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Journal articles on the topic 'Political aspects of Animated films'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Oczko, Patryk. "Between Art and Propaganda: The Rise of Polish Animation 1946–1956." Animation 18, no. 2 (2023): 167–87. http://dx.doi.org/10.1177/17468477231182911.

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Whilst the origins of Polish animation go back to the inter-war years, its rapid and consistent development did not occur until after World War II, and was therefore influenced by and directly dependent on the socialist system. The aim of this article is to identify the nature of the links between the then prevailing ideology and the content and form of animated films that created it, and to further discuss the main trends in this respect. The late 1940s were a time of a kind of creative freedom, which came to an end with the imposition of socialist realism. Transferred from the USSR to Poland

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Шульман, Екатерина Михайловна, and Анастасия Александровна Кутузова. "THE POLITICAL REALITY OF MODERN CARTOONS: REGIME TRANSFORMATIONS AND SOCIAL CONTRADICTIONS." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 2(28) (April 20, 2021): 81–95. http://dx.doi.org/10.23951/2312-7899-2021-2-81-95.

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В статье рассмотрены новые направления социально-политической трансформации современного общества и их отражение в мультипликации. Показана взаимосвязь изменения социальных норм и базовых сюжетных линий мультипликационных фильмов. Особое внимание уделяется возрастающей роли горизонтальных социальных связей и повышению ценности институтов семьи и репутации, вызванному высочайшей степенью транспарентности информационного общества. При этом ценность индивидуализма отходит на второй план, уступая место взаимопомощи для достижения общего блага. Кроме того, отмечено изменение представлений о романти

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Zhang, Xijin, and Gaofeng Mi. "A Narrative Comparison Between the Animated Films Frozen and White Snake." Arts Studies and Criticism 3, no. 2 (2022): 192. http://dx.doi.org/10.32629/asc.v3i2.915.

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Although the theme of the American animated film Frozen series and the Chinese animated film White Snake series are the same, they present completely different narrative structures. This paper makes a comparison between the two series of animated films from three aspects: narrative strategy, emotional clues and characters' personalities, and finds out some common narrative features of female-themed animated films under cultural differences, to further explore how animated films depict female images in the new era.

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Gao, Changyue. "New Chinese Style: A Case Study of Chinese Domestic Animated Films." Scientific Journal Of Humanities and Social Sciences 7, no. 3 (2025): 8–13. https://doi.org/10.54691/ejtexe48.

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As the Chinese domestic animated films expounds the practical significance of patriotism as an important narrative tool, this paper discussed Chinese domestic animated films from many aspects, combined with Chinese traditional culture to rewrite traditional stories. It analyzes about 39 typical local animated films and their artistic characteristics since the new era. Comparing with American ‘Chinese-Style’ animated films, domestic animation adheres to local characteristics, achieves high-quality dissemination through the synergy of globalization and localization, which explains Chinese cultur

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VEREȘ, SANDA, and IOANA MAGDAȘ. "The Use of the Educational Animated Film in Primary Education in Romania." Romanian Review of Geographical Education 9, no. 2 (2020): 67–86. http://dx.doi.org/10.23741/rrge220204.

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This study aims to review, analyse and synthesize the literature, which refers to the use of educational film in education in Romania and which deepens aspects related to the use of animated film in primary education. The aim was to review the literature on: classification of animated films in the category of educational means; the functions of animated films; types and sources of animated films; teacher preparation for the use of film for educational purposes; integrating the film into the lesson; how to use animated films in primary education and the results of their use. Existing informatio

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Kirsh, Steven J. "Using Animated Films to Teach Social and Personality Development." Teaching of Psychology 25, no. 1 (1998): 49–51. http://dx.doi.org/10.1207/s15328023top2501_17.

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Students in a course on Social and Personality Development wrote term papers about 10 aspects of child and adolescent development depicted in an animated film of their choice. Film analysis required using theory and research from the course. The assignment received favorable ratings. The animated film assignment appears to improve students' understanding of course material and helps students evaluate the types of films that children frequently see.

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Zhao, Chunyang. "Innovative Visual Expression in Contemporary Chinese Animated Films: A Case Study of White Snake." Lecture Notes in Education Psychology and Public Media 72, no. 1 (2024): 1–6. http://dx.doi.org/10.54254/2753-7048/72/2025nd0003.

