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1
Ford, Kat, Mark A. Bellis, Kate R. Isherwood, and Karen E. Hughes. "Perceptions of a short animated film on adverse childhood experiences: a mixed methods evaluation." BMJ Open 11, no. 8 (2021): e050398. http://dx.doi.org/10.1136/bmjopen-2021-050398.
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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.
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Forni, Dalila. "Solarpunk visions in youth fiction. The pedagogical utopia of Nausicaä of the Valley of the Wind." EDUCATION SCIENCES AND SOCIETY, no. 2 (December 2023): 160–68. http://dx.doi.org/10.3280/ess2-2023oa16411.
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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.
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سامي حول, زينب. "Strategies of Subtitling Swear words in The Wolf of Wall Street Movie." لارك 3, no. 34 (2019): 423–32. http://dx.doi.org/10.31185/lark.vol3.iss34.1101.
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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.
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Zhao, Meijuan, Ang Lay Hoon, and Florence Toh Haw Ching. "Hybridization of the Cultural Identity in Disney’s Mulan." Academic Journal of Interdisciplinary Studies 9, no. 5 (2020): 27. http://dx.doi.org/10.36941/ajis-2020-0083.
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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.
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Du, Daisy Yan. "The Manchukuo Film Association and Its Afterlives: Animated Filmmaking in Wartime and Postwar Peking." JCMS: Journal of Cinema and Media Studies 63, no. 2 (2024): 119–42. http://dx.doi.org/10.1353/cj.2024.a919194.
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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.
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Żebrowski, Mateusz. "Educational Potential of Animated Films in Poland." Panoptikum, no. 18 (December 29, 2017): 106–19. http://dx.doi.org/10.26881/pan.2017.18.07.
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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).
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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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Hasbullah, Hasbullah, and Gede Pasek Putra Adnyana Yasa. "MAKNA KODE VISUAL DALAM SCENE FILM ANIMASI “ BATTLE OF SURABAYA”." Jurnal Bahasa Rupa 3, no. 2 (2020): 124–29. http://dx.doi.org/10.31598/bahasarupa.v3i2.460.
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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.
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Jiang, Weiyi. "Analyzing the Future of Pixar Based on the Current Status." Advances in Economics, Management and Political Sciences 102, no. 1 (2024): 159–64. http://dx.doi.org/10.54254/2754-1169/102/2024ed0061.
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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.
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Majeed, Tawseef. "Ecstatic (re)constructions: The creative practice in animated documentary." Animation Practice, Process & Production 11, no. 1 (2022): 109–29. http://dx.doi.org/10.1386/ap3_00035_1.
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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.
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MAJUMDAR, ROCHONA. "Debating Radical Cinema: A History of the Film Society Movement in India." Modern Asian Studies 46, no. 3 (2011): 731–67. http://dx.doi.org/10.1017/s0026749x11000710.
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AbstractThis paper offers a history of the creation and development of film societies in India from 1947 to 1980. Members of the film society movement consisted of important Indian film directors such as Satyajit Ray, Ritwik Ghatak, Shyam Benegal, Basu Chatterji, Mani Kaul, G. Aravindan, Kumar Shahani, Adoor Gopalkrishnan, and Mrinal Sen, as well as film enthusiasts, numbering about 100,000 by 1980. The movement, confined though it was to members who considered themselves film aficionados, was propelled by debates similar to those that animated left-oriented cultural movements which originated in late colonial India, namely, the Progressive Writers Association in 1936, and the Indian People's Theatre Association in 1942. By looking at the film society movement as an early and sustained attempt at civil-social organization in postcolonial India, this paper highlights the two distinct definitions of ‘good cinema’—from an aesthetically sophisticated product to a radical political text—that were debated during the time of the movement.
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Jia, He (Michael), B. Kyu Kim, and Lin Ge. "Speed Up, Size Down: How Animated Movement Speed in Product Videos Influences Size Assessment and Product Evaluation." Journal of Marketing 84, no. 5 (2020): 100–116. http://dx.doi.org/10.1177/0022242920925054.
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Digital ads often display video content in which immobile products are presented as if they are moving spontaneously. Six studies demonstrate a speed-based scaling effect, such that consumers estimate the size of an immobile product to be smaller when it is animated to move faster in videos, due to the inverse size–speed association they have learned from the domain of animate agents (e.g., animals, humans). Supporting a cross-domain knowledge transfer model of learned size–speed association, this speed-based scaling effect is (1) reduced when consumers perceive a product’s movement pattern as less similar to animate agents’ movement patterns, (2) reversed when a positive size–speed association in the base domain of animate agents is made accessible, (3) attenuated for consumers who have more knowledge about the target product domain, and (4) mitigated when explicit product size information is highlighted. Furthermore, by decreasing assessed product size, fast animated movement speed can either positively or negatively influence willingness to pay, depending on consumers’ size preferences.
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Van de Peer, Stefanie. "Fragments of War and Animation: Dahna Abourahme’s Kingdom of Women and Soudade Kaadan’s Damascus Roofs: Tales of Paradise." Middle East Journal of Culture and Communication 6, no. 2 (2013): 151–77. http://dx.doi.org/10.1163/18739865-00602003.
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In this article, the author addresses the meaning of animated fragments in documentary films. She analyzes a Syrian and a Lebanese film, and illustrates the role and function of the hybrid form as a means through which women are now able to express themselves. Dahna Abourahme’s film Ein El Hilweh: Kingdom of Women (Lebanon, 2010) and Soudade Kaadan’s film Damascus Roofs: Tales of Paradise (Syria, 2010) are used as recent examples of documentaries addressing taboo issues by way of animated fragments. The author places these films in the wider context of the contemporary developments in animation in the Middle East, paying special attention to women’s contributions in the field. Both documentaries use animation not only for aesthetic appeal but also to enhance understanding and deepen engagement with topics and events that are necessarily situated beyond the knowledge and experience of a transnational audience. The author contends that animation creates a different film experience, and the audience must deal with the seduction of the animation.
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Han, Xue, Julian McDougall, Charlie Mott, and Sue Sudbury. "Hunger by the Sea: Partnerships in the brave third space." International Journal for Students as Partners 2, no. 2 (2018): 71–84. http://dx.doi.org/10.15173/ijsap.v2i2.3493.
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In this article, co-authored by two undergraduate students (one international) and two academics in a media faculty of a post-92 university (e.g., Polytechnic), in England, we share the findings and offer a reflexive lens on the process of a media practice education collaboration in the community, through the co-production of the animated film Hunger by the Sea: https://vimeo.com/234840520 . The contributors to this research are media practice academics, media and journalism students from related but distinct disciplines, and the users and providers of a food bank on the English coast. The food bank users and providers have not been involved in this writing, but their voices are (literally) heard in the project’s primary outcome—the animated film. In this article, we articulate reflections on how the project, in bringing together academics, students, and community participants in a challenging but rich space, enabled exchanges of expertise and new, boundary-crossing ways of being in education that can be discussed as “third space” interactions.
