ecology. The two films analysed are Gzim Rewind (Sweden, 2011) by Knutte Wester, and In-World War (USA, expected 2011) by DJ Bad Vegan. The films are currently in production and involve many collaborators. Both films have themes of war and include film scenes that are ‘machinima’ – real-time animation made in 3D graphic environments – within live action film scenes. Machinima harnesses the possibilities of reappropriating digital software, game engines, and other tools available in digital media. War-related stories are resemiotized in the machinima film scenes as meanings are transformed in the story’s shift from a war game context to a film context. Thus machinima exemplifies how DIY multimedia storytellers explore new ways to tell and to ‘animate’ stories. The article contains four parts: an introduction to machinima and the notions of resemiosis and authorial practice; a presentation of DIY filmmaking as a practice that intertwines with new networked economics; an analysis of the two DIY film projects; and a discussion of implications including issues relating to IP (intellectual property) and copyrights when reappropriating digital assets from commercial media platforms.
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Šošková, Eva. "The Reincarnation of Animated Film." Slovenske divadlo /The Slovak Theatre 65, no. 4 (2017): 331–44. http://dx.doi.org/10.1515/sd-2017-0019.
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Abstract Throughout its entire history, Slovak animated film has had the form of figurative narrative art or craft. For this reason, the author of this study examines its post-1989 development through the prism of the body. Since the most visible change that has affected contemporary film aesthetics is the feminization of animated film in terms of authorship, the study primarily focuses on the ability of an animated body to represent gender and gender roles. It attempts to capture the most significant changes in the depiction of the body in authorial animated film before and after 1989, in more detail record the post-revolution changes in the body, and relate this to the changes in the institutional background of animated film. Animated bodies have developed from “ordinary people” from a dominant male point of view in socio-critical socialist production through female characters in interaction with clearly distinguished male characters in the films of female authors from the Academy of Performing Arts, the crisis of stereotypical masculinity in the production of male authors to independent women looking for their own identity inside themselves, without relating themselves to their male counterparts.
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Gordziejuk, Ewelina. "Polski film animowany – gdzie jest i dokąd zmierza?" Kultura Popularna 3, no. 57 (2018): 2–10. http://dx.doi.org/10.5604/01.3001.0012.7284.
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The article aims to define Polish animated film and its place within contemporary Polish cinematography as well as to predict its future. Based on the literature review, the author's own reflections and the opinions of critics, film experts and filmmakers, the author provides her own definition of an animated film, presents facts related to the history of the genre and speculates on the future of Polish animated film.
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Heise, Ursula K. "Plasmatic Nature: Environmentalism and Animated Film." Public Culture 26, no. 2 (2014): 301–18. http://dx.doi.org/10.1215/08992363-2392075.
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Ko, Fuji. "Esoteric Symbolism in Animated Film Storytelling." Chinese Semiotic Studies 14, no. 3 (2018): 347–70. http://dx.doi.org/10.1515/css-2018-0021.
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Abstract Esoteric symbolism of various kinds is dispersed in media for mass communication, and from the semiotic perspective, films, historically the primary medium for motion pictures, are the most powerful weapons for worldwide attraction. In this paper, two famous cartoon animated movies by Disney, Moana and Zootopia, are under analysis. For one thing, they use profound symbols in conveying a message to the audience, especially to children, and for another, their impact on society is wide due to the breadth and diversity of Disney-branded products. Thus, the present paper discusses these two movies using semiotic theories of signs, codes, and symbols, weaving them together to trace the system of communication between the text (here referring to the cinematic texts) and its audience, and especially how a heroine frame is built in the adventure genre. Interpreting the hidden meaning or occult symbolism requires a special kind of knowledge if we aim to convey the essence of the story to our children beyond merely knowing the plot of the film. The films Moana and Zootopia feature a number of interior or hidden elements such as metaphors and allegories, and illuminati or esoteric symbolism, even though they are animated ones.