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Abstract: In recent years, Chinese animation films have begun to move towards revival, and a large number of domestic animation works with traditional styles have been loved by audiences. These animated film works integrate contemporary expression on the basis of traditional aesthetic style, which makes Chinese animated films gain recognition again. In the process of the development of domestic animation films, one should think about how to reflect contemporary spiritual values with excellent national elements. This paper discusses the innovative expression of Chinese traditional art style in

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Regina, D., and W. Christopher Rajasekaran. "New Paradigm of Education: A Review on Analyzing the Effectiveness of Vocabulary Learning Through Animation Movies in English Language Classrooms." Journal Human Research in Rehabilitation 14, no. 1 (2024): 59–65. http://dx.doi.org/10.21554/hrr.042405.

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Vocabulary is often overlooked by educators, yet it is one of the most important aspects of language learning. It is essential for all four language abilities, as it is linked to writing, reading, speaking, and listening. Without comprehensive vocabulary knowledge, students may not be successful in acquiring English as a language. One potential way for English language students to improve their vocabulary is to use multimedia sources like animated movies. Animated movies can provide significant benefits to students by using visual aids that enhance comprehension and facilitate improved learnin

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Zaitcev, Aleksei Yakovlevich. "On the issue of classification of parameters of artistic space in an animated film." Человек и культура, no. 6 (June 2024): 13–31. http://dx.doi.org/10.25136/2409-8744.2024.6.72272.

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Artistic space in animation art is a multifaceted concept, including various aspects that influence the perception of an animated film. This topic is actively discussed in theoretical discourse and covers various approaches to its terminological definition and classification. The purpose of this scientific study is to justify the choice of universal parameters, from the point of view of the author of the work, characterizing the artistic space of an animated film. The object of the study was animation cinema as a phenomenon of art and culture. The subject of the study is the artistic space of

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Yuni, Sri W. "Aktualisasi Nilai-Nilai Perkembangan Anak Pada Film “Adit dan Sopo Jarwo”." Jurnal Kajian Anak (J-Sanak) 5, no. 02 (2024): 135–44. http://dx.doi.org/10.24127/j-sanak.v5i02.5321.

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Animated films play a big role in education, this can be seen from the moral messages and behavior conveyed by animators to children to do good things, for example the animated cartoon films Adit and Sopo Jarwo. The aim of this research is to determine the actualization of child development values in the films Adit and Sopo Jarwo. The research used is a descriptive qualitative method. The actualization of children's development values can be seen in showing this film to children. A fairly well-known animation that children know is the animated cartoon film Adit Sopo Jarwo. Based on the res

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Song, Zirong, and Wenjing Deng. "Aesthetic Evolution of Female Characters in Animated Films." Philosophy and Social Science 1, no. 1 (2024): 78–84. http://dx.doi.org/10.62381/p243115.

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Human aesthetic ideas on beauty are the result of long-time sexual selection. These aesthetic ideas are not only determined by human instinctive preferences, but also by social factors. The social, cultural, and historical differences between China and the United States lead to the differences in female characters portrayed in animated films. By examining the female characters presented in animated films in China and the United States since, this paper reveals the aesthetic evolution of female characters in Chinese and American animated films from the perspective of feminism, and discusses the

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Halid, Elan. "TINDAK TUTUR EKSPRESIF DALAM FILM ANIMASI UPIN DAN IPIN SIARAN TELEVISI SWASTA MNCTV (KAJIAN PRAGMATIK)." IdeBahasa 3, no. 2 (2021): 71–80. http://dx.doi.org/10.37296/idebahasa.v3i2.70.

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The problem to be discussed in this research is how the expressive speech acts in the animated film Upin and Ipin are broadcast on MNCTV private television. Pragmatics is the study of all aspects of meaning that have been covered in semantic theory, or in other words: discussing all aspects of the meaning of speech that cannot be explained completely by direct reference to the conditions of truth of the sentence spoken. Speech acts are actions that are displayed through utterances to convey one's intentions and goals to others in life situations. Expressive is a type of speech act that states

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Stepanenko, Kateryna, and Mariia Liamina. "Animation in Audiovisual Art: Socio-Cultural Aspects." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 7, no. 2 (2024): 261–74. https://doi.org/10.31866/2617-2674.7.2.2024.318993.