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Guangyuan Cao, Guangyuan Cao. "The Development Strategy of Nationalistic Derivatives in the Chinese Animated Film Industry." Northeast Asian Arts and Cultural Management Association 1, no. 1 (2024): 59–67. http://dx.doi.org/10.69887/jnaacm.2024.1.1.59.
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Purpose – This study explores the utilization of Chinese traditional culture in animation, with a focus on film derivatives. The study analyzes recent growth and challenges in the Chinese animation industry and aims to effectively utilize Chinese culture in developing animation derivatives. Drawing insights from US and Japanese models, the initiative aims to develop a unique Chinese animation industry, with the goal of improving global competitiveness, cultural impact, and market expansion. Design/Methodology/Approach – This study adopts a research methodology primarily focused on deeply mining the rich resources of Chinese traditional culture, coupled with referencing the mature animation industry chains of the United States and Japan, to develop a more ethnically distinctive animation film industry chain in China. The main research methods involve literature review and case analysis, aiming to explore key issues and solutions in the development of ethnic-oriented animation film derivatives in the Chinese animation film industry. Findings – China’s animation industry is progressing, yet it faces challenges in derivative development, which hinders sustained growth. Leveraging its abundant traditional culture can provide a unique competitive advantage. Integrating insights from established US and Japanese animation industries with Chinese culture is crucial for fostering a more ethnically distinctive animation industry in China, which holds significant promise for future development. Research Implications – The proposal innovatively leverages China’s traditional culture for animation growth, providing insights for sustainable development. It highlights the significance of animation derivatives, guiding commercial exploration. By promoting Chinese culture, it enhances the global competitiveness of animation, facilitating international cultural exchange.
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Fusong, Liu. "The Localization Style Design Analysis of Domestic Animation The case study of Scissor Seven." E3S Web of Conferences 236 (2021): 04060. http://dx.doi.org/10.1051/e3sconf/202123604060.
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Scissors Seven as a GuangZhou native animation works has won a large number of fans on the Internet, network playback volume reached 260 million, and in 2018 became the only domestic animation in the Annecy international animation film festival, in 2019,in 2020 Magnolia Award for Best Animated Screenplay at the 26th Shanghai TV Festival became the only domestic animation work award in the past five years.Further more the film became Netflix online products, The Japanese and English versions can be seen in 29 countries and 190 regions .Most of the audiences love this work and gave a good comments. This paper will analyze the visual and auditory elements of the work around the localized style design of the film, so as to obtain the inspiration and thinking of domestic animation design.
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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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Bai, Lin. "On the Integration of Artistic Nationality and Cosmopolitanism." Highlights in Art and Design 3, no. 2 (2023): 6–8. http://dx.doi.org/10.54097/hiaad.v3i2.9832.
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Nominated for the Oscar for Best Animated Short Film, "Breaking Through the Sky" was produced by the team of Wuhan Tai Lao Animation Co., Ltd., China, fully demonstrating the charm of Chinese animation on the international stage, and highlighting the exchange and integration of artistic nationality and the world, at the same time, this animation has also been questioned by many people, considered to be not like the animation produced in China, lacking the taste of national elements, and the relationship between the national nature of art and the world has retriggered our thinking.
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Bradshaw, Julia. "FMX 2019: Conference on Animation, Effects, Games and Immersive Media; 26th Stuttgart International Festival of Animated Film." Afterimage 46, no. 3 (2019): 1–8. http://dx.doi.org/10.1525/aft.2019.463001.
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Cristhiee Shenna Chin and Imelda Ann Achin. "KONSEP LATAR SET DALAM FILEM ANIMASI UPIN & IPIN KERIS SIAMANG TUNGGAL: SATU ANALISIS INTERPRETASI KOMPOSISI." Jurnal Gendang Alam (GA) 14, no. 1 (2024): 44–51. http://dx.doi.org/10.51200/ga.v14i1.5180.
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Konsep seni yang berkualiti tinggi serta penceritaan yang menarik perhatian penonton telah berjaya membawa filem animasi Upin & Ipin: Keris Siamang Tunggal oleh Les’ Copaque yang dikeluarkan pada tahun 2019, sekaligus disenaraikan dalam Anugerah Oscar. Walaupun tidak disenaraikan dalam pencalonan akhir, kejayaan ini telah mengharumkan nama negara diperingkat antarabangsa kerana ini membuktikan bahawa industri filem animasi negara mampu bersaing dengan negara lain. Namun begitu, idea dan imaginasi yang kreatif adalah penting bagi menghasilkan konsep seni yang berkualiti tetapi ramai artis konsep seni masih mengalami masalah dalam menjana idea. Oleh itu, objektif utama dalam penulisan bertujuan untuk menganalisis konsep latar set filem animasi Upin & Ipin: Keris Siamang Tunggal dengan menggunakan pendekatan interpretasi komposisi yang diperkenalkan oleh Rose (2016). Melalui pendekatan ini, konsep latar set dihuraikan melalui elemen-elemen yang terdapat dalam interpretasi komposisi. Hasil kajian ini mendapati bahawa konsep latar set dalam filem animasi Upin & Ipin: Keris Siamang Tunggal banyak menggunakan ilustrasi konsep seni yang berinspirasikan elemen makanan tempatan. Diharapkan kajian ini dapat membantu artis konsep seni tempatan untuk menghasilkan konsep seni kerana kualiti filem animasi bermula daripada konsep seni yang baik. Kata kunci: konsep seni, latar set, animasi, Upin & Ipin ABSTRACT The high-quality art concept and storytelling that captures the audience's attention have successfully brought the animated film Upin & Ipin: Keris Siamang Tunggal by Les' Copaque, released in 2019, to be listed in the Oscar Awards. Although not listed in the final nomination, this success has made the country's name international because it proves that the country's animation film industry is able to compete with other countries. However, creative ideas and imagination are important to produce quality concept art but many concept art artists still experience problems in generating ideas. Therefore, the main objective in the writing aims to analyze the background concept of the animated film Upin & Ipin: Keris Siamang Tunggal by using the compositional interpretation approach introduced by Rose (2016). Through this approach, the concept of the set background is explained through the elements found in the interpretation of the composition. The results of this study found that the set background concept in the animated film Upin & Ipin: Keris Siamang Tunggal uses a lot of illustrations of art concepts that inspire elements of local food. It is hoped that this study can help local art concept artists to produce art concepts because the quality of animated films starts from a good art concept. Keywords: concept art, setting, background concept, animation, Upin & Ipin
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Tomé-Alonso, Beatriz, and Lucía Ferreiro Prado. "Mapping Orientalist Discourses: Using Waltz with Bashir in the Classroom." International Studies Perspectives 21, no. 2 (2019): 154–71. http://dx.doi.org/10.1093/isp/ekz009.
