Academic literature on the topic 'Psychological aspects of Animated films'
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Journal articles on the topic "Psychological aspects of Animated films"
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Juprinedi, Juprinedi, Arta Uly Siahaan, and Cahya Miranto. "ANALISIS MAKNA DENOTATIF DAN KONOTATIF DALAM FILM UPIN & IPIN EPISODE KENANGAN MENGUSIK JIWA." JOURNAL OF DIGITAL EDUCATION, COMMUNICATION, AND ARTS (DECA) 3, no. 01 (2020): 1–17. http://dx.doi.org/10.30871/deca.v3i01.1986.
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Representations of public life in recalling past events or history can be found, among others, in 3D animated films. An interpretation of connotative meaning, as the second layer meaning, arises when a symbol is associated with its psychological aspects, such as feelings, emotions, or beliefs, which are closely related to culture, knowledge, and history. This study aims to interpret symbols in the Kenangan Mengusik Jiwa episode of Upin & Ipin animated film for their denotative and connotative meaning to better understand the context of the story and the moral message conveyed. A questionnaire was used in this research to increase validity. In processing questionnaire data, a calculation is conducted using the Likert scale. The results of the study indicate that the main moral message conveyed in this episode is to never forget history or established culture. This interpretation is supported by results from questionnaire data.
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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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VEREȘ, SANDA, and IOANA MAGDAȘ. "The Use of the Educational Animated Film in Primary Education in Romania." Romanian Review of Geographical Education 9, no. 2 (2020): 67–86. http://dx.doi.org/10.23741/rrge220204.
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This study aims to review, analyse and synthesize the literature, which refers to the use of educational film in education in Romania and which deepens aspects related to the use of animated film in primary education. The aim was to review the literature on: classification of animated films in the category of educational means; the functions of animated films; types and sources of animated films; teacher preparation for the use of film for educational purposes; integrating the film into the lesson; how to use animated films in primary education and the results of their use. Existing information in papers in the field of education sciences from the last three decades was analysed. Regarding the use of animation films in primary education, five studies were analysed in depth
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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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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 zoomorphic characters is considered, the precedent base for the formation of the onomastic space of animated films is determined, and the ways of introducing new components to the proper names system of this content are characterized. Special attention is paid to the description of intertextual links of the polycode content under study with works of epic genres of Russian folklore and with other sources. The scientific novelty of the work is seen in the fact that the verbal component of the studied animated films is currently insufficiently studied, and their proper names system becomes the subject of linguistic analysis for the first time.
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Neykova, Radostina. "The Journey in Animated Cinema - between Escape and Return." Balkanistic Forum 30, no. 2 (2021): 185–95. http://dx.doi.org/10.37708/bf.swu.v30i2.11.
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The journey in the animation cinema can be in many aspects - from fully real tracking of movement in space, through vertical or horizontal movement in the past, present and future, with or without a specific direction, to physical or psychological escape and / or return after time.The text analyzes the specifics of travel, escape and return in key examples of modern animation cinema.In animation, screen movement takes place in a specific space and for a specific time. And the first signal association for avoidance, for travel is precisely movement, movement in time and space. Of course, in animation cinema the movement is absolutely free and unlimited and can vary from fidelity to nature to abstraction and absurdity, it can manifest itself in a new quality of cinema - in the metaphorical image, in the creation of its own system of signs and symbols.The journey in the animation cinema can be in many aspects - from fully real tracking of movement in space, through vertical or horizontal movement in the past, present and future, with or without a specific direction, to physical or psychological escape and / or return after time. The text analyzes the specifics of travel, escape and return in key examples of modern animation cinema. In animation, screen movement takes place in a specific space and for a specific time. And the first signal association for avoidance, for travel is precisely movement, movement in time and space. Of course, in animation cinema the movement is absolutely free and unlimited and can vary from fidelity to nature to abstraction and absurdity, it can manifest itself in a new quality of cinema - in the metaphorical image, in the creation of its own system of signs and symbols.
