Academic literature on the topic 'International Animated Film Association'

ObjectivesAn evaluation of a short animated film on adverse childhood experiences (ACEs) to explore attitudes and sentiment towards the film including, for a subsample of professionals, associations between attitudes and personal experience of ACEs.DesignMixed-method exploratory design.SettingProfessionals and the general public.ParticipantsA short online survey with 239 professionals. Interaction and user sentiment towards with the film on social media (Twitter, YouTube).Primary and secondary outcome measuresSurvey: participants’ attitudes towards the film including feelings invoked, learning gained and ACE count prevalence. Twitter user and YouTube viewer sentiment (positive, negative or neutral) and interaction (likes, retweets or comments) with the film.ResultsAttitudes to the film were positive: 94.1% and 93.7%, respectively, agreed that it provided a helpful explanation of ACEs and trusted that the film was credible. Of those who reported ACE exposure, 88.9% agreed that those with ACEs would benefit from watching the film. Despite 50.6% reporting that the film had made them feel sad or upset, the majority (66.4%) reported they found the film hopeful or encouraging. Across 358 publicly available tweets from 313 users, 39.1% of tweets expressed positive sentiment, with only 1.4% negative (59.5% neutral). However, there was no association between tweet sentiment and interaction. Thirteen YouTube versions of the film received 171 812 views, 97.3% (n=889/914) ratings were positive (ie, ‘thumbs up’).ConclusionsDespite being emotionally arousing, many professionals reflected positive impacts of the film including a perceived increased ability to discuss ACEs. Public sentiment demonstrated a positive reaction to and acceptability of the film. Understanding the professional and public response to materials developed to increase ACE awareness, such as the film explored here, is important given the growing number of international movements which seek to increase ACE awareness, prevent ACEs and mitigate their lifelong negative effects.

The essay examines the traits and pedagogical potential of the solarpunk artistic and narrative movement by analyzing the specific case study of Hayao Miyazaki's animated film Nausicaä of the Valley of the Wind (1984). The article first presents solarpunk and its association with environmental themes and successively applies the genre's theoretical framework to the case study, as Nausicaä of the Valley of the Wind shares some of the movement's approaches and aesthetics in relation to sustainability. The essay concludes with a pedagogical reflection on the potential of solarpunk to imagine and create sustainable worlds. Although this artistic movement is not explicitly aimed at a young audience, solarpunk stories (or a solarpunk reading of different narratives) could lead to a new understanding of the ongoing climate change and to a constructive call for environmental responsibility starting from a young age.

Abstract
 Audiovisual translation ( AVT ), including subtitling, constitutes a fundamental part of Translation Theories and Translation Studies; however, it has been neglected till recent years. Gradually, a number of studies begun to appear especially those attributed to the European Association for Studies in Screen Translation. As these studies continually increase, new technologies and media forms became in a glare of publicity. These technologies and forms ,i.e. international and intercultural communications led to the emergence of new forms of translation. The most efficacious and widely-spread form is cinematography. The translation of cinematography works is called AVT. Scholars state ten kinds of AVT which can be united and classified into two main groups, i.e. subtitling and revoicing.
 The present study concerns subtitling which generally means producing a dialogue translation in a film or an animated film in the form of titles usually appear at the bottom of the image or the screen . It attempts to shed light on subtitling( and in particular of swear words ) from English into Arabic in Terence Winter's The Wolf of Wall Street movie. It aims at investigating how the subtitler of this movie has dealt with these words in the original dialogue with the existence of the constraints imposed upon him. A quantitative analysis of the strategies used in subtitling the words and the number of those, the words, which have been changed through rendering , have been set to answer such a question.