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Abstract While fiction and non-fiction productions can be used as tools to observe, describe, and analyze the “world-out-there,” within these events-issues centered approaches post-positivists posit films themselves as “cultural artifacts” to be analyzed. This paper proposes a critical analysis of Waltz with Bashir (2008) to be conducted with students in the classroom. This acclaimed animated film by Israeli writer and director Ari Folman depicting the 1982 Lebanon War is a non-obvious but germane example of Said's “Orientalism.” After explaining post-structuralism and post-orientalist stances on subjectivity, power relations, and the political consequences of the narratives we create, we analyze the film by applying an orientalist grid to Waltz with Bashir and raising qualitative questions to foster the student's criticality. We conclude by examining student's reactions to the film and their understanding of “Orientalism.”
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Chmelyk, Iryna. "Loving Vincent: Online Exhibition as an Innovative Form of Presenting Visual Art in Ukraine." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 145–52. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235242.
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The article considers the online exhibition and art events Loving Vincent as the relevant forms of exhibition of art works, the main idea of which is to promote the work of Vincent van Gogh and the art of the animated films in Ukraine. The aim of the paper isto highlight the importance of the latest forms of visual art representation in Ukraine on the example of the online exhibition Loving Vincent and a number ofrelated events dedicated to the world’s first full-length eponymous animated feature film about the life of Vincent van Gogh. The role of Ukrainian artists in the process of working on the film is also highlighted. The methodology of work includes a set of culturological and art research methods and approaches. In particular, empirical observations, analysis of the source base and video materials contribute to the comprehensive coverage of the process of organization and realization of the Loving Vincent exhibition. The interviews with the organizers, screenwriters, and artists helped to get a deep insight into the specifics of working on the film. Descriptive and analytical methods contributed to the formation of a comprehensive view regarding the innovative forms of representation of visual artworks in Ukraine. On the basis of factual material, a synthetic comprehension of problems and prospects of development ofsuch newest exposition forms as virtual excursions and online exhibitions were formed. Emphasis is also made on the participation of Ukrainian artists in the largescale international art projects that leads to the creation and development of new opportunities of the representation of contemporary art
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Budianto, Lestari, Salwa Amaliyah, and Dwi Wahyu Sugiarti. "HYPERMASCULINITY IN THE CROODS FILM: A DESCRIPTIVE STUDY." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 6, no. 2 (2022): 448–53. http://dx.doi.org/10.30743/ll.v6i2.6116.
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In the world of literary research, a film is a very interesting object of research. A film is a literary work that can provide a lot of values to human life. This study aims to explore the hypermasculinity that exists in the 3D animated film entitled The Croods. The film was released in 2013 and tells the story of a family led by a man named Grug. This study uses a descriptive qualitative method and the data from this research are formed from two types of data, namely the main data and supporting data. The main data of this study was obtained from the film "The Croods" while the supporting data are from websites. The data obtained are analyzed using four stages, namely data collection, data display, data reduction, and conclusion. The results of this study indicate that hypermasculinity is seen in the main character who is protective, caring, responsible, strong, brave, and stubborn. This finding is reflected in the dialogues, actions, and fashion that occur in the film.
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Syahid, Syahid, Winny Gunarti Widya Wardani, and Taufiq Akbar. "Analysis of Kinesic and Proxemic Signs Structure in the Animated Music Video "Sabda Alam"." Proceedings of International Conference on Communication Science 3, no. 1 (2024): 120–25. http://dx.doi.org/10.29303/iccsproceeding.v3i1.821.
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Media campaigns are designed to attract the attention of their audience, including through animated music video media. In an animated music video, the delivery of messages is combined through narration, characters and music. This research discusses "Sabda Alam", an animated music video about protection for endemic Indonesian birds. This animated music video is the final work of the students of SMK Raden Umar Said (RUS) Kudus which received appreciation at the Balinale International Film Festival 2021. The visualization of endemic bird life presented in "Sabda Alam" is an illustration of the existence of wild animals in relation to nature and humans as an effort to survive in their habitat. The visualization of these endemic birds is interesting to study as messages packaged through visualization structured nonverbal. The analysis in this study uses qualitative methods with a nonverbal communication theory approach, namely kinesic studies related to visualization as a language of movement, and proxemic studies as visualization of space which becomes the setting of the narrative. The results of the study explain that there is an arrangement of facial and postural signs in the sign structure kinesic, in the form of character expression and bird appearance. Meanwhile, in the proxemic sign structure, signs are presented through the relationship between the character of the bird and the time and space of events. The relationship between kinesic and proxemic signs structure is proven to represent messages about the importance of protecting endangered wild animals. This research can be an academic reference in the field of visual communication design, especially the sensitivity to read visual signs as messages.
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Krivulya, Natalia G. "DOCUMENTARY ANIMATED: GENESIS AND SPECIFICITY (PREVIEW ARTICLE)." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 43 (2021): 96–115. http://dx.doi.org/10.17223/22220836/43/7.