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Lestari, Bini. "Tindak Tutur Ilokusi dalam Film Animasi Upin dan Ipin Episode �Seronoknya Wisata Air� serta Implikasinya Terhadap Pendidikan Karakter Anak." ESTETIK : Jurnal Bahasa Indonesia 2, no. 2 (2019): 139. http://dx.doi.org/10.29240/estetik.v2i2.1191.
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This study aims to describe the forms of illocutionary speech acts in the animated film Upin & Ipin in the series "Seronoknya Wisata Air". In addition, this study also describes the form of character education contained in the animated film. Furthermore, this study uses a qualitative method with a descriptive approach. The data source in this study obtained conversations in the animated film Upin & Ipin obtained from Television. Data collection techniques in this study used the note taking technique, by noting every conversation that contains illocutionary speech acts. The data validity technique in this research is in the form of theory triangulation, data analysis using interactive analysis. The results of the study show that in the animated film Upin & Ipin the series of "Water Tourism" contains illocutionary acts. For example assertive, directive and expressive. In this study, researchers also found the value of character education contained in the Upin & Ipin animated film "Seronoknya Wisata Air", for example disciplinary value, creative value, value of achievement and friendly values.Keywords: Illocutionary Speech Acts, Upin & Ipin Animated Film, Character Education
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VEREȘ, SANDA, and IOANA MAGDAȘ. "The Use of the Educational Animated Film in Primary Education in Romania." Romanian Review of Geographical Education 9, no. 2 (2020): 67–86. http://dx.doi.org/10.23741/rrge220204.
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This study aims to review, analyse and synthesize the literature, which refers to the use of educational film in education in Romania and which deepens aspects related to the use of animated film in primary education. The aim was to review the literature on: classification of animated films in the category of educational means; the functions of animated films; types and sources of animated films; teacher preparation for the use of film for educational purposes; integrating the film into the lesson; how to use animated films in primary education and the results of their use. Existing information in papers in the field of education sciences from the last three decades was analysed. Regarding the use of animation films in primary education, five studies were analysed in depth
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Varga, Zoltán. "Look Behind the (Animated) Pictures. Notes on the Role of the Aesopic Language in Hungarian Animated Film." Acta Universitatis Sapientiae, Film and Media Studies 10, no. 1 (2015): 121–39. http://dx.doi.org/10.1515/ausfm-2015-0030.
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Abstract The essay explores a certain tendency of Hungarian animated film related to a strategy of constructing meaning. The so-called Aesopic language, which can be found in Hungarian animated film, is interested in creating ambiguity, hidden meanings, especially against oppressive political systems. The paper approaches the development of the Aesopic language in Hungarian animated film based on two factors. The first one examines the characteristics of the animated film in general, focusing on the double sense of the animated image. The second one is a historical approach, considering how the Communist regime affected artistic freedom, and how the Aesopic language became general in Central and Eastern Europe during the decades of Communism. After delineating the concept, the essay continues with interpretations of Hungarian animated films produced by the famous Pannonia Film Studio as examples of the Aesopic language. The paper distinguishes between a less and a more direct variant of creating ambiguity, depending on whether the animated films lack or contain explicit references to the Communist system. The group o|f the less direct variant includes Rondino, Changing Times and The Fly, among the examples of the more direct variant we can find Storv about N, Our Holidays and Mind the Steps!.
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Nidiansyah, Rafinur, Arif Sulistiyono, and Pandan Pareanom Purwacandra. "Penciptaan Karya Film Animasi 2D “Miliv” Dengan Teknik Hybrid." Journal of Animation and Games Studies 5, no. 1 (2019): 057–76. http://dx.doi.org/10.24821/jags.v5i1.2800.