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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 developing the ability for self-actualization and world cognition. The qualitative and quantitative research methods were used to analyze which of the aspects are realized by means of TV programs and animated films for children in China. The study covers 34 programs and 74 animated films for children shown on 33 universal and 4 most popular special TV channels. The results of the research are as follows. One of the most popular forms of content on TV channels for children is animated films, whose key function is delivering moral values and social norms. Magazine format is a rather common form of journalist content. TV programs are mostly aimed at encouraging children’s interest in learning. Since it is rather difficult to combine entertainment and educational components, on universally available channels there is a large number of TV programs for children that fulfil their pedagogic and educational function only formally.
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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 the balance between the positive and negative is a common concept in Asian cultures and society. The Balinese understood this concept as Rwa Bhineda or two opposition, where both the aspects in life must co-exist in harmony.
 
 This paper will examine how the Rwa Bhineda concept could become a theoritical foundation to design characters and environments, using animated short “Gede” as the subject matter. The story of “Gede” is based on the myth of Barong and Rangda as both mythical characters are the physical forms of Rwa Bhineda concept. We will see how the concept is applied on the worldbuilding, character proportions, gateway designs, lands layout, and character and environment visual elements. In the end, we can conclude that a good understanding of local wisdom could produce a new approach in character and environmental design.
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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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Lukyanova, Valentina, and Olga Koloskova. "Pragmatic potential of onomatopoeia in animated movies for children." Global Journal of Foreign Language Teaching 10, no. 1 (2020): 58–64. http://dx.doi.org/10.18844/gjflt.v10i1.4482.
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This paper reflects the results of the investigation into pragmatic potential of onomatopoeia as a part of children’s movies. The enquiry into this subject was conducted within the framework of the project devoted to the evolution and functioning of language within films for children. The paper includes the analysis of onomatopoeia through language development aspects, stylistic and pragmatic analysis. In this regard our attention is focused on the semantic, pragmatic and linguistic characteristics of onomatopoeia. It has been suggested that the onomatopoeia performs different functions within the children’s movies acting as a strong expressive component, reflecting the level of speech development, conveying emotions, describing nature, supporting musical mood in songs, attracts child’s attention to the most important character or event, forming new hybrid words to convey extra connotations, participating in wordplay such as pun or parody, developing mental activity, linguistic intuition and social communicative skills.
 Keywords: Onomatopoeia, language development, pragmatic potential, semantic and functional feature, animated movies for children.
Dissertations / Theses on the topic "Psychological aspects of Animated films"
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Mercer, Joanne. "Imag(in)ing God in animation : towards a theological understanding of the textuality of the animated film." Thesis, University of Wales Trinity Saint David, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683340.
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Trowell, Melody. "A test of the effects of linguistic stereotypes in children's animated film: A language attitude study." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3605/.
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This study examined the claim that animated films influence childrens' opinions of accented-English. Two hundred and eighteen 3rd through 5th graders participated in a web-based survey. They listened to speakers with various accents: Mainstream US English (MUSE), African American Vernacular English (AAVE), French, British, and Arabic. Respondents judged speakers' personality traits (Work Ethic, Wealth, Attitude, Intelligence), assigned jobs/life positions, and provided personal information, movie watching habits, and exposure to foreign languages. Results indicate: (1) MUSE ranks higher and AAVE lower than other speakers, (2) jobs/life positions do not correlate with animated films, (3) movie watching habits correlate with AAVE, French, and British ratings, (4) foreign language exposure correlates with French, British, and Arabic ratings.
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Crawford, Jim D. "“Inside Story”." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500092/.
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Inside Story explores the essence of story and attempts to connect the audience to the significance of story in their own lives. The documentary examines story and determines the elements necessary for its formation. The film investigates the psychological aspects of story, inspects the physiological processing of story that connects story to the way we think and perceive, and finally, emphasizes the functions and values of story.
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McKinney, Kelli. "The Luxury of Tears: A Secondary Survivor's Story." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2273/.
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As the written accompaniment for The Luxury of Tears, a twelve-minute documentary video exploring the emotional impact of sexual assault on male survivors and their partners, this document examines the visual texts of both the fiction and nonfiction genres. Specifically, I contend that fiction film manufactures male survivorship with regard to rape events in such manner which contributes to the thematization of social silence. Such silence perpetuates the feminization of rape as a social problem, and dissolves the development of male survivor resources. A discussion of production processes, challenges, and resolutions is included.
