Relevant bibliographies by topics / Shadow puppets

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Shadow puppets'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Shadow puppets"

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Sutcharitpan, Peerapong, Chettha Muhamad, Daycho Khaenamkhaew, Boonying Pratum, Damrongphun Jaihoweweerapong, and Peeradaw Sutcharitpan. "Mechanism of Cooperation between Shadow Puppet Networks and Cultural Entrepreneurs in Raising the Community Economy and Local Awareness of the Cultural Market Area in front of Wat Phra Mahathat Woramahawihan, Nakhon Si Thammarat Province, Thailand." Parichart Journal, Thaksin University 36, no. 1 (January 5, 2023): 162–81. http://dx.doi.org/10.55164/pactj.v36i1.259209.

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In this paper, we studied the mechanism of cooperation between shadow puppet networks and cultural entrepreneurs in raising the economy of the community and local awareness. It was found that the shadow puppet groups in Nakhon Si Thammarat still exist in large numbers. At present, shadow puppet has been distributed in various established associations and one of them is the Southern Shadow Play Association. Nakhon Si Thammarat Provincial Folk Artist Association and the Federation of Folk Artists cause communication problems; therefore, the researcher studied the network of shadow play. It appears that, at present, shadow consists of the Master of Shadow Puppet Show, the shadow puppet parents’ teacher, the Teacher, and the Youth Puppet Show. From the discussion on the shadow puppet network, it found that the network was organized by having the shadow puppet show host of each district as a coordinator, under the cooperation mechanism of the shadow puppet network and cultural entrepreneurs. This mechanism for cooperation in the manner, “The bloodline of the teacher of shadow puppet” aims to support and promote research for the faculty of shadow puppets in the South to be uniform. There is empowerment in transferring knowledge to the local areas. Promoting the performance of shadow puppets will lead to an increase in income and will also raise awareness about shadow puppetry, preserving traditions and culture to consciously promote, carry on, and preserve shadow puppetry from one generation to another and create cooperation between shadow puppet faculties and other organizations
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-, Suyanto, and Aris Setiawan. "Shadow Puppets In The Hands Of The Young Puppeteers: Loss Of Philosophy Value." Mudra Jurnal Seni Budaya 37, no. 4 (October 17, 2022): 358–67. http://dx.doi.org/10.31091/mudra.v37i4.2049.

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This study aims to actualize philosophical values in shadow puppets performances for the puppeteer and the younger generation. The object of this research is a shadow puppets performance by young puppeteers in Surakarta and its surroundings. Recently, many young puppeteers have appeared arrogantly on stage, for example: standing up and trampling puppet with their feet, throwing puppet off the stage, cursing or saying rude things, exploiting sexual objects for jokes. Whether we realize it or not, one of the causes of this phenomenon is the gap in understanding the philosophical values of puppetry. Data collection methods in this study were the observation of performances and interviews, while to understand the meaning of symbols captured in shadow puppets performances, the method of understanding meaning was used. The notion of "understanding the meaning" in this context is how meaning can be captured from the puppeteers' expressions, either in the form of sabet (puppets movement), catur (puppeteer vocals), and music presented. The result of this research is an attempt to find the factors that influence the tendency of the young puppeteers to express freely. Finding the factors that influence the more youthful generation tends to like glamorous entertainment alone—actualizing philosophical values in shadow puppets according to the contemporary point of view. The ability of the puppeteers to present messages through shadow puppets performances should have direct implications for his personality, in addition to being a means of mass communication that can reach all levels of society (audience) in general.
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Pradana, Gede Yoga Kharisma. "IMPLICATIONS OF COMMODIFIED PARWA SHADOW PUPPET PERFORMANCE FOR TOURISM IN UBUD, BALI." Journal of Business on Hospitality and Tourism 4, no. 1 (July 30, 2018): 70. http://dx.doi.org/10.22334/jbhost.v4i1.103.

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The purpose of this article is to examine the phenomenon of Balinese shadow puppet performances as a tourism entertainment spectacle in Ubud, Bali. Basically, the Parwa shadow puppet shows as Balinese shadow puppets are stag for the purposes of traditional ceremonies with long duration. In contrast to the type of Parwa shadow puppet show in Ubud is stag for tourism, only it's stag with a shorter duration. This phenomenon certainly raises a big question about the implications of stag such performances for tourism.This article is prepared to use qualitative research methods. All data were obtained through literature study, interview and observation. After all data is obtained, it is analyzed by using the perspective of cultural studies.The results show that the commodification of Parwa shadow puppet shows for tourism has economic, social and cultural implications. Economically, the commodification of the Parwa shadow puppet show for tourism has already had implications for a change in instrumental value, adding profit to cottage owners and retailers. Socially, the commodity has implications in the popularity as well as the identity of shadows puppet group. Culturally has implications for the preservation of cultural identity in the context of tourism, mediation of cultural promotion to tourists, cultural degradation of puppets and the difficulty of enculturation.
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Fan, Kuo Kuang, and Peng Wei Hsiao. "Learning for Shadow Puppet’s Action Control Inverse Kinematics Method." Applied Mechanics and Materials 284-287 (January 2013): 3569–72. http://dx.doi.org/10.4028/www.scientific.net/amm.284-287.3569.