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The purpose of the research is to determine the place of animation in the social and geopolitical context. To consider modern animation technologies and analyse possible methods of their use. To investigate the relevance of animation in modern life and the peculiarities of its use and development in various fields. The research methodology involves the use of the generalisation method, which made it possible to identify specific socio-cultural aspects of animation; the theoretical method, which was used to outline the impact of animated films on the viewer (the primary source of information wa

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Sabri, Sabri, and Vani Dias Adiprabowo. "Nonverbal Communication Through Visual Storytelling of Leaving Home Animated Films." Proceedings Of International Conference On Communication Science 2, no. 1 (2022): 181–86. http://dx.doi.org/10.29303/iccsproceeding.v2i1.99.

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This study aims to describe visual storytelling in the animated film Leaving Home as a nonverbal communication medium that provides education to the audience. The power of nonverbal communication as a form of visual storytelling in the animated film Leaving Home is the researcher's motive to examine how a nonverbal animation can be interpreted universally. The nonverbal communication of the animated film Leaving Home embodies writing into moving images. An animator must have the ability to visual storytelling to make the imagination in telling stories (synopsis-text) into scripts (visual-writt

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Ilyina, E. N., and V. S. Tivo. "Onomastic Space of Animated Films about Russian Heroes by the Studio of Animation Cinema “Mill”." Nauchnyi dialog 1, no. 8 (2020): 84–96. http://dx.doi.org/10.24224/2227-1295-2020-8-84-96.

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The article is devoted to the study of the system of proper names in the texts of animated films with a folklore precedent basis. The relevance of the research is due to the need to study media texts that translate folklore imagery in linguocognitive and linguostylistic aspects. The material for the research is character and voice-over texts of animated films about Russian heroes: “Alyosha Popovich i Tugarin Zmey” (2004), “Dobrynya Nikitich i The Zmey Gorynych” (2006), “Ilya Muromets I Solovey Razboynik” (2007). The complex of names of geographical objects, the naming system of anthropo- and z

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Bezruchko, Oleksandr, and Maksym Sukhin. "Animated Documentaries in Modern Cinematic Art: Specifics of Production." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 6, no. 2 (2023): 241–51. http://dx.doi.org/10.31866/2617-2674.6.2.2023.289310.

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The purpose of the article is to analyze the peculiarities of animated documentary films’ production in the modern film process. It also aims to investigate the specifics of the combination of real facts and events with the animation of the storyline sequence in films, reveal modern animation techniques and the specifics of their combination with footage, determine their impact on the viewer, and identify the peculiarities of using storyboards for organizational and filming processes. Research methodology. It consists in applying of the following methods: theoretical-comparative – comparison o

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Bezruchko, Oleksandr, and Maksym Sukhin. "Animated Documentaries in Modern Cinematic Art: Specifics of Production." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 6, no. 2 (2023): 241–51. https://doi.org/10.31866/2617-2674.6.2.2023.289310.

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<strong>The purpose of the article </strong>is to analyze the peculiarities of animated documentary films' production in the modern film process. It also aims to investigate the specifics of the combination of real facts and events with the animation of the storyline sequence in films, reveal modern animation techniques and the specifics of their combination with footage, determine their impact on the viewer, and identify the peculiarities of using storyboards for organizational and filming processes. <strong>Research methodology. </strong>It consists in applying of the following methods: theo

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Zhao, Han, and Jasni Dolah. "Implicit Factors Affecting the Marketing of Chinese Animated Films: Perspectives from Industry Specialists." PaperASIA 41, no. 2b (2025): 1–13. https://doi.org/10.59953/paperasia.v41i2b.412.

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This study aims to examine and identify the implicit factors influencing the marketing of Chinese animated films and to investigate their impact. This study employed semi-structured interviews to select 18 experienced professionals from the Chinese animated film industry for the research objective. Eight themes emerged from the data analysis, which integrated inductive thematic analysis and grounded theory: Audience Antagonism, Online Nationalism, Nationalistic self-aggrandizement, National Economic Decline, Narrative Strategy, Cultural Identity, Cultural Censorship, and Official Discourse Gui

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Saberi, Elahe. "Modern narrative structure in animated short films: a tool to increase suspense." AVANCA | CINEMA, no. 14 (January 5, 2024): 253–59. http://dx.doi.org/10.37390/avancacinema.2023.a500.