Hybridization has become a fluid notion due to its association with ideas and themes that were once mutual contradicting but have now become mutual celebrated. However, such changes are inevitable as the trend of globalization continuously generates new transnational cultural elements. This study will examine the hybrid cultural identity in Disney’s animated film Mulan (1998) which was adapted from The Ballad of Mulan, a folktale that originated from China. Specifically, it focuses on the cultural identity of Disney’s Mulan and explores how it is reconstructed as a transnational culture which flowed from China to America. This phenomenon, to some extent, implies the West’s increasing acceptance of cultural productions from Asian countries. The paper employs Daphne A. Jameson’s analytic model of cultural identity consisting of vocation, class, geography, philosophy, language, and biological components which seek to examine the emergence of mixed and relational and hybrid cultural identities. Through this study, the paper aims to discuss how the process of hybridization brings the character’s cultural identity in the original folklore to an international audience and how this facilitates cultural exchange and growth. The findings show that hybridization in cultural identity presents a tension between cultural Americanization and orientalization as well as modernity and tradition, which ultimately leads to a transferable cultural identity. The study is significant in elevating the status of Chinese folktales and highlighting cultural hybridity as a mediating factor in the growing trend of cultural globalization.

abstract: Scholarship on the Manchukuo Film Association (Manying) has largely attended to documentaries, newsreels, and live-action films featuring Li Xianglan, neglecting animation. This article examines the animated film-making activities of the North China Film Company, a branch of Manying located in wartime Peking, by focusing on Chinese animator Liang Jin and a few Japanese animators such as Asada Isamu and Onozawa Wataru. With an animated filmmaking philosophy of territorialization and localization, Manying nonetheless created a de-territorialized world that enabled it to live multiple afterlives in socialist cinema, despite the institutional efforts to erase it from the history of Chinese cinema.

The paper describes events which are focused on Polish animation, with special regards to their educational values. The thesis refers to the importance of the Polish Film Institute, higher education, film workshops and film festivals for Polish animations. The most important part of the paper describes animation film festivals. Film festivals are portrayed as the most extensive educational platform, because of which the whole paper centres on an understanding of the issue through festival studies. The author evokes theories of the field configuring events by Bernard Leca, Charles-Clemens Rüling and Dominique Puthod. In the paper the Polish animation film scene is described as heterogeneous, however, filmmakers who make animations are evolving a coherent vision of it. Helpful in this process is the Polish Animation Producers Association. In the final part of the paper the author focuses on O!PLA. The Festival of Polish Animation. This event can be interpreted as a something more than a field-configuring event, and described as a communicator of the convergence of expertise (term of Grzegorz D. Stunża and associates).

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.

The animated film "Battle of Surabaya" is one of the nation's children's work that is able to win various awards, both at national and international levels. In some scenes in this animated film, there is a visual code that contains information or messages delivered to the audience (audience). Through observing several scenes, it is found that there is a meaning of the visual codes contained in the scene. This study aims to analyze the aesthetic visual codes contained in the first, middle and end scenes of the animated film "Battle of Surabaya". Data collected through observation and literature study. Theories used as analysis are semiotics and postmodern aesthetic codes. The results of this study indicate that the meaning of the visual code in the animated film scene "Battle of Surabaya" namely: in the first scene, the action or action of the Indonesian government declared independence from the Dutch East Indies government as an act of the past that needed to be made; the scene is explaining the rejection of Indonesian independence, this action as the style of an animator in the sequence before and next; the final scene depicts the action of the main character (Musa) who unites the storyline sequence of the animated film "Battle of Surabaya", one of which implements the cultural value of please help as an act of popularizing Indonesian culture.

Pixar Animation Studios is currently facing a challenging situation due to the intense competition in the animated film market. As a result, the study's purpose is to investigate how Pixar should develop in the future to get out of this predicament. To solve the research question, this article will discuss Pixar's achievements in animated films as a case study. The first reason for the problem is technological innovation. The suggestion is to develop the use of artificial intelligence (AI) and virtual reality (VR) in animated film production and formats. The second reason for the problem is connected innovation; the suggestion is insisting on original IP and extending the industry chain. The third reason for the problem is not proactively catering to market needs; the suggestion is meeting diversified needs and strengthening international outreach cooperation. The value of this paper is to provide some reference suggestions for the development of animated films and fill the research gap in the future development of Pixar.