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Animated documentary is becoming one of the fastest growing phenomena of modern screen art in the post-truth era. The review and analysis of scientific works devoted to animated documentary is seen as relevant both for the further development of scientific thought and the search for new research strategies that expand the problem field, and for the practical sphere. The research was conducted on the basis of a review and analysis of scientific literature (monographs and articles in international journals included in electronic research system international databases Scopus, Web of Science, eLibrary.ru) in English, Spanish and Russian for the period 1997-2019. The novelty of the review article is not only an attempt to present a systematic view of animated documentary as a phenomenon of screen art, but also to identify and systematize the areas in which scientific discussions are conducted. It introduces the reader to theoretical views on the terminology, Genesis, specifics, nature, and classification systems of documentary animation. Animated documentary appeared when the cinema was just taking first steps but its development began in the 1980s. At this time, animation begins to take an interest in reality, inner peace, and socially taboo topics. Since the 1990s, the foundations of animated documentary are laid, narrative strategies are developed, and a new language are actively sought. Interest in animated documentary from the scientific community arose only in the 2000s. On the one hand, it has been manifested by the increasing role of documentation in the art, which has taken on an attraction character since the advent of digital technology; on the other hand, and as a consequence of the convergence of screen arts and the emergence of hybridization trends. The academic community has focused around developing definitions and understanding what can be attributed to the field of documentary animation. By 2010, the scientific literature focused on issues related to the specifics of animated documentary, ways of presenting reality, and indexing. By the mid-2010s, animation is becoming the subject of interdisciplinary study. At this time, there are develop tools for analyzing works of animated documentaries, and its genre system begins to build. One of the main features of animated documentaries is hybridity. Its dual nature is born of fluctuations between the certainty of facts and artistic embodiment. The problems of authenticity and representation of reality become one of the most controversial topics in an animated film. The work provides an overview of theoretical studies on the genesis, history and particularities of animadoc. The theoretical texts identify three approaches that form the main directions in the analysis of animated documentary. The first group of researchers analyzes this phenomenon and its nature based on the theories of documentaries and the transformation with the advent of digital technologies, of the concepts of reality, authenticity and fact (document). The second group of authors considers animation as a phenomenon of modern animation that arose as a result of technological renewal and changes in its role as a socio-cultural practice. A third group of scientists believes that animadoc is a post-postmodern phenomenon that arose as a means of presenting a world in which there is mobility of borders and cyberspace becomes a new reality. The review allows us to conclude that animated documentary is a manifestation of a new mode of postphotographic vision of a reflexive nature, in which the imagination that refracts images of reality becomes of primary importance. Despite the interest in it from the academic community and the emergence of theoretical works, the study of this phenomenon is only at the initial stage. Despite the interest in it from the academic community, there is a small number of deep theoretical works caused by the hybrid nature of the phenomenon itself, the imperfection of working models and methods for analyzing representational strategies, and the problems of forming a conceptual apparatus.
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Frey, Mattias. "The Ends of (German) Film Criticism: On Recurring Doomsday Scenarios and the New Algorithmic Culture." New German Critique 47, no. 3 (2020): 45–57. http://dx.doi.org/10.1215/0094033x-8607577.
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Abstract A prominent strain of discourse sees digital-age German film criticism in a terminal trajectory of commercialization and dumbing down. This article demonstrates that this rhetoric is not unique: neither to German-speaking countries nor to the digital age. Complaints about slipping benchmarks and declining quality, the fragmentation of the filmgoing public into niche markets, and above all the anxiety about the authority of the critic to definitively speak for and interpret culture to a receptive audience have animated international film criticism since its origins. The article proceeds to examine the supposed new threat to critics: algorithmic recommender systems for video-on-demand platforms such as Netflix. Based on the author’s mixed-method empirical audience study, it concludes that the need and desire for human cultural mediators has not decreased despite the digital-age explosion of content and computational tools.
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Wong, Sara. "Reflecting on ‘Impact’ in Artist–Academic Collaborations in Times of Conflict." Journal of Humanitarian Affairs 4, no. 2 (2022): 32–39. http://dx.doi.org/10.7227/jha.088.
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This article explores some of the challenges, learnings, reflections and opportunities involved in collaborating with grassroots artist collectives in conflict-affected places in academic settings. Using as a case study the collaborative production of the animated short film ‘Colombia’s Broken Peace’, as part of a wider international research project, I reflect on our experiences in co-producing this piece by drawing out lessons that might be relevant for others interested in undertaking similar inter-disciplinary work. In doing so, I aim to re-frame notions of ‘impact’ and ‘capacity building’ in conflict research to a more complex picture of mutual learning and knowledge exchange.
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Sun, Youya, and Jing Hua. "On Strategies and Effects of Cross-cultural Communication of Chinese Mythological Animated Films—With Nezha and White Snake as Examples." European Journal of Language and Culture Studies 2, no. 6 (2023): 6–14. http://dx.doi.org/10.24018/ejlang.2023.2.6.121.
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Animated films with Chinese mythology are endowed with the most distinctive ethnic features. With Nezha and White Snake as examples, this paper analyzes their successes in cross-cultural communication strategies in the context of globalization from the perspectives of native cultural elements, narrations on affections, integration of Western cultures, and so forth, accompanied by their predicaments explained in many aspects including cultural differences between China and the West. It has been found that based on the native myths with less global popularity, the key to the effective communication of such film types lies in the cultural similarities, as witnessed by international narrative styles and mainstream emotional values.
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Husniyah, Nur Iftitahul. "Tantangan Globalisasi Pendidikan Islam (Study Komparasi Budaya Pop di Indonesia dan Malaysia)." AKADEMIKA 11, no. 1 (2017): 78–91. http://dx.doi.org/10.30736/akademika.v11i1.46.
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Popular culture broadcast from electronic media in this paper is aimed at introdution children to the importance of good moral messages in addition to being a medium of Islamic religious education transfer in the matters of worship or moral and social values. Animated Upin Ipin film produced in Malaysia, the business management, creative ideas, and quality of the image could deliver the Upin & Ipin film in getting some awards. In 2008, Upin & Ipin was awarded International Achievement Appreciation Award, Best of Media Entertainment Category-Merit Award (MSC Malaysia APICTA 2008), and President's Award (Malaysia-Canada Business Council Business Excellence 2008). Meanwhile, in 2009, it was awarded Winner of MSC-Malaysia Management Game 2009, IT Frank 2009 (Global Emerging Innovative Enterpreneur), First 3D Animation Feature Film (Malaysia Book of Records), Viewer Choice Award (Kids Film Festival), Anugerah Khas Juri and Anugerah Box Office (Malaysia Film Festival), Best on Screen Chemistry Awards (Shout Awards), and Best Editing and Best Music (MSC Creative Digital Contents Conference). These awards have once again marked the high quality of Upin & Ipin series and Upin & Ipin technology innovation in Malaysia.
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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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Jackson, Laura (Riding), and George Fragopoulos. "Selections from Len Lye and the Problem of Popular Films (1938)." PMLA/Publications of the Modern Language Association of America 130, no. 1 (2015): 119–28. http://dx.doi.org/10.1632/pmla.2015.130.1.119.
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In 1926 the new zealand artist, writer, and budding filmmaker len lye arrived in london by way of sydney, australia.Only twenty-five years old, Lye was still a few years away from his first breakthrough in film: Tusalava (1929), a nine-minute animated film composed of over 4,400 drawings that took nearly two years to complete (Horrocks, Len Lye 91). The artist would spend the next two decades in London, years in which his association with the General Post Office Film Unit would provide him with the resources he needed to create some of his most famous films, such as A Colour Box (1935), Rainbow Dance (1936), and N or NW (1938).In December 1925, a young American poet by the name of Laura Gottschalk—soon to change her name to Laura Riding—followed Robert Graves's advice and moved to London. While she had yet to publish a book of poems, her poetry had appeared in a number of literary journals, most notably the Fugitive (Jacobs xvii). Her first collection, The Close Chaplet, was published by Leonard and Virginia Woolf's Hogarth Press in October 1926.