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When human realize that they are not as they appear, it causes personal conflicts in humans, there are two sources that come from inside and outside. With animated films that have become increasingly popular with various groups, the creation of the animated film “MILIV” as one of media delivery in the form of visual and media delivery messages contained in the film.With the concept of hybrid, it combines stopmotion animation techniques, rotoscope, and digital animation, creating an experimental genre animation work with its unique visual style.The animated film “MILIV” tells of a bird who is too late to realize his true identity and is trapped in comfort zone. Contemplation became the main goal in this animated film “MILIV”Keywords: Film, MILIV, Hybrid, Rotoscope, Stopmotion, Experimental, Animation
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Бутенко, Елена Васильевна. "PAREMIOLOGICAL TRANSFORMATIONS IN FILM TRANSLATION (BASED ON THE RUSSIAN AND ENGLISH LANGUAGES)." Tomsk state pedagogical university bulletin, no. 3(215) (May 24, 2021): 102–9. http://dx.doi.org/10.23951/1609-624x-2021-3-102-109.
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Введение. Проведено лингвостилистическое исследование паремиологических трансформаций в кинотексте и рассмотрены возможности эквивалентной передачи трансформа в языке перевода. Актуальность исследования обусловлена широкой употребительностью пословичных единиц в художественном языке, в частности в кинодискурсе. Встраиваясь в матрицу кинодиалога, они становятся основой для последующих преобразований в высказываниях персонажей, создавая своей окказиональностью значительный экспрессивный потенциал. Цель. Поскольку свидетельством эффективной трансформации является узнаваемость исходной пословицы в трансформе, целью исследования стало выявление лингвостилистических средств, способствующих узнаванию, декодированию и адекватному зрительскому восприятию трансформа в языке принимающей культуры. Материал и методы. Материалом исследования послужили пословичные трансформы в высказываниях персонажей анимационного фильма “The Lion King. Hakuna Matata” («Король Лев. Акуна Матата»). Проводимое исследование имело теоретико-эмпирический характер, при котором анализ материала осуществлялся посредством структурного и описательного методов, позволяющих установить определенные лингвистические закономерности паремиологических трансформаций. Результаты и обсуждение. Анализируемый авторский трансформ является по сути сентенцией, афористическим, то есть лаконичным и поучительным, изречением. Сентенция воспроизводит типические черты народной пословицы: дидактичность, переосмысленность, имплицитность. Оживляя традиционную форму паремиологической единицы, она сохраняет семантико-стилистическое тождество с прецедентным текстом. Наряду со смысловой тождественностью с исходной пословицей, трансформ-сентенция демонстрирует и синтаксическую схожесть, при этом бесшовно включаясь в контекст диалога. Констатируемые проявления трансформационного процесса закономерны, так как трансформ создается по пословичным алгоритмам, что обеспечивает его соотносимость с исходной пословицей. Их имплицитная общность предопределяет и в некоторой степени ограничивает вариативность лексического содержания, а также синтаксической структуры трансформа. Это дедуктивное положение может стать небольшим научным вкладом в лингвостилистические исследования в области паремиологической трансформации. Оно эффективно работает в художественном языке, где обеспечивающая адекватное восприятие логическая структура традиционной пословицы способна производить дериваты, выделяющиеся своеобразием формы. Проводимым лингвостилистическим исследованием изучаются людические (игровые) ресурсы полисемии, применяемые в трансформе, и анализируются изыскиваемые возможности перевода каламбурных речений. Внесение модифицированной пословичной единицы – сентенции – в структуру кинодиалога рассматривается как прием стилистической цитации, функциональная ценность которой подтверждается уместностью употребления в определенной ситуации общения. Статус интертекстуального знака, приобретаемый сентенцией в высказывании персонажа, наделяет ее особой значимостью и способствует возникновению направленных ассоциаций, служит средством усиления аргументации и выражения оценки. Заключение. Трансформация паремиологических единиц – это результат художественно-обработанного прецедентного текста, где структурно-семантическая устойчивость обновляется окказиональным, но идентичным по содержанию выражением. Таким образом, модифицированные паремии не воспринимаются как безжизненные фольклорные штампы, они являются актуальными составляющими речевого узуса. Поскольку краткость входит одним из основных компонентов в понятие «пословица», ее семантико-стилистическому деривату также свойственны смысловая емкость и синтаксическая сжатость. Подобные формы способствуют созданию языковой компрессии, необходимой в субтитровании, наиболее востребованном виде киноперевода. Этот фактор подтверждает как практическую значимость исследования, так и его актуальность для киноиндустрии. Introduction. The