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Fleming, David H. "Drugs, danger, delusions (and Deleuzians?) : extreme film-philosophy journeys into and beyond the parallel body and mind." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/985.
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Drugs, Danger, Delusions (and Deleuzians?) opens up a philosophical investigation into a series of ‘extreme’ mind and body films drawn from different historical contexts. Through two sections and four distinct chapters, cinema is explored as an agent of becoming that allows viewers to think and feel in an affected manner. Investigating a broad spectrum of extreme narratives focusing on drugs, hooligan violence, insomnia and madness, the project provides a focused historical understanding of the films’ affective regimes and aesthetic agendas. The different lines of flight and escape explored on-screen all somehow appear to spiral around the same issues, concepts, ideas and philosophies. Utilising the cinematic theories of Gilles Deleuze along with his philosophical work co-authored with Félix Guattari, the thesis aims to investigate a range of related films, that in the extreme, reveal underlying models of an integrated or parallel mind and body and immanently embedded identity; wherein the concept of a stable and fixed being is replaced by that of a fluid becoming. All chapters investigate how immanently embedded characters embark upon extreme or dangerous lines of escape, where the reinvention of living and thinking is explored and made visible. The first section investigates a range of ‘head-films’ that take the mind as their theme, but are found to plicate and expand consciousness into the parallel body. The second section investigates extreme body films that push the sensory-motor schema to its limits so that thought, perception and consciousness become affected. The two interrelated sections investigate how the films and filmmakers employ different regimes of mind and body cinema to aesthetically convey and relay these concepts to the spectator. The project thus strives to develop Deleuzian paradigms beyond their original scope to explore parallel-image regimes and sequences that allow spectators to think and feel the films’ underlying philosophical concepts and positions.
Books on the topic "Psychological aspects of Animated films"
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Broddes, Sabine. D'Oedipe Roi au Roi Lion: Psychanalyse et Dessins Animés. Buenos Books International, 2012.
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Nikkan animēshon no shinri bunseki: Deai, majiwari, tojikomori. Rinsen Shoten, 2009.
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Smoodin, Eric. Animating culture: Hollywood cartoons from the sound era. Rutgers University Press, 1993.
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Animating culture: Hollywood cartoons from the sound era. Rutgers University Press, 1993.
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Animating culture: Hollywood cartoons from the sound era. Roundhouse Publishing, 1993.
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Blothner, Dirk. Erlebniswelt Kino: Über die unbewusste Wirkung des Films. Bastei Lübbe, 1999.
Find full textBook chapters on the topic "Psychological aspects of Animated films"
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Barradas Jorge, Nuno. "A ‘Document of Documents’: Authorship, Intertextuality and Politics in Horse Money (2014)." In ReFocus: The Films of Pedro Costa. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474444538.003.0008.
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This chapter examines Pedro Costa’s evolving authorial process, centring its attention on 2014 feature film Horse Money. This chapter considers the different levels of intertextuality animating Costa’s cinema, particularly with regards to the inclusion of different documents and the reworking of personal stories lived by some of his non-professional collaborators. As regards this latter aspect, the chapter sheds light on the ambiguous nature of authorship, understanding it as a creation process that is as much dependent on individual authority as it is indebted to collaborative practices. Both textually and contextually, Horse Money is the result of creative relationships with non-professional actors Ventura and Vitalina Varela. The intertextual and collaborative practices informing Horse Money, moreover, come to reflect possible political aspects transmitted by Costa’s filmic universe. Returning to the discussions initially opened in Chapter 2, this final chapter concludes by looking at some of the critical debates around Horse Money, which are particularly animated by possible political readings transmitted by Costa’s films.
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Assaf, Rodrigo, Sahra Kunz, and Luís Teixeira. "The Presence of the Uncanny Valley Between Animation and Cinema." In Advances in Media, Entertainment, and the Arts. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3669-8.ch005.