This study explores non-fiction animation as a creative practice. It specifically engages with practitioners’ creative intervention and their reconstruction of the world we inhabit as human beings. Beyond artistic and expressive illustration, animated documentary strives towards an augmented representation of real narratives. Such a representation demands a felicitous approach from the practitioner/s for a heightened evocation of emotions, as in Ari Folman’s Waltz with Bashir and Nina Sabnani’s Tanko Bole Chhe (The Stitches Speak). I examine these two animated documentaries, and my investigation offers in-depth analyses of the practitioners’ engagement with memory and reconstruction. I employ Aumont and Marie’s (1988) film analysis method, especially the iconic analysis technique, followed by the filmmakers’ insights to understand the embedded characteristics of the filmmakers’ creative approach. I argue that the practitioner is central to the practice of eliciting emotions embodying animated subjective testimonies and manifestations. In addition, the practitioner–subject association is inclusive in the practice and evokes an affective exposition of the narratives through the creative narrative design in the animated documentary.

The first edition of the Rassegna Internazionale del film scientifico-didattico (International festival of scientific and educational film) held by Padua University takes place in the fall of 1956. It was conceived as an annual meeting, and it was developed in collaboration with the Venice International Film Festival. It was organized for eighteen editions up to 1975. For a week a year, the theater Ruzante (in Padua) opened its doors to the screenings of films in a competition (an average of sixty), divided into sections which correspond to different subject areas. For a few years it was subdivided into three categories, as it follows: research film, scientific documentation film and educational film for teaching. At the end of each edition, the international Jury awarded the Bucranio d'oro to the best film of the year and also various Bucrani d'argento, Bucrani di bronzo, and other special mentions to the best films within the different disciplinary fields. Beginning from these information, the research proposal has run to trace, at least in part, to the history of this festival. The first chapter of the thesis deals with the historical reconstruction of the early years of the Rassegna – from the beginning (1956) to the sixth edition (1961) – through the documents kept at the General Archive of Palazzo del Bo (Padua University) and the few news articles published in some of the magazine of that time. Enclosed to the first chapter, the research provides three appendices, which relate to composition of the eighteen Juries, the list of prizes awarded each year and the illustration by graphs of the variable distribution of the films into sections and categories throughout the entire life of the event. In the second chapter the research opens up more prospects: scientific and educational cinematography leads to widen horizons, on the one hand, in consideration that it partially sinks its roots in the experimental activity of the pioneers at the turn of nineteenth and twentieth century, on the other hand, noting that this kind of film tends to resist universal and decisive definitions. It is especially in the two principles of Étienne-Jules Marey – with which the French physiologist states that the human senses are insufficient to capture the essence of science and language to express it – that we could identify the scientific paradigm that has led to the birth of cinema (among other historian, Virgilio Tosi says that the cinema was born as necessary to the need of science). The second chapter discusses therefore the complexity of the various interpretations that have realized the potential of the film medium in the fields of scientific research, education and popularization. The potential was mainly addressed to the challenge with the invisible. Specific technique such as X Ray Cinematography, Cinemicrography, High-Speed Cinematography, Time-Lapse Cinematography developed by using the camera as a scientific means. The movement of phenomena has been the reason why scientists and filmmakers unanimously thought scientific and educational films were necessary. Thus the film became a scientific documentation of phenomena otherwise invisible and not comparable. On the contrary, objectivity and emotionality opened dilemma that tended to remain irreducible to an interpretation universally shared. Individual points of view ranged from banning the emotional factor from functional elements of the effectiveness of a scientific and educational film to admitting that pure objectivity is neither possible nor desirable. The Jury of the Rassegna perceives the problem of finding a universal criterion to evaluate a scientific and educational film from the early editions. However the scale of values adopted by the same Jury in those early years betrays heterogeneity of valuation parameters (scientific content, technique, educational function, property and linguistic coherence, expressive intensity, poetic value if any). So, the definition of what is the scientific and educational film remains uncertain. On the contrary, institutions such as the Encyclopaedia Cinematographica promote a clear formula for identifying that kind of film in which objectivity is a prerequisite. With the third chapter we intended to continue to study the Rassegna as one of the interpreters of the socio-cultural needs of the mid-fifties, and to show some facts-symbol, such as the institution of centers and associations internationally active that testify of the increasing attention given to the scientific and educational cinematography. The activities of the International Scientific Film Association (I.S.F.A., 1947) fit the Rassegna of the Padua University within a reality that, outside Italy, has already found institutional forms of production and promotion of scientific and educational film. It was done together with that of some centers in Europe (remember, for instance, the Institut für den Wissenschaftlichen Film in Göttingen, born in 1953) or in the world (think of the National Film Board of Canada, founded in 1938). With the foundation of the Rassegna – a legacy of the International Festival of Science and Art Documentary Films (collateral section of the Venice International Film Festival, held for four editions, from 1950 to 1953) – the axis Padua-Venice becomes a crossroad that has no parallel in the history of scientific and educational film festival. The Center of scientific cinematography at the University of Padua was founded in 1961 and it was in charge, above all, of the organization of the annual festival, of the preservation and distribution of the copies of the award-winning films, according to the regulation of the Rassegna. Two years later, in 1963, the Italian Association of Scientific cinematography (A.I.C.S.) was founded. The fourth and the final chapter of the thesis is dedicated to the sixties and early seventies, more specifically, to the birth of the A.I.C.S., to its publishing activities carried out through its own Bulletin and to some of the Italian filmmakers and scientists which the thesis remembers because protagonists both the Association and the Rassegna. On the occasion of the latter, the A.I.C.S. assigns its own prize since its foundation, while it is only since 1973 that the Association will replace the Commission of the scientific cinematography of the National Research Council, representative for Italy within the I.S.F.A since 1949. The report about the Center of scientific cinematography at the University of Padua – published after the congress Personnel in charge of European university organization for scientific cinematography, research and audio-visual media (Padua, 1975) – closes the last chapter.