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Akmalia, N., H. D. Rahmayanti, S. Ardiani, et al. "Strengthening Indonesian Maritime Affairs through Promoting the Superior Maritime Region of Labuan Bajo in the Form of Animated Short Films." IOP Conference Series: Earth and Environmental Science 1359, no. 1 (2024): 012060. http://dx.doi.org/10.1088/1755-1315/1359/1/012060.
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Abstract Currently, the Indonesian government is developing super priority tourist attractions, one of which is in the Labuan Bajo area. The results of our research show that Bajo is the name of the sea tribe that inhabits this coastal area. This name reflects the maritime history and life of the Bajo tribe which is very dependent on the sea. The charm of Labuan Bajo does not only lie in its natural beauty and sea landscape, what is interesting in Labuan Bajo is the Way of Life or the living culture of the Bajau tribe which can adapt physically to aquatic life. The profile of the Labuan Bajo community has become one of the inspirations for the international box office film, namely Avatar 2. The film Avatar 2 was successful in becoming the highest grossing film. This then underlies this idea, to create a “Manusia Ikan” character and a story about the waters of Labuan Bajo. So far, tourism promotion has only been limited to video exploration of tourist attractions. Labuan Bajo does not have a unique character design which is visualized in the form of a Complete Proposal film. Matching Fund 2023 is based on local content as a promotional icon that can be “top of mind” for potential tourists. The importance of the role of character design in the process of designing a film is the background that underlies the creation of “Concept Art which includes the concept of a fantasy world with character designs inspired by” local Indonesian content. Through the development of character designs and the story of “Manusia Ikan” in the form of an animated film, it becomes a commercialization and distribution strategy so that it can have a high license selling value, both domestically and abroad so that it can become a promotional medium for Labuan Bajo tourism and improve the economy public.
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Ostrowska, Dorota. "Producers’ playground: the British Film Producers Association and international film festivals in the post-war period." Studies in European Cinema 17, no. 2 (2020): 128–39. http://dx.doi.org/10.1080/17411548.2020.1731179.
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Meng, Haohan, Qingxia Xu, and Jinhua Sun. "A Study on the Coupling of Cinematic Emotional Narratives and Social Psychology: Makoto Shinkai’s Animated Film Suzume." SHS Web of Conferences 174 (2023): 01025. http://dx.doi.org/10.1051/shsconf/202317401025.
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The examination of the interaction between cinema and its audience represents a significant area of inquiry in contemporary film theory. In recent years, there has been a shift from a “creator-centered” to an “audience-centered” approach to film narrative. Makoto Shinkai’s Suzume is a notable addition to his “Disaster Trilogy,” acclaimed for its ability to engender emotional experiences within its viewers. The film’s narrative mechanisms, meaning construction, and narrative strategies are pivotal aspects that highlight the relationship between emotional storytelling and cinema. By exploring the coupling between the narrative mechanisms and the audience’s “social psychology”, this study aims to offer insights into how cinema can inspire emotional identity, thus providing a fresh perspective on improving the emotional storytelling efficiency of domestic animated films and enhancing the efficacy of international communication. The findings of this study have the potential to enrich our understanding of the complex ways in which cinema can connect with its audience, whilst also advancing our comprehension of how emotional narratives can be harnessed to enhance the effectiveness of visual storytelling.
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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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Malyshev, Vladimir. "CILECT as the Project of a World Film School: Origins, Specifics, Development." Journal of Flm Arts and Film Studies 11, no. 4 (2019): 8–24. http://dx.doi.org/10.17816/vgik1148-24.
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The continuing introduction of digital technologies into the production of meaningful and engaging audiovisual images accentuates the necessity of international cooperation in the sphere of the professional education of those young people who are planning to work in film, television and other screen arts. All over the world film schools are challenged by problems the solution of which requires consolidated participation of worldfamous masters. This has been recently confirmed at the Congress of the International Association of Film and Television Schools (CILECT) Congress held in October 2019 in Moscow in connection with the 100th anniversary of the All-Russian State Institute of Cinematography (VGIK). This essay analyzesVGIK's contribution to the process of perfecting programs in the field of screen arts at different stages of their development.
 The essay explores issues of CILECT development since its foundation in 1954. Initially, CILECT was supported by nations with developed film cultures, such as Brazil, Chile, Czechoslovakia, France, Italy, Poland, the Soviet Union, Spain, the United Kingdom, and the United States. Today, the Association unites 180 film schools from 65 nations. The essay analyzes VGIK's role in the development of film education and, more generally, the development of screen arts; and emphasizes the importance of international cooperation in this technological, digital age.
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Ahn, Youngsoon, and Seokyoung Joeng. "Aspects of the Transformation of Narrative in <Fantastic Mr. Fox>." Institute of Humanities at Soonchunhyang University 41, no. 2 (2022): 176–202. http://dx.doi.org/10.35222/ihsu.2022.41.2.175.
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<Fantastic Mr. Fox>(dir. Wes Anderson, 2009), an animated feature film, is loosely based on Roald Dahl's novel, Fantastic Mr. Fox(1970).
 This study aims to analyze the aspects of adaptation from a novel to an animation film. We analyzed the aspects of reconstruction of drama arcs and its signification through the process of adaptation, and how to expand the context and to embody a subject in the film. To this end, we applied conventional theory of dramatics, methods of semiotic analysis and the achievements of the study of film narratology. Setting up Mr. Fox, a flat character in the novel, as a character with cogito, the film shows the constant skepticism and reflection of his raison d’être. The story unfolds on the basis of the same log line and the same plot of escape and pursuit as in the novel. But the character taking center stage of adaptation, the psychological development of protagonist composed the center of narrative and drama arc in the film. According to the analysis of the systematic structure of major binary ports, the contextual meanings and relations between humans and wild animals in the film is deceptive and gloomy. Because ‘the Promised Land’, the world reserved for wild animals - Boggis, Bunce and Bean International Supermarkets – Mr. Fox and his colleague win at last is an infertile space out of life. To sum up, making a caricature of the three greedy farmers who are still waiting for them to come out of the sewer world, <Fantastic Mr. Fox> claims paradoxically the necessity of the harmony and coexistence of nature and man.
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Lovejoy, Alice. "The World Union of Documentary and the Early Cold War." boundary 2 49, no. 1 (2022): 165–93. http://dx.doi.org/10.1215/01903659-9615445.