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Classical narrative structure introduces specific principles and features to keep the audience engaged with the film. Modern, nonlinear narrative structures, however, provide their own techniques and tools in this sense. They can be utilized in animated short films to develop anticipation and suspense. The majority of animated short films are still focusing on classical narrative principles which only allows chronological order of time and sequence of events. Yet, a considerable potential of applying various nonlinear structures can be addressed when it comes to modern storytelling in animatio

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Zhao, Han, and Jasni Dolah. "Discusses the Narrative Elements of Retelling Traditional Myths in Chinese Animated Films: A Case Study of New Gods: Nezha Reborn (2021)." Herança 7, no. 4 (2024): 222–35. https://doi.org/10.52152/heranca.v7i4.816.

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Due to policy support and capital promotion, retelling traditional mythological stories in animated movies has become a cultural creation trend. Among them, New Gods: Nezha Reborn (2021) is a typical controversial work in recent years that deserves in-depth analysis and discussion. From the perspective of retelling traditional myths and based on the need to build a local Chinese "IP Cinematic Universe", this article discusses the narrative flaws of this movie from four aspects. This article analyzes individual cases and tries to sort out the narrative elements of retelling traditional myths in

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Varga, Zoltán. "Look Behind the (Animated) Pictures. Notes on the Role of the Aesopic Language in Hungarian Animated Film." Acta Universitatis Sapientiae, Film and Media Studies 10, no. 1 (2015): 121–39. http://dx.doi.org/10.1515/ausfm-2015-0030.

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Abstract The essay explores a certain tendency of Hungarian animated film related to a strategy of constructing meaning. The so-called Aesopic language, which can be found in Hungarian animated film, is interested in creating ambiguity, hidden meanings, especially against oppressive political systems. The paper approaches the development of the Aesopic language in Hungarian animated film based on two factors. The first one examines the characteristics of the animated film in general, focusing on the double sense of the animated image. The second one is a historical approach, considering how th

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Tawakkal, Afifah Ibna Fatina, Ana Mariana, and Hasna Nurain Mukhsin. "The Impact of The Boss Baby 2 Animated Film on Children’s Personality and Behavior." Journal of English Language Teaching, Linguistics, and Literature Studies 3, no. 2 (2023): 81. http://dx.doi.org/10.30984/jeltis.v3i2.2375.

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This research aims to find out the impact of The Boss Baby 2 Animated Film on Children’s Personality and Behavior. This research uses descriptive qualitative method and Sigmund Freud's theory to analyze the impact of watching animated films on various aspects of children's personality and behavior focusing on the Id, Ego, and superego. The researcher found that The Boss Baby 2 is about adult issues framed from the children's perspective and id are too dominant in this animated film so it is recommended children watching this film with adults. The researcher hope, that readers can develop a bet

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Dolgova, Yulia, and Cao Yu. "Pedagogic and Educational Function of China's TV for Children and Peculiarities of Its Implementation." Theoretical and Practical Issues of Journalism 9, no. 3 (2020): 543–53. http://dx.doi.org/10.17150/2308-6203.2020.9(3).543-553.

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The article deals with functions of China’s TV programs for children and forms in which they are implemented. The variety of the genres and thematic content is aimed at one of the biggest TV audiences and is broadcast on both universally available and commercial thematic channels, which determines the topicality of the research. The authors conceptualize the pedagogic and educational influence of TV programs for children, and distinguish its key aspects, which include delivering moral values and social norms, propagating cultural and scientific knowledge, encouraging interest in learning, and

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Nurhayati, Fitriana, Patipurnama, and Durrotunnisa Durrotunnisa. "THE ROLE OF ROLE PLAYING METHODS ON THE IMPLEMENTATION OF RELIGIOUS AND MORAL VALUES BASED ON CARTOON/ANIMATION FILM BASED ON KARUN/ANIMATION FILM AGES 5-6 YEARS OLD." International Journal of Social Science 2, no. 3 (2022): 1627–40. http://dx.doi.org/10.53625/ijss.v2i3.3105.