<br>Nell'autunno del 1956 viene inaugurata la prima edizione della Rassegna Internazionale del film scientifico-didattico dell'Università di Padova. Nata in collaborazione con la Mostra d'Arte Cinematografica di Venezia, la Rassegna continua per diciotto edizioni, fino al 1975. Ogni anno, per una settimana, il Teatro Ruzante ospita le proiezioni dei film in concorso (mediamente una sessantina ogni anno), suddivisi per sezioni ovvero per settore disciplinare e – per un certo periodo – tripartiti nelle categorie di film di ricerca, film di documentazione scientifica, film didattici per l’insegnamento. A conclusione di ciascuna edizione, la Giuria internazionale assegna il Bucranio d'oro al miglior film e una serie di Bucrani d'argento, Bucrani di bronzo e menzioni all'interno delle diverse sezioni. A partire da simili dati, la ricerca s'è proposta di ripercorrere, almeno parzialmente, la storia della Rassegna. Il primo capitolo della tesi si occupa della ricostruzione storica dei primi anni della Rassegna – dalla prima (1956) alla sesta (1961) edizione – attraverso i documenti conservati presso l'Archivio Generale di Palazzo del Bo dell'Università di Padova e gli sporadici articoli di cronaca apparsi in alcune delle riviste dell'epoca. Allegate al primo capitolo, tre appendici riguardanti rispettivamente la composizione delle diciotto Giurie, l'elenco dei premi assegnati di anno in anno e l'illustrazione per mezzo di grafici della variabile distribuzione dei film in sezioni e categorie lungo l'intera vita della manifestazione. Con il secondo capitolo la ricerca si apre a maggiori prospettive nella misura in cui la questione della cinematografia scientifica-didattica porta ad allargare gli orizzonti, da un lato, nella considerazione che la medesima affonda in parte le radici nell'attività sperimentale dei pionieri a cavallo tra ottocento e novecento, dall'altro, nel constatare che una simile cinematografia tende a resistere e sfuggire a definizioni universali e decisive. È soprattutto nei due principi di Étienne-Jules Marey – per cui i sensi umani sarebbero insufficienti a cogliere l'essenza della Scienza e il linguaggio ad esprimerla – che si individua quel paradigma scientifico che ha determinato la nascita del cinema ("Il cinema è nato perché necessario alle esigenze della scienza", afferma, tra gli altri, Virgilio Tosi). Il secondo capitolo affronta dunque la complessità e l'eterogeneità delle interpretazioni con cui si sono intuite le potenzialità nel campo della ricerca e in quello didattico-divulgativo del mezzo cinematografico. Potenzialità volte in primo luogo alla sfida con l'invisibile (cinematografia a raggi X), con l'infinitamente piccolo (microcinematografia) o veloce (cinematografia ultraveloce) o lento (cinematografia time-lapse) e così via. Se la necessità di un film scientifico-didattico è all'unanimità individuata nel fattore 'in movimento' al fine di promuovere la ripresa cinematografica a documentazione scientifica di fenomeni altrimenti invisibili e quindi non comparabili, i fattori di oggettività e di emozionalità aprono dilemmi che tendono a rimanere irriducibili ad un'interpretazione universalmente condivisa e risolversi piuttosto in singoli punti di vista che oscillano tra il bandire la componente emozionale dagli elementi funzionali all'efficacia del film scientifico-didattico e l'ammettere che la pura oggettività è tanto improbabile quanto non auspicabile. Il problema di individuare dei criteri universali per valutare il film scientifico-didattico è percepito dalla stessa Giuria della Rassegna, sin dai primi anni. Tuttavia la scala dei valori adottata, riportata in alcuni documenti relativi ai primi anni, tradisce di fatto un'eterogeneità di parametri valutativi (contenuto scientifico, tecnica, funzionalità didattica, proprietà e coerenza linguistica, intensità espressiva, eventuale valore poetico) per cui la definizione di film scientifico-didattico rimane aleatoria. Al contrario, istituzioni quali l'Encyclopaedia Cinematographica promuovono una chiara formula di film scientifico-didattico in cui l'oggettività è condizione imprescindibile. Con il terzo capitolo s'è inteso proseguire lo studio della Rassegna quale interprete delle esigenze socio-culturali dalla metà degli anni Cinquanta portando in luce alcuni fatti-simbolo che, soprattutto con la fondazione di Istituti e Associazioni attive a livello internazionale, testimoniano di un'attenzione sempre maggiore verso la cinematografia scientifica-didattica. L'attività dell'International Scientific Film Association (I.S.F.A.,1947) assieme a quella di alcuni Centri in Europa (basti ricordare Institut für den Wissenschaftlichen Film di Göttingen, nato nel 1953) o nel mondo (si pensi al National Film Board of Canada, fondato nel 1939) inseriscono così la Rassegna all'interno di un settore cinematografico che fuori Italia ha già trovato forme istituzionali quali centri produttivi e promozionali del film scientifico-didattico. Con la nascita della Rassegna – eredità della Mostra Internazionale del Film scientifico e del Documentario d'arte (sezione collaterale della Mostra Internazionale d'Arte Cinematografica di Venezia, tenutasi per quattro edizioni, dal 1950 al 1953) – l'asse Padova-Venezia si fa crocevia senza eguali nella storia delle manifestazioni sul cinema scientifico-didattico. Ecco dunque che nel 1961 si crea il Centro di Cinematografia scientifica dell'Università di Padova preposto, in primo luogo, all'organizzazione della Rassegna, alla conservazione e divulgazione dei film vincitori di cui, per regolamento della Rassegna stessa, l'Università di Padova chiede copia. Due anni dopo, nel 1963, viene costituita l'Associazione Italiana di Cinematografia scientifica (A.I.C.S.). Il quarto ed ultimo capitolo della tesi è dedicato agli anni Sessanta e ai primi anni Settanta: in primo luogo, alla nascita dell'A.I.C.S., all'attività editoriale di quest'ultima per mezzo di un proprio Bollettino e ad alcune delle figure di cineasti-scienziati protagonisti dell'Associazione italiana come della Rassegna. Dalla sua fondazione, in occasione di quest'ultima, l'A.I.C.S. assegna un proprio premio, mentre è solo dal 1973 che andrà a sostituire la Commissione per la Cinematografia scientifica del Consiglio Nazionale delle Ricerche, rappresentante per l'Italia all'interno dell'I.S.F.A. dal 1949. A concludere il capitolo, l'appendice sul Centro di Cinematografia scientifica dell'Università di Padova redatta sulla base della relazione presentata in occasione del convegno I responsabili degli organismi universitari europei di cinematografia scientifica, di ricerca e dei mezzi audiovisivi, (Padova, 1975) organizzato dalla stessa Rassegna. Agli atti di tale convegno – e parzialmente a quelli di altri – la tesi fa ampiamente riferimento quale rara documentazione sui Centri all'epoca attivi e, per la maggior parte, ora non più esistenti.