linguistic research analyzes paremiological transformations in the film text and stud-ies the possibilities of their equivalent translation in the host culture. The relevance of the study is due to the wide use of proverbial units in the artistic language and namely in film discourse. Embedded in the matrix of the film dialogue, they become a basis for subsequent transformations in characters’ speech, creating a significant expressive potential because of their occasional character. Aim and objectives. Since the recognition of the original proverb in the modified version is the proof of an effective transformation, the aim of the study is to identify the linguistic means that contribute to recognition, decoding and adequate perception of the transform in the language of the host culture. Material and methods. The research is based on the proverbial transforms in the characters’ utterances of the animated film “The Lion King. Hakuna Matata”. Being of a theoretical-empirical nature, the lingua-stylistic study required the use of the structural and descriptive methods, which made it possible to pinpoint certain linguistic regularities of paremiological transformations. Results and discussion. The analyzed author’s transform is actually an epigram – an anaphoristic statement, concise and instructive. It reproduces the typical features of a proverb: didacticity, transfig-uration, implication. Renewing the traditional form of the paremiological unit, the epigram retains the semantic-stylistic identity with the precedent text. Alongside the semantic identity with the proverbial prototype, the transform also demonstrates the syntactic similarity, while seamlessly integrating into the context of the dialogue. The stated manifestations of the transformation process are explicable, since the transform is created according to proverbial algorithms, which ensure its correlation with the original proverb. The implicit mutuality predetermines and limits, to a certan extent, the variability of the lexical content and the syn-tactic pattern of a transform. This deductive reasoning can be a scientific contribution to the lingua-stylistic research in the sphere of paremiological transformation. It works efficiently in the artistic lan-guage, where, ensuring an adequate perception, the logical framework of a traditional proverb pro-duces derivatives, various and expressive in form. The lingua-stylistic research explores the game art resources of polysemy used in the transformation unit, and analyzes the exploited possibilities of translating a pun. The introduction of a modified proverbial unit — an epigram, for example – into the structure of a film dialogue is viewed as a stylistic citation technique, the functional value of which is confirmed by the appropriateness of its use in a certain situation of communication. The status of an intertextual unit, acquired by a transform in a character’s utterance, endows it with special significance and promotes the emergence of directed associations, serves as a means of strengthening argumentation and assess-ment. Conclusion. The transformation of paremias is the outcome of an artistically processed precedent text, where the structural and semantic fixity is revived by an expression, identical in content, but peculiar in form. Thus modified paremias are not perceived as lifeless folklore cliches, but real live compo-nents of speech use. Since brevity is one of the main components in the concept of «a proverb», its derivative is also char-acterized by semantic capacity and syntactic conciseness. Such models contribute to the creation of language compression required in subtitling, the most popular kind of film translation. This factor con-firms both the practical significance of the study and its relevance for the film industry.
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Hidayat, Rahmat, and Husnul Khatimah. "ANIMATED FILM “NUSSA DAN RARA EPISODE OF FRIENDS TREAT COMPETITION”AS A MEANS FOR PLANTINGEDUCATION IN CHILDREN." Almufida: Jurnal Ilmu-Ilmu Keislaman 5, no. 1 (2020): 48–58. http://dx.doi.org/10.46576/almufida.v5i1.779.
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Interests will bring shows that do not educate children behind the animated film Nussa and Rara with regard to the ability to appreciate the character of education. This film is one alternative spectacle that can be used for educational inculcation through film. This study aimed to discuss the educational value needed in the animated film Nussa and Rara episode of the Friends Treat Competition through the film. The subject of this research is the animated film Nussa and Rara which are easily taken from the Official Nussa page on youtube. The results of this research are the animated film Nussa and the episodes of the Traktir Ten Competition. The educational values include: curiosity, honesty, success, religious, national spirit, social care and creativity. If children always see shows that educate even those who teach good character and education, then dont deny that in the future the child will become an educated person according to our expectations.