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Puppet shadow is not only one of the oldest forms of performing, but also a very characteristic traditional folk performing art. Since the action skill is a family heirloom of puppet shadow troupes, they seldom teach outsiders so this issue is rarely discussed. The spatial and regional limitation makes the observation and learning of puppet-motion and action skill rather difficult. This study uses Flash CS4 to create the features and functions of puppets via inverse kinematics (IK) method. Using the concept of inverse kinematics constructs the movement of puppets and simulates the motion of puppets. On this platform, we construct the single-user-game-based digital learning system of puppet shadow. We design situational challenge competitions and interactive games to enhance the quality and pleasure of learning.
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Diamond, Catherine. "Wayang Listrik: Dalang Larry Reed's Shadow Bridge Between Bali and San Francisco." Theatre Research International 26, no. 3 (October 2001): 257–76. http://dx.doi.org/10.1017/s0307883301000347.

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Building on the early European experiments with animated shadow figures, American dalang Larry Reed – narrator and puppet manipulator – has enlarged Balinese shadow puppetry to cinema-sized dimensions and combined it with live actors and dancers. In conjunction with Balinese puppet masters, Reed has created several pieces which explore the interaction between puppets and human shadow figures as well as performers in front of the screen. Moreover, Reed's productions are bilingual and bi-cultural, mixing Balinese and American humour and mythology so that the hybrid creations find favour with audiences in both locations. As his technique increasingly becomes refined in the process, each new production expands more subtly on the theme of melding shadow with flesh and the blurring of illusion and reality.
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Prabawa, Fialin Aryastri, and Pancawati Dewi. "Penerapan Semantik Sebagai Strategi Pembentuk Elemen Desain Berdasarkan Tipologi Rupa Wayang Purwa Pandawa." Review of Urbanism and Architectural Studies 20, no. 2 (December 30, 2022): 109–20. http://dx.doi.org/10.21776/ub.ruas.2022.020.02.10.

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The use of shadow puppets as an object in the formation of an architectural design has been widely used. This is due to the elements of meaning and description and the philosophy closely related to Javanese society. Of the several case studies that have been found, most still focus on the form of shadow puppet and have not focused on the use of meaning as the main focus, so further studies are needed on the use of the appearance and meaning of shadow puppet in architectural forms. Qualitative methods are used by performing typology and semantic processes based on the Gestalt similarity principle to form meaning and rereading new meanings into form to form design elements. The results showed that the Pandava shadow puppets can be used as an object that allows it to use in forming architectural design elements based on visual typology and semantics of meaning.
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Zhang, Jiachen. "Brand Strategy of Shadow Play Digital Museum." BCP Business & Management 13 (November 16, 2021): 82–86. http://dx.doi.org/10.54691/bcpbm.v13i.52.

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China’s intangible cultural heritage shadow puppet shows its more than two thousand years’ history. In today’s era full of luminous screens, few lights are still projected on the shadow puppets. The shadow puppets only exist in the hands of some old craftsmen. Few young generations take over and inherit the skills and knowledge of the old craftsmen, resulting in the shadow puppets gradually disappear in people’s sights. Besides, few people pay attention to the development and charm of traditional folk art shadow puppets. In this paper, the case analysis method is used to summarize the current situation and development trend of the digital museum in the display and navigation, the analysis of the advantages of the application, and the design principles and design methods of the digital museum user interface. It summarizes and analyzes excellent digital museum design cases at home and abroad, and sorts out and summarizes the design principles of digital museums and the specific methods of user interface design. Digital museums are in line with the development of the times. Since the exposure rate of cultural and creative products has increased in recent years, the number of visits and discussions of museums has increased frequently, which has promoted the brand image of digital museums. Digital museum website designs the improvement of cultural and creative product development, the number of people facing the increase. the digital museum is also being improved. Therefore, the construction of an online digital museum for Tangshan Shadow Play Museum is a project to promote the development of shadow puppet culture. With the vigorous development of computer technology, more and more people use digital products, so Tangshan Digital Museum is operational feasibility. It is of great significance for spreading traditional culture.
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Oliveira Lopes, Rui. "A New Light on the Shadows of Heavenly Bodies." Religion and the Arts 20, no. 1-2 (2016): 160–96. http://dx.doi.org/10.1163/15685292-02001008.