While much has been written on the Australian film and television industry, little has been presented by actual producers, filmmakers and technicians of their time and experiences within that same industry. Similarly, with historical documentaries, it has been academics rather than filmmakers who have led the debate. This thesis addresses this shortcoming and bridges the gap between practitioner experience and intellectual discussion, synthesising the debate and providing an important contribution from a filmmaker-academic, in its own way unique and insightful. The thesis is presented in two voices. First, my voice, the voice of memoir and recollected experience of my screen adventures over 38 years within the Australian industry, mainly producing historical documentaries for the ABC and the SBS. This is represented in italics. The second half and the alternate chapters provide the industry framework in which I worked with particular emphasis on documentaries and how this evolved and developed over a 40-year period, from 1970 to 2010. Within these two voices are three layers against which this history is reviewed and presented. Forming the base of the pyramid is the broad Australian film industry made up of feature films, documentary, television drama, animation and other types and styles of production. Above this is the genre documentary within this broad industry, and making up the small top tip of the pyramid, the sub-genre of historical documentary. These form the vertical structure within which industry issues are discussed. Threading through it are the duel determinants of production: ‘the market’ and ‘funding’. Underpinning the industry is the involvement of government, both state and federal, forming the three dimensional matrix for the thesis. For over 100 years the Australian film industry has depended on government support through subsidy, funding mechanisms, development assistance, broadcast policy and legislative provisions. This thesis aims to weave together these industry layers, binding them with the determinants of the market and funding, and immersing them beneath layers of government legislation and policy to present a new view of the Australian film industry.