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Safitri, Meidiana, Tanto Harthoko, and Andri Nur Patrio. "Produksi Film Animasi 2D Pool." Journal of Animation and Games Studies 6, no. 2 (2020): 141–50. http://dx.doi.org/10.24821/jags.v6i2.4405.
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The story of a boy named Boy who is trying to overcome his trauma to a swimming pool. Trauma is the result of a terrible experience that has occurred during life. With a long recovery time, a trauma sufferer always imagines bad events and some traumatic symptoms that is difficult to overcome. Therefore, the character needs the support of the closest people to recover slowly. The creation of 2D animated film "Pool" using direct frame by frame technique in animation creation software. All manufacturing processes from production to post-production use digital media and produce an animated film with duration of 2 minutes.
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Yasa, Nyoman Miyarta. "TANDA VERBAL PADA FILM ANIMASI “El Empleo”." Jurnal Nawala Visual 2, no. 1 (2020): 45–53. http://dx.doi.org/10.35886/nawalavisual.v2i1.77.
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"El Empleo" is a silent animated film that won 102 Awards. This animated film is only equipped with sound effects, so that makes it alive. This film is very important to be investigated when viewed from the uniqueness that is located in a strange visual, humans are used as tools and objects around their residence. This animated film, communicates messages through verbal signs However, not everyone understands the meaning of the sign. Therefore, the problem that arises in this research is about how the verbal signs are displayed in the animated film " El Empleo ". The purpose of this study is to analyze in-depth in the first, middle and end scenes of verbal signs, the intent that the animator communicates in the animated film. The method used is qualitative interpretative with the foundation of Charles S. Pierce's semiotics theory. The results of this study are verbal signs in the form of icons of men living as bosses; human symbolized as a seat, vehicle (taxi), traffic signs, and as a toilet mat; index contained in the expression of the face of the character/character that indicates power and oppression. In conclusion, at the level of verbal signs in the first, middle, and final scenes, they can be divided into icons depicting a man living a boss; humans as subordinates are symbolized as seats, vehicles, traffic signs, even as footwear in front of the toilet door, the index looks at the boss's facial expression, and subordinates that indicate oppression. The purpose and objectives as a symbolic message that signifies power are not always owned, but on the contrary the power will be oppressed.
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Li-Vollmer, Meredith, and Mark E. LaPointe. "Gender Transgression and Villainy in Animated Film." Popular Communication 1, no. 2 (2003): 89–109. http://dx.doi.org/10.1207/s15405710pc0102_2.
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Jonison, Muhammad Adha Fajri, and Anggy Trisnadoli. "Implementation of Rotoscoping Technique in the making of the Hang Tuah Ksatria Melayu 3D Animated Film." Jurnal RESTI (Rekayasa Sistem dan Teknologi Informasi) 4, no. 5 (2020): 943–50. http://dx.doi.org/10.29207/resti.v4i5.2404.
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The development of information technology in the multimedia field is growing very rapidly today. Multimedia development is often found in making animated films. Animation is an image that moves and is arranged so that it makes inanimate objects appear to be moving. Animation initially has a problem, where it is difficult for an animator to create animation with complex movements to imagine directly and sometimes the results will look stiff. Max Fleischer also saw it as a problem, so he invented rotoscoping. Rotoscoping is a technique for making animation by tracing the movements of an actor. This technique is used to create movements that are complex to imagine directly so that the animation movement is realistic. In implementing rotoscoping techniques in an animated film, a folk tale entitled Hang Tuah Ksatria Melayu was adopted. This folktale will be packaged into a 3D animated film using rotoscoping techniques. With the creation of a 3D animated film, the folklore of Hang Tuah Ksatria Melayu, an animated film was created with realistic character movements and people get moral messages of Hang Tuah Ksatria Melayu.