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Despite all the technological advances in the field of computer graphics, the uncanny valley effect is still an observed phenomenon affecting not only how animated digital characters are developed but also the audience's reaction during a film session. With the emergence of computer-generated images being used in films, this chapter aims at presenting a multidisciplinary approach concerning the uncanny valley topic. This phenomenon is mainly explained by several psychological theories based on human perception; however, this chapter contributes to the discussion presenting a communication perspective based on the uses and gratification theory connected to the genre theory proposed by Daniel Chandler. In addition, the authors discuss how the technological evolution in rendering is helping out artists to cross the valley, which ends up being unveiled only by motion. As a result of this technical evolution, it is proposed a new animation art style category defined as quasi-real.
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Cutting, James E. "Stories and Their Parts." In Movies on Our Minds. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197567777.003.0011.
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Film scholars often compare the structure of films to fairy tales and fables. These both typically have four main parts: a setup, a complication, a development, and a climax. This chapter discusses in detail the Disney animated short Paperman (2012), which has four parts of roughly the same length. Heretofore, only film theorists and practitioners have discussed these parts, but an experiment with average viewers shows that they agree quite well with professional assessments. This chapter then considers the psychological underpinnings of these roughly 20- to 35-minute units. The closest thing in psychology is found in vigilance experiments. After such intervals, performance in detecting rare objects declines. Movie producers and theater owners know that if nothing much happens in a movie after about 20 minutes, the audience with begin to squirm. Thus, these two intervals many be aligned. Changes are necessary for an audience’s sustained attention to the narrative.
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Yamamura, Koji. "Transforming the Intangible into the Real." In Animating the Spirited. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826268.003.0003.
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Seven short animated films are examined by the auteur-animator as he self-reflects on their creations. Making animation is not only an extension of the pictorial and comic-like expression, but also the act of mystically creating movement to be perceived in the real. The artist shares his personal experiences during the animation making process including the unconscious imaginative realm that creeps into his creative thoughts. Technology may play an important part of the animation production but the author maintains that there is a deeper spiritual world where he is somehow drawn into when he is making animation. Spiritually, he feels the transcendence of the dualism of mind and matter during the creative process, and is able to unite the subconscious with reality. Citing motifs including natural, inorganic, or imaginative entities, the author demonstrates the influence of the psyche in his artistic expressions. To the artist, the spiritual assimilation aspects of his work are profound, complex, and illuminating.
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Taylor, Jamie, and Kevin Curran. "Glove-Based Technology in Hand Rehabilitation." In Gamification. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-8200-9.ch049.
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Injuries to the hand are more common than those of any other body region and can have considerable financial, time-measured and psychological impact on not only the victim but the community as a whole. Hand rehabilitation aims to return people to their pre-injury roles and occupations and has proved largely successful in doing so with the potential for technology to improve these results further. However, most technology used in hand rehabilitation is based on expensive and non-durable glove-based systems and issues with accuracy are common among those which are not glove-based. The authors outline an accurate, affordable and portable solution wherein the authors use the Leap Motion as a tool for hand rehabilitation. User feedback will be given primarily through an animated 3d hand model as the user performs rehabilitative exercises. Exercise results will be recorded for later viewing by patients and clinicians. The system will also include Gamification aspects, techniques which (while proven to increase participation) have seen little to no use in hand-rehabilitation systems.
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Robinson, Harlow. "King of the Set." In Lewis Milestone. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178332.003.0009.
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The chapter surveys films of the mid-1940s: The Purple Heart (a melodrama about American airmen held captive in Japan), A Walk in the Sun (an acclaimed documentary-style feature exploring the psychological aspects of an American platoon’s attack on an enemy-held farmhouse in Italy, with innovative musical treatment) and The Strange Love of Martha Ivers (an underrated film noir starring Barbara Stanwyck, Kirk Douglas and Judith Anderson dealing with corruption and family secrets in a small Pennsylvania city). Also discussed: Milestone’s work with actors Dana Andrews and Norman Lloyd; screenwriter Robert Rossen; Milestone’s involvement in political activity in Hollywood during studio strikes of 1945-46.
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Owens, Rebekah. "Polanski and Horror: Rosemary’s Baby." In Macbeth. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325130.003.0002.