The Computer-Animated Film: Industry, Style and Genre is the first academic work to examine the genre identity of the computer-animated film, a global phenomenon of popular cinema that first emerged in the mid-1990s at the intersection of feature-length animated cinema and Computer-Generated Imagery (CGI). Widely credited for the revival of feature-length animated filmmaking within contemporary Hollywood, computer-animated films are today produced within a variety of national contexts and traditions. Covering thirty years of computer-animated film history, and analysing over 200 different examples, The Computer-Animated Film: Industry, Style and Genre argues that this international body of work constitutes a unique genre of mainstream cinema. It applies, for the very first time, genre theory to the landscape of contemporary digital animation, and identifies how computer-animated films can be distinguished in generic terms. This book therefore asks fundamental questions about the evolution of film genre theory within both animation and new media contexts. Informed by wider technological discourses and the status of animation as an industrial art form, The Computer-Animated Film: Industry, Style and Genre not only theorises computer-animated films through their formal properties, but connects elements of film style to animation practice and the computer-animated film’s unique production contexts.

Indian Film Stars offers original insights and important reappraisals of film stardom in India from the early talkie era of the 1930s to the contemporary period of global blockbusters. The collection represents a substantial intervention to our understanding of the development of film star cultures in India during the 20th and 21st centuries. The contributors seek to inspire and inform further inquiries into the histories of film stardom—the industrial construction and promotion of star personalities, the actual labouring and imagined lifestyles of professional stars, the stars’ relationship to specific aesthetic cinematic conventions (such as frontality and song-dance) and production technologies (such as the play-back system and post-synchronization), and audiences’ investment in and devotion to specific star bodies—across the country’s multiple centres of film production and across the overlapping (and increasingly international) zones of the films’ distribution and reception. The star images, star bodies and star careers discussed are examined in relation to a wide range of issues, including the negotiation and contestation of tradition and modernity, the embodiment and articulation of both Indian and non-Indian values and vogues; the representation of gender and sexuality, of race and ethnicity, and of cosmopolitan mobility and transnational migration; innovations and conventions in performance style; the construction and transformation of public persona; the star’s association with film studios and the mainstream media; the star’s relationship with historical, political and cultural change and memory; and the star’s meaning and value for specific (including marginalised) sectors of the audience.