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Greenberg, Raz. "How Animation Won Over the Lightning Sketch: Re-Evaluating Humorous Phases of Funny Faces." Animation 13, no. 2 (2018): 162–74. http://dx.doi.org/10.1177/1746847718783641.
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The short film Humorous Phases of Funny Faces, released in 1906 and directed by J Stuart Blackton (1875–1941), is considered to be one of the earliest examples of cinematic animation. This article aims at examining the film’s influence from another perspective, beyond its pioneering use of film camera: the author argues that Blackton’s film has also laid the foundation for common design principles in subsequent animated productions, particularly in the design of animated characters. The analysis of Blackton’s film aimed at supporting this argument is based on Scott McCloud’s seminal book Understanding Comics: The Invisible Art (1993) and this article offers a modified method of McCloud’s ‘Vocabulary of Comics’ to demonstrate how Blackton has introduced the basic building-blocks of animated characters’ design that are common to this day: designs that rely on an emotional, universal core upon which culture-specific items are overlaid. Moreover, through appearance and performance of his animated characters, Blackton broke the design process of animated characters into such building blocks, emphasizing their importance.
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Rafiek, Muhammad. "Equation of Malay vocabulary in the animation film of Upin and Ipin with Banjarese vocabulary in South Kalimantan." Journal of Language and Linguistic Studies 17, no. 1 (2021): 85–114. http://dx.doi.org/10.52462/jlls.6.
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This research is aimed at explaining the equation of the Malay vocabulary in the animated film of Upin and Ipin with Banjarese vocabulary in South Kalimantan. In this research, the researcher used a qualitative method with comparative linguistic research design or equation characteristic method of linguistic features. In collecting the data, the researcher used the technique of listening and direct typing after watching the animated series Upin and Ipin on Youtube. In analyzing the data, the researcher used the equation techniques of forms and meanings of the vocabulary. This technique is called retention and innovation techniques together in methods of equation linguistic features (Mahsun, 2014). Researchers also analyzed and discussed using comparative linguistic theories from Adelaar, Blust, and Nothofer to reinforce the evidence that there are similarities in Malay vocabulary in the animated films Upin and Ipin with Malay vocabulary in South Kalimantan. The results of this research found that there are three groups of the equation of Malay vocabulary in the animated film of Upin and Ipin with Banjarese vocabulary in South Kalimantan, namely (1) Malay vocabulary in the animated film of Upin and Ipin have an equation in the form and differences meaning with the Banjarese vocabulary; (2) Malay vocabulary in the animated film of Upin and Ipin have an equation in form and meaning with the Banjarese vocabulary; and (3) Malay vocabulary in the animated film of Upin and Ipin have a semblance of forms and equation in meaning with Banjarese vocabulary, in South Kalimantan.
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Kholiq, Abdul, Dian Luthfiyati, and Nur Dian Tamimih. "AN ANALYSIS OF LANGUAGE IMPAIRMENT OF AUTISM IN LIFE, ANIMATED FILM." E-LINK JOURNAL 8, no. 1 (2021): 1. http://dx.doi.org/10.30736/ej.v8i1.421.
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The aims of this study were to find language impairment of autism in Life, Animated film. The autistic child in this film is the second son of Suskind Family This study the writer uses descriptive analysis techniques. The data of this study are the conversation of Life, Animated film. Data analysis techniques used in this study is transcription, classification and analysis. Data source was Life, Animated Film. This study only focused on language impairment. The result of this study shows that Owen language impairments are Owen was confused or needed a help if he have to answer but he was forgotten. His articulation sometimes can be fast or slow, especially when Owen talked with Emily, he articulated slower than usual. He often use word “great” because his vocabularies are low, he confused to understand other people, he was echolalia, his articulation is delay and he like something scripted, but he did not confuse in using pronoun and grammatical. Keywords: Language impairment, autism, life, animated film