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This essay traces the evolution of the idea of “international documentary” during the early Cold War through the history of the World Union of Documentary (1947–50), an association spearheaded by documentarian Joris Ivens that aimed to articulate a common purpose for postwar documentary and to facilitate the international exchange of films, professionals, and knowledge in the field. I investigate the links between the association and contemporaneous international initiatives, chiefly film festivals and the peace movement, focusing throughout on Eastern Europe, where the World Union was headquartered for most of its existence. Indeed, the association's history is inextricable from that of Ivens's 1949 film about the East European “new democracies,” The First Years (Pierwsze lata). Both projects, I argue, were impeded not only by the polarized political atmosphere of the period but also by complex political, administrative, and generational dynamics within the documentary community and the international Left.
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Sunarto, Bambang. "Adangiyah: Philosophy of Art in Tradition and Modernization." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 16, no. 2 (2021): i—ii. http://dx.doi.org/10.33153/dewaruci.v16i2.3983.
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Dewa Ruci's journal on this edition is felt so special. Since volume 15 has been eager to target a wider audience. Many scientific idiographic concepts are important and need to be known by international readers. This edition is proud to present the most widely written articles by postgraduate students and lecturers from the Indonesian Institute of the Arts Surakarta, Universities of Education from Surabaya, and Malang (East Java). What is special about this edition of this journal is the participation of the second author, who comes from various countries who are very encouraging to the first author. The participating writers from abroad are Adzrool Idzwan Ismail (Malaysia), Michiyo Yoneno Reyes (Japan), Nazima Rangwala Kalita (India), Lee Yong-Shik (South Korea), Jody Diamond (United States).We above appear to have six collaboratively written articles to publish on this occasion. The first author, Soerjo Wido Minato, wrote an article entitled “Art, Nature, and Culinary As Leverages for Village Branding at the Foot of the Mountain.” He discussed that coastal tourism and coastal villages have always been attractions, especially mountain villages that have succeeded in branding themselves as tourist villages. The Malang State University research team conducted research activities to support the preparation of Benjor Village to become a tourist village. An effective strategy for branding Benjor Village as a tourist village at the foot of the mountain is to synergize art, nature, and culinary arts in logos, songs, dances, taglines, videos, and social media.Next is Yulela Nur Imama's article entitled "Masak, Macak, Manak” at this time through challenge-based research on the creation of Nol dance," discussing 3M (cooking, preening, give birth) as cultural values for Javanese women. This study aims to determine the existence and relevance of these 3M values in dance works and how these values must be maintained. Tari Nol interprets 3M's cultural values.Hanna Medita wrote the article “Self Me: interpretation of self-injury in the context of healing,” discussing modernization that affects human needs. Self Me is a work inspired by the author's experience of self-injury which is very common among teenagers towards adulthood. Many symptoms are very likely to affect one's mental health. The work of Self Me gives a message about the importance of knowing self-injury early on and knowing what the symptoms of self-injury are.Rian Prasetya's article entitled "Color Formation of Musical Compositions of Children's Choir "Vocalista Angels" discusses the choir resulting from intensive training in various competitions in the Vocalista Angels (VA) group. The group emphasizes unique performance with sound color processing that deviates from the conventions of music theory. At the heart of quality processing at VA is building a distinctive tone of voice, trying to avoid musical tendencies based on classical vocal theory. An important element to form distinctiveness is a musical work that puts forward the method of wording, processing articulation, resonance, and intonation.Izam Ismail wrote the article "Media Adaptation of Mask Making in Malang: Study of Functional and Process for Making Fiber Masks" which discusses the adaptation made by changing the media without changing the shape and visuals that appear in Topeng Malang. The mask in the Malang Mask performance is a sacred form used by dancers by bringing the Panji character into the show. Making fiber masks begins with practice, namely making molds without changing the shape and ornaments on Malang Masks.Harmanto’s article entitled "The Concept of Tumbuk in Javanese Gamelan Tuning" discusses the phenomenon of musical mash in the Javanese karawitan tradition. Tumbuk is more than just a scale between Sléndro and Pélog. Tumbuk acts as a synchronizer in frequency and range between notes and a tone coordinator or add-on in the tuning system. Tones that have the same frequency in the tone of nêm are nêm sléndro and nêm pélog, nêm sléndro and pélog stuff, and others.The last writer is Hasbullah, with an article entitled "The Meaning Of Bali Aesthetic Code In The Animated Film Si Uma." He discusses the meaning of the Balinese aesthetic code in the animated film "Si Uma." The animated film gives a message through semantic codes such as cloth poleng, which connotes a balance of life and perfection. The meanings found from studying the Balinese aesthetic code in the animated film “Si Uma” are beauty, concentration, and cultural identity.That is the essence of the issue of Volume 16 Number 2 (December Edition), 2021. Hopefully, the knowledge that has been present in this publication can spur the growth of fine arts and performing arts in international networks, both in the arts. Creation and in the scientific research of art in general. We hope for the development of fine arts and arts.Thank you
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Driscoll, Catherine, and Liam Grealy. "In the name of the nation: Media classification, globalisation, and exceptionalism." International Journal of Cultural Studies 22, no. 3 (2018): 383–99. http://dx.doi.org/10.1177/1367877918784606.
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This article examines the relationship between exceptionalism and nationhood in media classification. The history of age-ratings is an international one, and the present challenges associated with digital media circulation are similarly international. We argue that the nation nevertheless provides an appropriate frame for understanding age-rating by attending to the ways national agencies have struggled to articulate the specificity of their work based on the specificity of domestic constituencies. Drawing on archival and ethnographic research, our central examples include the resistance of the Motion Picture Association of America to age-based film classification, the British Board of Film Classification’s examination of American films in the 1980s, contemporary Japanese videogame regulation, and the emergence of the International Age Rating Coalition. We argue that national exceptionalism is itself generalised and that media content regulation is less about producing national culture than about laying claim to a nation by differentiation.
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Noh, Yebin, and SungKyoo Hong. "Research on the Characteristics of Colombian Folk Music as Portrayed in Disney's Animation ‘Encanto’: Centered on Vallenato Music." Korean Society of Culture and Convergence 45, no. 11 (2023): 397–410. http://dx.doi.org/10.33645/cnc.2023.11.45.11.397.
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This study examined the cultural and folk music characteristics of Colombia as portrayed in Disney's animated film “En-canto”. It focused on the analysis of prominent songs that prominently feature the characteristics of Vallenato, a Colombian folk music genre, such as “The Family Madrigal” and “Colombia Mi En-canto”. Specifically, the study analyzed the utilization of traditional musical instruments in the Vallenato ensemble, musical elements, as well as rhythm and melody. Furthermore, it explored how Colombian folk music elements and contemporary musical elements are integrated within the music of “En-canto”. The research also delved into the unique features of Vallenato as depicted in the lyrics of the songs. Through this research, we aim to provide an understanding of how “En-canto” reflects the diverse cultural influences on Colombian folk music and to present new perspectives and possibilities within the fields of Latin American and Colombian folk music research.