The introduction argues for the significance of the computer-animated film by placing this popular media form within its historical, cultural and critical contexts. It charts the rejuvenation of U.S. animation during the 1990s and the broader market response to Toy Story (1995), as well as identifying the global circulation of computer-animated films by establishing the expansion of the international computer graphics community and rise in CG facilities, divisions and subsidiaries beyond Hollywood. The introduction also unfolds its central argument regarding film genre, expounding the evaluative possibilities made available by genre theory to the close examination of the computer-animated film. The main body of writing surveys the critical contexts that have accounted for the computer-animated film’s scholarly place across a multitude of disciplines. Genre is then innovatively positioned as an enabling tool that brings into relief the terms under which computer-animated films can be held distinct from other forms and styles of animation.

The international success of Ari Folman’s Waltz with Bashir (2008) saw this work routinely defined and discussed as the first feature-length example of animated documentary cinema. This chapter analyses Folman’s film and the multidisciplinary body of scholarly response that it has provoked. Much response to Folman’s film evaluates it in isolation and speculates more ambitiously on animated documentary’s possible aesthetic, conceptual and ethical strengths and weaknesses as a distinctive mode of audio-visual practice. This chapter’s analysis of Folman’s film likewise identifies defining formal and thematic characteristics that drive the contemporary turn towards animated documentary filmmaking more generally. This chapter also identifies several main evolving concepts and debates that characterise animated documentary scholarship as a distinctive subset of Animation Studies and Film Studies. Finally, this chapter also identifies other academic disciplines – such as Memory Studies and Trauma Studies – within which significant discussion of animated documentary is also taking place.

Film tourism refers to a post-modern experience at an attraction or destination which has been portrayed in ‘some form of media representation, such as the cinema screen, television or video’ (Kork, 2018: 5). Film-induced tourism occurs when a tourist visits ‘a destination or attraction as a result of the destination being featured on television, video, DVD or the cinema screen’ (Hudson and Ritchie, 2006: 256). Screen tourism, movie induced tourism and TV induced tourism are other terms commonly used in association with this type of special interest tourism (Riley et al., 1998; Connell, 2005; Connell and Meyer, 2009). Beeton (2005), categorises film-induced tourism based on where the tourism activities occur, namely ‘on-film’ and ‘off-film’ induced tourism. ‘On-film’ induced tourism refers to tourism resulting from where a part of a film is shot and shown on the screen, while ‘off-film’ induced tourism refers to events or artificial destinations actualised through the involvement in films (Beeton, 2005). Film-induced tourism falls under the umbrella of cultural tourism as it represents the cultural heritage of a destination and may be considered an expression of visual arts and local traditions (Gjorgievski and Trpkova, 2012), with Kim et al. (2007: 1351) suggesting it has ‘great potential to advance cultural exchange and understanding’. As an illustration of the size and extent of movies which are filmed away from traditional studios, the 11 Star War movies filmed between 1977 and 2019 utilised a number of location sites throughout the world, in addition to sound film studios in the United Kingdom (Elstree and Pinewood Studios) and Australia (Fox Studio). Locations included the countries of Tunisia, United Arab Emirates, Norway, England, Guatemala, Switzerland, Australia, Italy, Thailand, Spain, Ireland, Bolivia and the Maldives (Obias, 2018a). Only two USA locations were used for filming, both in California, however outside of the traditional Los Angeles and Hollywood sites. Similarly, many scenes in the six Mission Impossible movies spanning from 1996 to 2018 were filmed on location in various parts of the world, including Prague, Norway, Paris, London, Washington, Virginia, Sydney, Utah, Berlin, China, Vatican City, Morocco, Vienna, Kuala Lumpur, Budapest, Moscow Mumbai, Canada and Dubai (Looch, 2018; Obias 2018b). Table 8.1 shows a variety of on-film and off-film induced tourism.