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This problem is the cultivation of children's religious and moral values has not developed properly. In connection with this problem, the aim is to determine the role of the role-playing method in instilling religious and moral values in children based on cartoon/animated films during the COVID-19 pandemic aged 5-6 years. The approach in this research is qualitative and the type of research is descriptive. The subjects were 24 children consisting of 11 boys and 13 girls. Data was collected by means of observation, interviews, and documentation. Data management is done by using percentage t

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Oh, Jae-Eun, Yuet Kai Chan, and Cedric van Eenoo. "Cultural Identity and Historical Nostalgia in Animated Film." IAFOR Journal of Cultural Studies 8, no. 1 (2023): 29–46. http://dx.doi.org/10.22492/ijcs.8.1.02.

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This article examines the aspects and implications of nostalgia and historical nostalgia in animated films, based on the case study of the 2001 Hong Kong animation My Life As McDull, directed by Toe Yuen. The investigation includes three components: a discussion around the notion of historical nostalgia, a survey of professional animators with the audience’s expectations and its perception of animated films, and an analysis of the mechanisms the movie utilizes to address the concepts of shared memory, local culture and sense of identity. The paper establishes connections between the animation’

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Sitkiewicz, Paweł. "Animated Film and Socialist Realism in Poland, 1949–1955." Animation 17, no. 2 (2022): 209–25. http://dx.doi.org/10.1177/17468477221102501.

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When the doctrine of socialist realism was proclaimed in Polish cinema in November 1949, the production of animated films was only taking its first steps after World War Two. The industry lacked human resources, equipment, buildings, celluloid sheets, distribution system and success. Animators were forced to achieve new goals that were often both ambitious and contradictory. In this new reality, cartoons and puppet films had to be realistic and subordinated to the dominant political doctrine. Addressed to children exclusively, they presented educational and didactic features and were focused o

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Krivulya, Natalia G. "Education Genres Animated Poster in the Second Half of the 20th Century." Journal of Flm Arts and Film Studies 8, no. 4 (2016): 28–42. http://dx.doi.org/10.17816/vgik8428-42.

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After WWII the genre of the animated poster was predominantly presented as advertisment films. The movie posters imagery in the 1950s tended to have an illustrative and spatial-pictorial artistic propensity. Grotesque and satire gave way to the dominance of realistic images, and the artistic design had gained coloration and splendor, creating the image of a cheerful world, affluence and prosperity. Films with propaganda and ideological orientations appeared along with the advertisement films, as the political and social poster developed. A special role in the poster genre development was playe

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Maselli, Vincenzo. "Narrating Fabrics: Nostalgia in Animated Puppets’ Skin." Animation 19, no. 1 (2024): 27–42. http://dx.doi.org/10.1177/17468477241233249.

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In recent years, many studies in the field of animation aesthetics have recognized that puppets’ materiality in stop-motion animation films is a powerful narrative tool. Starting from these premises, this article explores stop-motion films performed by fabric-skinned puppets and suggests that textile materials convey meta-narratives about loss and nostalgia. The analyses of the anthropological and expressive–sensorial dimensions of fabric indeed allow us to investigate the concepts of melancholy and nostalgia as intellectual and emotional experiences made possible thanks to the material charac

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Klahr, Lewis. "Flotsam and Jetsam: The Spray of History." Animation 6, no. 3 (2011): 387–98. http://dx.doi.org/10.1177/1746847711421651.

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Renowned collage filmmaker Lewis Klahr has created a collage of personal statements and images from his films to reflect upon his cut-out animation films. The piece discusses his artistic process and his use of artifacts, documents and detritus to explore ephemeral aspects of history and the passage of time. He comments on his use of animated movement and stillness and the idea of reanimating objects from the past.

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Zulkarnain, Alfiansyah, Nita Virena Nathania, Putu Widyayana Putra, and Priscilla Agatha. "Applying Balinese Philosophy "Rwa Bineda" Concept on Character & Environment Design in 3D Animated VR Short Film "Gede"." IMOVICCON Conference Proceeding 1, no. 1 (2019): 167–74. http://dx.doi.org/10.37312/imoviccon.v1i1.18.

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A distincitve and unique conceptual character and environtment design, especially in animated films, is important as to seperate itself from plaethora of generic animated films out there. A deep understanding of local culture and how the philosophy shaped its culture could create a new way to visualize its world, and a more faithful representative of its world. In this modern era, concept about the dichotomy of positive and negative aspects is often overshadowed by western thinking of dominance, that one must defeat the other. Eastern thinking about this issue is somewhat different, whereas th

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Robinson, Tom, Mark Callister, Dawn Magoffin, and Jennifer Moore. "The portrayal of older characters in Disney animated films." Journal of Aging Studies 21, no. 3 (2007): 203–13. http://dx.doi.org/10.1016/j.jaging.2006.10.001.