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Ramos Godínez, Margarita. "María Herrera-Sobek: from ballads and corridos to film studies." Verbum et Lingua, no. 4 (June 30, 2014): 123–28. http://dx.doi.org/10.32870/vel.vi4.38.
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entrevistaDr. María Herrera-Sobek is a Professor and Associate Vice- Chancellor for Diversity, Equity, and Academic Policy at the Chican@1 Studies Department in the University of California, Santa Barbara. She has written numerous articles and books related to her research area: corridos, songs and ballads as discourse that portrays Mexican-American culture. In addition, she has participated in filming documentaries. Above all, she has had a very active role in pro of the Chican@ studies worldwide. We had the opportunity to interview her when she participated in the Third Biennial Conference of the International Association of Inter-American Studies, titled De/Colonization in the Americas: Continuity and Change held from August 6th to August 8th, 2014 in Lima, Peru
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Rouxel, Mathilde. "Restoring and Curating Jocelyne Saab’s Cinema of Middle East Struggle." Feminist Media Histories 10, no. 2-3 (2024): 215–26. http://dx.doi.org/10.1525/fmh.2024.10.2-3.215.
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Jocelyne Saab was one of the most prolific Lebanese directors of her generation. Yet for a long time, her work went unnoticed by Lebanese and international critics alike. Difficult to program due to the quality of the copies in circulation, some of her work on the Lebanese civil war and the great popular struggles of the 1970s–1980s in the SWANA region fell into oblivion. Created in 2019 to promote and enhance the filmmaker’s work, the Association Jocelyne Saab has undertaken to train technicians in Lebanon in the specialized field of film preservation and digital restoration. This undertaking, supported by FIAF, the Swiss Film Archive, and INA, who supervised the training courses organized by the Jocelyne Saab Association, enabled the restoration of fifteen documentary films made between 1974 and 1982. This allowed a feminist look at the history of the SWANA region to be put back into circulation.
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Hermindo, Canniago, and Suryono Herlambang. "PENERAPAN DESAIN THERAPEUTIC PADA WADAH KREATIF PEKERJA FILM ANIMASI PENGIDAP INSOMNIA." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 5, no. 2 (2023): 659–72. http://dx.doi.org/10.24912/stupa.v5i2.24214.
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The creative industry plays an important role in driving Indonesia's overall economic growth. Data released by the Central Bureau of Statistics (2018) shows that the creative economy sub-sector makes a significant contribution to the national economy by contributing 7.44% to the Gross Domestic Product (GDP). One of them comes from the film, animation, and video sub-sector. Based on the Creative Economy Agency (2020), the growth of this industry reaches 10% annually. However, this cannot be separated from the creative workers who often get insomnia due to work. Insomnia is a disorder in the form of difficulty getting to sleep, difficulty maintaining sleep, and sleep dissatisfaction. Based on the US Census Bureau, International Data Base in 2004 as many as 28.035 million people in Indonesia (11.7%) suffer from insomnia. This shows that insomnia has become a problem faced by the majority of Indonesian people. Rehabilitation for people with insomnia is needed because it can interfere with health and reduce productivity. Therefore, a creative workspace for animated film workers with insomnia is needed which aims to facilitate them in the work process as well as fill their time when experiencing the insomnia phase to support recovery so they can return to their productive activities. The research uses qualitative methods with library research followed by data collection through surveys of similar buildings and interviews with users regarding space requirements that support creative work processes and insomnia. Then the use of the healing therapeutic concept as a design criteria related to connectedness with nature, culture, privacy, physical comfort, multifunctional activities, relaxation rooms, interactive, flexible, and beautiful that aim to comfort users in assisting their work and recovery processes. Keywords: Creative; Insomnia; Therapeutic Abstrak Industri kreatif memainkan peran penting dalam mendorong pertumbuhan ekonomi Indonesia secara keseluruhan. Data yang dikeluarkan oleh Badan Pusat Statistik (2018) menunjukkan bahwa subsektor ekonomi kreatif berkontribusi signifikan terhadap perekonomian nasional dengan menyumbangkan sebesar 7,44% terhadap Produk Domestik Bruto (PDB). Salah satunya berasal dari sub sektor film, animasi, dan video. Berdasarkan Badan Ekonomi Kreatif (2020), pertumbuhan industri tersebut mencapai 10% tiap tahunnya. Namun hal tersebut tidak lepas dari pekerja kreatif tersebut yang sering terkena insomnia akibat pekerjaan. Insomnia merupakan gangguan berupa kesulitan untuk memulai tidur, kesulitan mempertahankan tidur, dan ketidakpuasan tidur. Berdasarkan US Census Bureau, International Data Base tahun 2004 sebanyak 28,035 juta jiwa penduduk Indonesia (11,7%) terjangkit insomnia. Hal tersebut menunjukan bahwa insomnia sudah menjadi masalah yang dihadapi mayoritas masyarakat Indonesia. Rehabilitasi bagi pengidap insomnia diperlukan karena dapat menggangu kesehatan dan menurunkan produktivitas. Oleh karena itu, diperlukan sebuah wadah kerja kreatif pekerja film animasi pengidap insomnia yang bertujuan memudahkan mereka dalam proses bekerja sekaligus mengisi waktu mereka ketika mengalami fase insomnia untuk menunjang pemulihan sehingga bisa kembali beraktivitas secara produktif. Penelitian menggunakan metode kualitatif dengan riset kepustakaan dilanjutkan dengan pengumpulan data melalui survei bangunan sejenis dan wawancara dengan user terkait kebutuhan ruang yang menunjang proses kerja kreatif dan insomnia. Kemudian penggunaan konsep healing therapeutic sebagai kriteria desain yang terkait keterhubungannya dengan alam, budaya, privasi, kenyamanan fisik, kegiatan multifungsional, ruang relaksasi, interaktif, fleksibel, dan indah yang bertujuan untuk kenyamanan pengguna dalam membantu proses kerja dan pemulihan mereka.
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Deggeller, Kurt. "From “Sound” to “Sound and Audiovisual”: History and Future of IASA." International Association of Sound and Audiovisual Archives (IASA) Journal, no. 52 (August 19, 2022): 7–13. http://dx.doi.org/10.35320/ij.v0i52.146.