Between the last years of the 1890s and roughly 1929 when full talkies arrived, films were generally a combination of picture and title cards, or intertitles, which began to be used in the early 1900s. As the film trade was international in nature from its earliest days, intertitles needed to be translated. This chapter offers a brief chronology of the intertitle in film, highlighting the difficulties of translating and adapting title cards with decorative backgrounds and sophisticated animated sequences, either at the time the films were made or today for restoration. It also provides three case studies based on restoration projects conducted at the British Film Institute, showing how language and translation issues play their part in the complex reconstruction process.

This essay focuses on the TV animation Heidi, Girl of the Alps (1974). Made in Japan, it is the most famous international adaptation of the original novel Heidi by the Swiss writer Johanna Spyri. The novel has been translated into many languages and adapted into various media forms—including as a movie, play, animation feature film, television series, cartoon, and picture book. The author surveys the different characteristics and adaptations of the Japan-produced TV animation and its original book publication and argues that progressively, the animated version and its spirited contents have elevated the visual image of Heidi and its original publication. Through studying the audiences in Japan and Korea, the essay speculates on the “spiritual role of the media” in transcending cultural boundaries and discusses the resulting cultural energy that inspires audiences to seek the “spiritual” in connection with their attraction to the animated story.

This chapter explores images taken by James Van Der Zee during the summer of 1924, when he served as the official photographer for Marcus Garvey, the Pan-African leader of the Universal Negro Improvement Association (UNIA). It considers the format, arrangement, and circulation of Van Der Zee's UNIA images in international print media in order to illustrate the impact of the photographs' translation into print and thereby the impact of their mass reproduction. A different kind of photographic vision is animated specifically through Van Der Zee's photographs' reproduction in print, one in which a photographer's lack of control over how his photographs are viewed enables new ways of thinking beyond the photographic image accruing value through the intentional choices made by Van Der Zee alone.

This chapter recounts the most horrific episodes in the history of the Middle East conflict. It talks about the kidnapping and murder of three Israeli teenagers by members of the Islamist militant group Hamas, followed by a brutal revenge attack that triggered a fifty-day war between Israel and Hamas-controlled Gaza. It also analyses the function and value of films, such as Ari Folman's animated documentary Waltz with Bashir and examines the yawning gap between global consciousness of Israeli politics and that of Israeli culture. The chapter points out how Waltz with Bashir struck a chord on the international art house scene and became a roaring success, winning a Golden Globe award for Best Foreign Language Film. It discusses the heart of why Waltz with Bashir was such a phenomenon and questions whether its is still as significant now as it was when it was first released in 2008.

The best animation depends on the image narrative and the use of the lens. In order to connect between the animation and the audience, both skills are significant and professional. General animation narrative requires that the story content be complete, have a beginning and an end, and pay attention to cause and effect. Through the structure of the beginning and development, the story can be advanced step by step. However, it’s important and challenging for novice animators to both deliver scientific knowledge and storytelling in a short. Whether it is the timing of the shot, the misplacement of the character's position, unclear vocabulary, unclear movements, or expressions, etc., many factors may cause the audience to not understand. Therefore, given this situation, this study collected 6 animations which were made by students from the 2019 Tainan Animation Age Festival and then found out the common problems with novice animators by conducting participant observation and case study research. The result demonstrates the more common problem for novice animators is the animated image narrative, such as insufficient frames, unclear expression of character movements and expressions, unclear use of lenses, etc. This result can be a reference for novice animators or beginners.

Animation is a method, in which still images create the illusion of movement on the screen. We manipulate the viewer with fast-moving pictures to make them look as if they can move. This article intends to make a 2D animated film based on a screenplay template with synchronized sound. In the article, we had to provide different Software: Adobe Illustrator, Adobe Animate, Adobe After Effects, Adobe Premier Pro, Reaper (Digital Audio Workstation), and Sketchbook. In addition to the software and, of course, the computer, we also used a graphics tablet, a microphone, and a sound card During writing the article, we get to know the workflow of the creation of animation, from the design to the final product. We tested ourselves in the role of all important members of production houses to get the most realistic insight into the creation of such a project. The final product of the article is a short cartoon with a synchronization of speech and sound.