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This chapter considers Roman Polanski's approach to the genre and horror output before the film Macbeth. It discusses Polanski's 1965 work Repulsion, that centres around Carol Ledoux and her disintegrating sanity, which is expressed from her subjective viewpoint. It also mentions how Repulsion showed Polanski as a master of the craft of psychological horror. The chapter looks at the Gothic aspects of the horror genre that is recorded in Polanski's autobiography, where he wrote of his experiences watching horror films in Paris. It details how Polanski decided to make a horror film that was designed to make people laugh, rather than the unintentional merriment that Hammer horror had provoked.
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Estera Mrozewicz, Anna. "Guilt and Shame in (Trans)national Spaces." In Beyond Eastern Noir. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474418102.003.0005.
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While Chapter 3 analyses how the Baltic morphs from a border to a boundary, Chapter 4 concentrates on the less illustrious aspects of neighbourhood and movement of commodities across the Baltic. In the first part, two Swedish films are discussed (Lilya 4-ever by Lukas Moodysson and Buy Bye Beauty by Pål Hollender), which stage the Baltic as a moral and economic border/boundary, delving into sex-tourism and sex trafficking. The analysis follows the discourse of guilt which these two pictures epitomise, arguing that the ostensible ‘admission of guilt’ is rooted in narcissism. The second part of the chapter explores the narratives of shame – an emotion often confused with guilt – in a transnational, Nordic/Russian context. Relying on ethical-philosophical and psychological conceptualisations of guilt and shame, the chapter seeks to demonstrate that narratives of shame allow limits of the ‘self’ to be questioned to a greater extent than guilt does. This is particularly palpable in The 3 Rooms of Melancholia, a documentary by Pirjo Honkasalo. Using examples of other Nordic films, the chapter also shows that transnational shame is – more often than not – activated with respect to Russia, whereas the ‘weaker’ Baltic neighbours trigger guilt narratives.
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Vidal, Fernando, and Francisco Ortega. "Brains on Screen and Paper." In Being Brains. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823276073.003.0005.
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The chapter addresses forms of the neuro in popular culture. Film and literature have in many ways rehearsed the connection between personal identity, having a body and being a brain, and have been major sites for elaborating and questioning the human as cerebral subject. Numerous works can be identified as “brain movies” and “brain novels:” most Frankenstein films since the 1940s; B-series productions from the late 1950s to the early 1970s, in which brains themselves are protagonists; science-fiction novels of the same period, which stage and exploit brain transplants or brains in vats. While we shall give room to this particular literary and filmic subgenres, our focus will be on later novels and films. We shall privilege works that explore existential, interpersonal, psychological, ethical and scientific aspects of the relations between having a brain and being a person less through the basic structure of their plots or the direct display of physical brains than through stylistic and formal features. In both areas we demonstrate that even the productions that start out treating humans as cerebral subjects end up contesting brain reductionism, and that such constitutive ambivalence is emblematic of the status of the cerebral subject in the modern and contemporary world.
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Atkinson, Rowland, and Sarah Blandy. "A shell for the body and mind." In Domestic Fortress. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9781784995300.003.0003.
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This chapter considers the meaning and importance of more psychological aspects of the private home. Homeownership has been argued to provide us with a deep sense of security of being in troubled times, when trust in community has been lost. Psychoanalytic and sociological theories of consumption practices are used here to examine the role of psychic development as it occurs within the home. Two functions of the home in particular are examined here, illustrated through fairy stories, fiction and films. First, the home's role as a bridge or mediator to the public world outside the home, meaning that a child's preparation for the outside world is largely dependent on parental perceptions of risk and insecurity. Second, the private (fearful) world inside what Freud termed the unheimlich home, hiding dreadful secrets. The current emphasis on control of outsiders' access to the home, and the developing culture of respecting others' homes as entirely private places, may make the home a domestic prison for its less powerful residents: women and children. Feminist analyses of the development of gender roles in the home and data on domestic violence show the dark underbelly of the sanctified private home. Although some homes are havens, others can be the site of domestic slavery and even more disturbing examples of power and abuse, such as Fred West, and the imprisonment of Fritzl's daughter in Austria and Jaycee Dugard in the US.