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The distinct tradition of Indian shadow puppetry has been the subject of much interest among scholars, focusing mainly on its origin, the mutual exchange between different regions across Asia, and the relationship between theater performance and popular culture. This study discusses the similarities of shadow puppets with temple mural painting and loose-leaf paintings, and shows how puppets may have shifted technically from narrative paintings on loose-leaf folios toward motion pictures, in order to create a more interactive link between the audience and the storyteller. The first part of this paper explores the archetypal and psychological meanings of shadow in Indian culture and religion, as well as its relationship with the origins of painting. The main issues include archetypal references to the shadow of Hindu gods described in Vedic, epic, and Purāņic sources, the use of prototypes to transmit knowledge to humankind, and the analysis of shadow puppets as moving pictures. Secondly, the paper analyzes the materiality of puppets and their consistency with Indian aesthetics and art criticism in the form of theoretical principles found in classical texts and art treatises such as the Nāțyaśāstra, the Viṣṇudhārmottāra, and the Śilpaśāstra.
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Coller, Elizabeth. "Making shadow puppets." Practical Pre-School 1998, no. 10 (July 1998): 29. http://dx.doi.org/10.12968/prps.1998.1.10.41388.

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Baier, Randal, Ward Keeler, and Jennifer Lindsay. "Javanese Shadow Puppets." Asian Theatre Journal 12, no. 2 (1995): 355. http://dx.doi.org/10.2307/1124115.

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Dissertations / Theses on the topic "Shadow puppets"

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Gamble, Chuck. "Shadow puppets /." Online version of thesis, 1992. http://hdl.handle.net/1850/11077.

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Singh, Salil Kishore. ""Emerging from shadows" : the puppeteer's art in Tolpava Koothu, shadow puppetry of southern India /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Crosby, Leah. "Never Again, Every Year." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429711176.

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Stock, Marel Angela. "Puppets, Pioneers, and Sport: The Onstage and Offstage Performance of Khmer Identity." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2944.pdf.

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Xie, Jiajing. "An Architectural Rendition of Shadow Puppetry: a Translation from Shadow Puppetry to Architecture Through Movement." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1491308486236146.

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Grant, Ian John. "Shadows, touch and digital puppeteering : a media archaeological approach." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/80919/.

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Aims The practical aim of this research project is to create a multi-touch digital puppetry system that simulates shadow theatre environments and translates gestural acts of touch into live and expressive control of virtual shadow figures. The research is focussed on the qualities of movement achievable through the haptics of single and multi-touch control of the digital puppets in the simulation. An associated aim is to create a collaborative environment where multiple performers can control dynamic animation and scenography, and create novel visualisations and narratives. The conceptual aim is to link traditional and new forms of puppetry seeking cultural significance in the 'remediation' of old forms that avail themselves of new haptic resources and collaborative interfaces. The thesis evaluates related prior art where traditional worlds of shadow performance meet new media, digital projection and 3D simulation, in order to investigate how changing technical contexts transform the potential of shadows as an expressive medium. Methodology The thesis uses cultural analysis of relevant documentary material to contextualise the practical work by relating the media archaeology of 2D puppetry-shadows, shadowgraphs and silhouettes-to landmark work in real-time computer graphics and performance animation. The survey considers the work of puppeteers, animators, computer graphics specialists and media artists. Through practice and an experimental approach to critical digital creativity, the study provides practical evidence of multiple iterations of controllable physics-based animation delivering expressive puppet motion through touch and multiuser interaction. Video sequences of puppet movement and written observational analysis document the intangible aspects of animation in performance. Through re-animation of archival shadow puppets, the study presents an emerging artistic media archaeological method. The major element of this method has been the restoration of a collection of Turkish Karagöz Shadow puppets from the Institut International de la Marionnette (Charleville, France) into a playable digital form. Results The thesis presents a developing creative and analytical framework for digital shadow puppetry. It proposes a media archaeological method for working creatively with puppet archives that unlock the kinetic and expressive potential of restored figures. The interaction design introduces novel approaches to puppetry control systems-using spring networks-with objects under physics-simulation that demonstrate emergent expressive qualities. The system facilitates a dance of agency¹ between puppeteer and digital instrument. The practical elements have produced several software iterations and a tool-kit for generating elegant, nuanced multi-touch shadow puppetry. The study presents accidental discoveries-serendipitous benefits of open-ended practical exploration. For instance: the extensible nature of the control system means novel input-other than touch-can provide exciting potential for accessible user interaction, e.g. with gaze duration and eye direction. The study also identifies limitations including the rate of software change and obsolescence, the scope of physics-based animation and failures of simulation. Originality/value The work has historical value in that it documents and begins a media archaeology of digital puppetry, an animated phenomenon of increasing academic and commercial interest. The work is of artistic value providing an interactive approach to making digital performance from archival material in the domain of shadow theatre. The work contributes to the electronic heritage of existing puppetry collections. The study establishes a survey of digital puppetry, setting a research agenda for future studies. Work may proceed to digitise, rig and create collaborative and web-mediated touch-based motion control systems for 2D and 3D puppets. The present study thus provides a solid platform to restore past performances and create new work from old, near forgotten-forms.
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Goodlander, Jennifer L. "Body of Tradition: Becoming a Woman Dalang in Bali." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1276100866.