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Zainal, Rizuan, and Mohd Asyiek Mat Desa. "Agent Ali: Exploring Emotional Elements in Story Development with Artificial Intelligence." PaperASIA 40, no. 2b (2024): 72–82. http://dx.doi.org/10.59953/paperasia.v40i2b.53.

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Emotional research in film and animation has long been implemented in the West. This is because Elements of emotion are essential in an animated film to generate an affective impression and emotions in the audience. Malaysia's animation industry has increased recently, and Malaysian animators have produced many animation products. However, previous studies stated that the current situation of local animated films needed a more potent storytelling technique. There is a West scholar who argues that good storytelling can evoke the emotions of the audience. Applying emotions in animation through c

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Hubka, David, Wendy Hovdestad, and Lil Tonmyr. "Child maltreatment in Disney animated feature films: 1937–2006." Social Science Journal 46, no. 3 (2009): 427–41. http://dx.doi.org/10.1016/j.soscij.2009.03.001.

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Mulder, Catherine P. "It's the Time of Your Life: Marxism in Animated Films." Rethinking Marxism 25, no. 2 (2013): 284–92. http://dx.doi.org/10.1080/08935696.2012.696806.

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Aisyah, Inas Hana. "Analysis of Animated Films in the Valorant Game: A systematic Literature Review." JOURNAL OF APPLIED MULTIMEDIA AND NETWORKING 7, no. 2 (2023): 13–19. http://dx.doi.org/10.30871/jamn.v7i2.6806.

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This article aims to detail the role and impact of animated films in games, specifically in the game Valorant, with the aim of providing valuable insights for players, developers and practitioners in the industry. Through a systematic literature review approach, this research reveals that cinematic elements have a central role in creating a compelling and powerful game experience. The careful integration of cinematic elements and gameplay in modern FPS games, such as Valorant, has achieved a high level of aesthetic and visually appealing quality, significantly impacting the player experience.

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Ghiyats Aiman and Dwi Ratnasari. "Islamic Aspects in Nussa Dan Rara Animated Film: Tzvetan Todorov Narrative Analysis/ Aspek-Aspek Islam pada Film Animasi Nussa Dan Rara: Analisis Narasi Tzvetan Todorov." Edulab : Majalah Ilmiah Laboratorium Pendidikan 7, no. 2 (2022): 157–72. http://dx.doi.org/10.14421/edulab.2022.72.03.

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Advances in technology require Muslims to change the method of preaching. The da'wah method of utilizing the internet seems to make it easier for every individual to gain Islamic knowledge without having to go directly to the place of study, one of which is through animated films. This study aims to determine Islamic aspects and educational strategies contained in the animated series Nussa and Rara episodes 1-10 and will become reference material for educators and parents of students in educating them. This study uses a qualitative approach, data collection is done through observation and anal

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

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Abstract This article provides a survey of Soviet animation and analyses the thematic and stylistic course of its development. Soviet animated film emerged and materialised in synch with the fluctuations of the region’s political climate and was directly shaped by it. A number of trends and currents of Soviet animation also pertain to other Eastern European countries. After all, Eastern Europe constituted an integrated cultural space that functioned as a single market for the films produced across it by filmmakers who interacted in a professional regional network of film education, events, fes

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Mohd Zahferee, Iezyan Musfirah, Mohd Khairul Azahari Abdul Rani, and Maziah Ab Rashid. "Ethnography in Malaysia Animation Study: A Case Study on Kampung Boy." Advances in Humanities and Contemporary Studies 4, no. 2 (2023): 167–76. http://dx.doi.org/10.30880/ahcs.2023.04.02.017.

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Ethnography is a form of qualitative research to analyze and interpret a certain culture within an ethnic group. Ethnographic learning is important to understand 'culture-sharing'. Ethnography provides a detailed understanding of culture, language, arts, and more aspects. In Malaysia, the existence of various ethnic groups allows us to learn the ethnography of other ethnic. However, the understanding of different ethnic is still lacking. Moreover, a lack of understanding and respect for others could cause destruction and harmony in the country. This problem can be controlled by the existence o

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Kusumo W, Eko Cahyo, and Banung Grahita. "Analisis Technical Immersion pada Film Animasi Berbasis Virtual Reality “Crow The Legend”." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 9, no. 01 (2023): 29–44. http://dx.doi.org/10.33633/andharupa.v9i01.5258.