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IASA emerged in 1969 from IAML, the International Association of Music Libraries, Archives and Documentation Centres. The interests of IAML’s members largely focused on music as manuscript or score, and musical sound recordings were dealt with in the Record Library Committee. IASA was founded to consider additional types of sound recordings, including research and oral history. From the frst years of IASA’s existence, the question of the organisation’s relationship to the moving image arose, represented by the International Federation of Film Archives (FIAF). But as early as 1979, a delegate from the United States also brought video into play. With independence from IAML in the late 1980s, an intensive discussion began about the future of IASA and the expansion of the scope of the association to include audiovisual documents. Finally in 1999, the constitution and the name of the association were adapted. The transformation process triggered by this name change is still underway today. It could prove to be an advantage for IASA because it opens possibilities of adaptation to the rapidly changing world of audiovisual production due to digitisation and online media.
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Doboş, Cristian Ilie. "Kitsch aspects in film music." Artes. Journal of Musicology 26, no. 1 (2022): 250–68. http://dx.doi.org/10.2478/ajm-2022-0016.
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Abstract History has documented the human species’ struggles to understand beauty and communities’ efforts to grow through education. Figures of universal culture, such as Plato, Aristotle, G. W. F. von Leibniz, A. G. Baumgarten, I. Kant, G. W. F. Hegel, etc. tackled matters of aesthetics with great care. In the postmodernist period art, one of the four pillars of a peoples’ culture, together with language, history and religion, goes through a particular phase about which we cannot unequivocally say that is evolutionary. Under the onslaught of common people’s entertainment culture, contemporary art has a hard time maintaining its initial mission, that of elevating man’s soul and generating aesthetic projections of reality on a cognitive plane. The overwhelming significance that art and natural beauty carry in the intellectual life, beginning with the 18th century, is challenged by kitsch, this scourge, which came to prominence within society from the time when bourgeois civilization reached its peak, towards the end of the 19th century. Following a short presentation of various kitsch forms, associations and typologies in music, history, architecture, sculpture, decorative art and interior design, choreography, media, etc., we discuss kitsch aspects in film music, emphasising unjustified, incongruous and unempathetic associations between music and the rest of the filmic units. At the same time, we also present possible solutions for avoiding association errors. The examples are structured in the following subchapters: stylistic incongruities between filmic units vs. characteristics of the epoch augmented by music; using mainly dissonant or atonal sonorities in movies; exploring different cultures: ethnic music between deformation and authenticity; national and international in Romanian movies; representative songs - the more or less commercial exogenous motivation of film music; regarding the quantity of musical events in movies.
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Amon Prodnik, Jernej, and Janet Wasko. "Professor Janet Wasko: An Interview with the President of the IAMCR and one of the Key Representatives of the Political Economy of Communication Approach." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (2014): 14–27. http://dx.doi.org/10.31269/triplec.v12i1.543.
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This paper presents an interview with Janet Wasko. She is a Professor and Knight Chair in Communication Research at the University of Oregon’s School of Journalism and Communication and widely considered as one of the key authors working in the tradition of the political economy of communication. Currently she is serving as the President of the International Association for Media and Communication Research (IAMCR), one of the key international associations in the field of media and communication studies. She previously held several other positions in the IAMCR and served as the head of the Political Economy-section, which she also helped to establish. Professor Wasko published several influential books on the film industry, especially on Hollywood and the Disney Corporation. We talked especially about the influences on her approach, about her position in the IAMCR, her understanding of how the cultural and media industries work, the political economy approach in media and communication studies, and issues related to the film industry, which she mostly tackles in her own research.
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Amon Prodnik, Jernej, and Janet Wasko. "Professor Janet Wasko: An Interview with the President of the IAMCR and one of the Key Representatives of the Political Economy of Communication Approach." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (2014): 14–27. http://dx.doi.org/10.31269/vol12iss1pp14-27.
Full textAbstract:
This paper presents an interview with Janet Wasko. She is a Professor and Knight Chair in Communication Research at the University of Oregon’s School of Journalism and Communication and widely considered as one of the key authors working in the tradition of the political economy of communication. Currently she is serving as the President of the International Association for Media and Communication Research (IAMCR), one of the key international associations in the field of media and communication studies. She previously held several other positions in the IAMCR and served as the head of the Political Economy-section, which she also helped to establish. Professor Wasko published several influential books on the film industry, especially on Hollywood and the Disney Corporation. We talked especially about the influences on her approach, about her position in the IAMCR, her understanding of how the cultural and media industries work, the political economy approach in media and communication studies, and issues related to the film industry, which she mostly tackles in her own research.
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El Ishaq, Ropingi. "Pesan-Pesan Dakwah dalam Film 3 Idiots." Ilmu Dakwah: Academic Journal for Homiletic Studies 10, no. 2 (2016): 290–304. http://dx.doi.org/10.15575/idajhs.v10i2.1556.
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The 3 Idiots is a movie of India. This movie has launched at 2009th and as a favorite movies in Bollywood. The 3 Idiots get appreciate of international movies. It’s movies adopt from best seller of novel by Chetan Bhagat, “Five Point Someone”. The 3 Idiots bring the social criticism about social and cultural, like about social value. By that argue, this study aims to explore the sign and message of Islamic value in the movies. Qualitative approach used in this study. Specially, semiotic analysis of Ferdinand De Saussure use in this study. Both point of Ferdinand De Saussure semiotic are; signifier and Signified, Langue and Parole, so Syntagmatic and Associative. For message analysis of da’wa will be doing to explore an message of da’wa in the movies. It’s movies share an five message of da’wa; first, theologies as such represented how to motivate about awareness to God. Second, about the education, as such the criticism for education system. Thirt, the solidarity. In solidarity does explore how to help to brother or friends. Fourd, a harmony of religiousity. Five, amar ma’ruf nahi munkar or the motivated to do the possitive value and then be counter to negative value. The messages did constructed as beautifully. Signifier and signified or symbol had used to represent of meaning. The langue and parole has constructed with syntagmatic and association for to present the grand message, as such ‘idiots attitude’. All signs constructed systematically and beautifully. So, the audience can to get the meaning.
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Lan, Tien T. "A great engineer and inspiring teacher." International Journal of Space Structures 35, no. 1-2 (2020): 28–34. http://dx.doi.org/10.1177/0956059920931300.
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This article is presented in remembrance of Professor Mamoru Kawaguchi. He has won a great deal of recognition in China and could be cited as a great engineer. Three projects that have been realized successfully in Tianjin—that is, Yingbin Tower, Tianjin Museum, and Yongle Bridge—are presented. As an inspiring teacher, his remarkable personal quality can be found in three events held in China. The article concludes with his activities in conducting a technical tour of 2016 International Association for Shells and Spatial Structures Symposium and interview of a TV film in 2018.