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Proßowsky, Bjela. "“How to Talk to Dragons” Insights into the Praxis of an Inter-Cultural Shadow Puppet Theatre Play." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22271.

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Cultural diversity in a global community demands our tolerant understanding of one another. Participatory art projects can be instrumental in facilitating equal-footing en­counters and creative communication between people from different cultures that transcend language barriers. Used as a methodology for synergistic exchange and exploration, they represent a useful tool for the study and advancement of alternative solutions to development-related themes, particularly where non-verbal communication is either essential or advantageous.This report considers an independent arts-based project, “How to Talk to Dragons”, which was carried out in Phnom Penh, Cambodia by cultural workers from Berlin. The inter-cultural project chose the art form of shadow puppetry to explore the country’s culture and the experiences of its people, and to exchange ideas and perspectives in an engaging and socially just forum. The question guiding this cultural voyage of discovery was how the symbolic dragon, a mythical creature with a global resonance but subject to different perceptions in Europe and Asia, might be used as an agent for opening the way to revealing insights into human nature.The report also explores the links between How to Talk to Dragons and ComDev practices and, by incorporating an auto-ethnographic approach, considers how this method can serve to provide a better understanding of practice and add value to project analysis from a practitioner's perspective.It finds that open concept projects offer an exceptional flexibility to adapt to local and cultural conditions and makes the case for the Cambodian shadow theatre known as Sbek Touch (literal meaning: small leather) as a valuable emancipatory tool for promoting communication across social, economic and cultural borders. It recommends further studies into its potential for raising and identifying sometimes controversial issues in a humorous manner and for uncovering collective solutions, particularly among marginalized communities and classes. Ultimately, the report points to Hooks’ “Practice of Love” as an overarching concept that can inform and transform activities designed to engage with and embrace diversity.
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Kent, Lynne. "Breaking the Fifth Wall: Enquiry into Contemporary Shadow Theatre." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16147/2/Lynne%20Kent%20Thesis.pdf.

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Practising Shadow Theatre in the West today means to subvert the predominantly negative view of shadow in the Western psyche, to transcend the faintly racist notion of shadow theatre as the quaint practice of traditional people of the East and to contend with the dominant influences of the electronic media on this once powerful and popular art form. This research is through creative practice in the form of the production, Cactus. This performance investigates the use of the screen in contemporary Shadow Theatre and the optimisation of the live theatrical experience. The performance also seeks to integrate mediatized and non-mediatized performance through the combination of live performance and projected images. My research is a social constructivist process to creative practice as research using a pluralistic approach including elements of action research and autobiography. The literature included for review in this study includes work by Brook, Grotowski, Auslander, Sontag, and Schechner. The literature analysis and previous training with Italian company, Teatro Gioco Vita, served to inform the application of my theories as praxis. The central question of this research project is: How can I break the fifth wall (which is the screen) in shadow theatre performance? Subsidiary questions are: How can we harness the advantages of both mediatized and non-mediatized performance to produce a contemporary shadow theatre form catering to the needs of a twenty-first century audience? How can I optimize the live theatrical experience? What is contemporary Shadow Theatre?
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Kent, Lynne. "Breaking the Fifth Wall: Enquiry into Contemporary Shadow Theatre." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16147/.