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Abstrak Film konvensional menggunakan aspek cerita dan aspek sinematografi untuk membangun penceritaan visual dalam film. Pada film VR, terdapat pengalaman imersif yang dapat mengurangi fokus penonton pada konten cerita. Film animasi Crow: The Legend (2018) merupakan animasi yang memiliki penceritaan visual yang dinilai berhasil menyeimbangkan sisi imersif dan storytelling, salah satunya karena memenangkan penghargaan di kategori Immersive Storytelling Narrative VR di My Hero Film Festival 2018. Penelitian ini bertujuan untuk mengkaji bagaimana aspek sinematografi yang biasa digunakan dalam fi

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SEVİNDİ, Koray. "IDEOLOGICAL DISCOURSE ANALYSIS IN SOVIET ANIMATION CINEMA." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 2 (2021): 594–605. http://dx.doi.org/10.7456/11102100/017.

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In this study, the Soviet animation cinema's ideological discourses, which showed the consequences and reflections of the political ideology of the era, were examined. In line with the findings, it was considered that these animated films constitute a kind of cultural memory that exhibits the political history and social culture of the Soviets. The article's ideological discourse analysis method was applied by considering Teun A. van Dijk's study titled Ideological Discourse Analysis. As part of this research, because ideological discourses were analyzed, only short films with propaganda conte

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Pikkov, Ülo. "On the Links between Caricatures and Animated Films in Communist Eastern Europe." Baltic Screen Media Review 5, no. 1 (2017): 28–41. http://dx.doi.org/10.1515/bsmr-2017-0010.

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AbstractThis article analyses and maps the links between caricature and animated film, as well as their development during the post-World War II era, in communist Eastern Europe. The article also deals with the specific nature of animation production under the conditions of political censorship and the utilisation of Aesopian language as an Eastern European phenomenon for outmanoeuvring censorship.

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Zhao, Ruoxi. "Research on the Brand Marketing Strategy of Disney Animation Films." Highlights in Business, Economics and Management 23 (December 29, 2023): 180–86. http://dx.doi.org/10.54097/fjcfh039.

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This paper examines Disney’s several marketing strategies to advance its animation brand. The study emphasizes how Disney uses conventional media, such as TV, newspapers, and magazines, to promote its films and successfully project its brand image. The study also looks at how Disney has used social media and other new media platforms to interact with viewers and create discussion about its animated films. The study also explores Disney’s approach to extending the life cycle of its cultural products and characters by adapting animated films into live-action versions. The introduction of Disney,

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Wu, Hang. "The Translocalized McDull Series: National Identity and the Politics of Powerlessness." Animation 12, no. 1 (2017): 28–44. http://dx.doi.org/10.1177/1746847716686550.

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The animated film Me & My Mum was released in mainland China and Hong Kong in 2014 and proved to be a huge box office hit, cashing in on the existing McDull animated films that are hailed as the best animations in Hong Kong. Previous scholarship suggests that the McDull animated film series is a symbol of Hong Kong local culture; it serves as a repository of the changing landscapes of Hong Kong and demonstrates hybrid identities. However, this article argues that the McDull animated film series is more translocal than local, a fact which reveals the dynamics of the Hong Kong–mainland China

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Rochman, Mochamad Faizal. "Toy Industry As A Mainstream Business Idea In Animation Industry." DeKaVe 15, no. 2 (2022): 112–25. http://dx.doi.org/10.24821/dkv.v15i2.7498.

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This article examines the aspects that influenced the emergence of the animation industry format aimed specifically at selling toys. In addition, this article also aims to find out whether the purpose of this animation business is still relevant to be used today by analyzing animated characters and their toy figures related to the exploration of culture, ideology, and supporting factors. In its first development, animation was used to deliver messages in the advertising industry. Then animation became a promising industry with the emergence of Snow White which was made for big-screen consumpti

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Pinelli, Alex. "Conservatives watch cartoons: The rise of Disney, the right and cultural criticism in the 1990s." International Journal of Disney Studies 1, no. 1 (2025): 15–31. https://doi.org/10.1386/ijds_00002_1.

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This research explores the dynamic intersection of conservatism and Disney animation during the 1990s, a pivotal decade for both political ideology and cultural influence in the United States. It examines the complex relationship between conservative film critics and Disney’s animated productions, focusing on the tension between conservative expectations of Disney as a bastion of traditional values and the company’s evolving cultural and corporate identity. The study highlights key features of Disney’s animated films that troubled conservative critics while revealing the diversity of conservat

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Lyu, Zixian. "A Study on the Changes of Princess Images in Disney Animated Films." Communications in Humanities Research 49, no. 1 (2024): 88–94. http://dx.doi.org/10.54254/2753-7064/49/20240145.

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Abstract: There have been three feminist revolutions in history, and these movements have made great contributions to women's struggle for their own liberation and gender equality. From a feminist perspective, this article summarizes and analyzes the phased characteristics of the princess image in Disney animated films from 1937 to 2016, summarizing the development and evolution of the princess image in Disney films under the feminist wave in different periods, and finds that there is a certain connection between the two, which includes both the construction of social history and ideological o

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Lagunas Cerda, Samuel, and Ilse Mayté Murillo Tenorio. "Animated erotica: An analysis of the films and archive of Guadalupe Sánchez Sosa." Animation Practice, Process & Production 13, no. 1 (2024): 77–95. http://dx.doi.org/10.1386/ap3_00054_1.

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The objective of this article is the study of the short films ¿Y si eres mujer? (1976) and Niño de mis ojos (2008) by the animator Guadalupe Sánchez Sosa (Córdoba, Veracruz, Mexico, 1955–present), as well as the archive material preserved by the artist, where the filmmaking process is documented. ¿Y si eres mujer? is relevant for the history of animation in Mexico because it is the second animated film directed by a woman and the first realized with techniques like cut-out and collage, steering away from the dominant cartoon tradition. In Niño de mis ojos, Sánchez Sosa experiments with the use

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Maciejewska, Marta. "Rozliczenie z nazizmem w powojennych animacjach czechosłowackich: Bunt zabawek i Jak kominiarczyk wyprowadził SS w pole." Panoptikum, no. 32 (December 30, 2024): 163–77. https://doi.org/10.26881/pan.2024.32.11.

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The topic of the article is an analysis of two post-war Czechoslovak animated films – The Revolt of toys (Vzpoura hraček, dir. Hermína Týrlová and František Sádek) and Springman and the SS (Pérák a SS, dir. Jiří Trnka and Jiří Brdeček) – showing Nazis in a critical manner and presenting the symbolic victory of the Czech nation over the oppressive political system. In both films, two different ways of dealing with conflict collide: the Nazis are suspicious, attached to certain schemes, and devoid of any sense of self-irony, while the characters representing Czechoslovakia (animated toys and Cze

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Sulistiyono, Arif. "Punakawan Sebagai Inspirasi Penciptaan Film Pendek Animasi Bertema Pendidikan Karakter." Journal of Animation & Games Studies 2, no. 2 (2017): 173. http://dx.doi.org/10.24821/jags.v2i2.1420.

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Educational animation is an animated product produced specifically for the purpose of learning. Its popularity in helping students understand and remember information presented increased since the advent of computer graphics technology. The lack of an increase in the production of animated short films in Indonesia resulted in at least encountered the works of domestically-made animation education. Stimulation of creation of animated works based on the local culture should be a concern for creators to produce Indonesian animated film. This has encouraged the idea of research and the creation of

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Moore, Nathan M. "From Neo-Tokyo to new path: Postmodern cyberpunk, surveillance, and the fragmented subject in Akira and a scanner darkly." Journal of Contemporary Research in Social Sciences 7, no. 2 (2025): 34–41. https://doi.org/10.55214/26410249.v7i2.7876.

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This paper explores the cyberpunk movie texts Akira (Otomo, 1988) and A Scanner Darkly (Linklater (2006); based on Dick (1991) novel) as cultural critiques that use postmodern aesthetics to examine identity disintegration under the weight of surveillance, technology, and political control. Drawing on scholarly sources—and to inversely examine their social capital—this paper analyzes the films’ formal techniques, cultural contexts, and narrative structures mirroring each other, and arriving in 20-year increments. To argue that both works contribute to a new transnational discourse in fragmentat

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