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Practising Shadow Theatre in the West today means to subvert the predominantly negative view of shadow in the Western psyche, to transcend the faintly racist notion of shadow theatre as the quaint practice of traditional people of the East and to contend with the dominant influences of the electronic media on this once powerful and popular art form. This research is through creative practice in the form of the production, Cactus. This performance investigates the use of the screen in contemporary Shadow Theatre and the optimisation of the live theatrical experience. The performance also seeks to integrate mediatized and non-mediatized performance through the combination of live performance and projected images. My research is a social constructivist process to creative practice as research using a pluralistic approach including elements of action research and autobiography. The literature included for review in this study includes work by Brook, Grotowski, Auslander, Sontag, and Schechner. The literature analysis and previous training with Italian company, Teatro Gioco Vita, served to inform the application of my theories as praxis. The central question of this research project is: How can I break the fifth wall (which is the screen) in shadow theatre performance? Subsidiary questions are: How can we harness the advantages of both mediatized and non-mediatized performance to produce a contemporary shadow theatre form catering to the needs of a twenty-first century audience? How can I optimize the live theatrical experience? What is contemporary Shadow Theatre?
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Books on the topic "Shadow puppets"

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Alexander, Stitt, and Tonkin Ross, eds. Shadow puppets. St Leonards, N.S.W: Horwitz Martin, 1999.

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Card, Orson Scott. Shadow puppets. New York: Tor, 2002.

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Robson, Denny. Shadow theater. New York: Gloucester Press, 1991.

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Ransome, Grace Greenleaf. Puppets and shadows: A selective bibliography to 1930. Lewiston: Edwin Mellen Press, 1997.

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Māthāwō̜n, Sučhittrā. Nang yai læ nang talung. Krung Thēp: Bō̜risat ʻĒt. Thī. Phī. Wœ̄n Mīdīa, 1998.

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Djojowidagdo, Soemitro. Aspek teknologis, penggunaan kulit hewan dan proses pembuatan wayang kulit. Yogyakarta: Yayasan Ilmu Pengetahuan dan Kebudayaan Panunggalan, Lembaga Javanologi, 1985.

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Sumadji. Mengenal kerajinan wayang kulit. Pasuruan: Garoeda Buana Indah, 1995.

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Polyna, Kosmadakē, Kaoukē Myrtō, Kissane Sean, Irish Museum of Modern Art (Kilmainham, Dublin, Ireland), İstanbul Modern, and Battaglioli Gaia, eds. Hymnos stē skia. Athēna: Mouseio Benakē, 2009.

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Sean, Kissane, Irish Museum of Modern Art (Kilmainham, Dublin, Ireland), İstanbul Modern, and Mouseio Benakē, eds. In praise of shadows. Milano: Charta, 2008.

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Vēṇu, Ji. Tolpava koothu: Shadow puppets of Kerala. New Delhi: Sangeet Natak Akademi, 1990.

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Book chapters on the topic "Shadow puppets"

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Lambeth, Cheralyn L. "Shadow Puppets." In Introduction to Puppetry Arts, 109–28. New York, NY : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780429442858-7.

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Wang, Chen, Jianan Liu, Lingyan Zhang, Xinyi Chen, and Yichen Wu. "Innovative Design of Interactive Shadow Puppets for Children Based on STEAM Education Concept." In Lecture Notes in Computer Science, 145–61. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-61672-3_10.

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Kasinathan, Vinothini, Aida Mustapha, and Chanpreet Kaur Dhanoa. "Shadow Puppet Chatbot: Preserving Cultural Tourism." In Communications in Computer and Information Science, 143–54. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-61678-5_10.

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Talib, Abdullah Zawawi, Mohd Azam Osman, Kian Lam Tan, and Sirot Piman. "Traditional Shadow Puppet Play – The Virtual Way." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 246–48. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-30214-5_32.

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Kostidakis, Theodoros. "Dramatherapy and Greek Traditional Shadow Puppetry." In Dramatherapy, 99–113. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003042792-9.

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Katsura Rollins, Annie. "Passing Down Through Shadows." In Puppet and Spirit: Ritual, Religion, and Performing Objects, 121–33. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003150367-13.

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Talib, Abdullah Zawawi, Mohd Azam Osman, Kian Lam Tan, and Sirot Piman. "Design and Development of an Interactive Virtual Shadow Puppet Play." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 118–26. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-33329-3_14.

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Piman, Sirot, and Abdullah Zawawi Talib. "An Intelligent Instructional Tool for Puppeteering in Virtual Shadow Puppet Play." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 113–22. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-30214-5_13.

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Mizrahi, Daryo. "One Man and His Audience: Comedy in Ottoman Shadow Puppet Performances." In Medieval and Early Modern Performance in the Eastern Mediterranean, 271–86. Turnhout: Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.lmems-eb.1.102272.

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Mrázek, Jan. "More than a Picture: The Instrumental Quality of the Shadow Puppet." In Studies in Southeast Asian Art, edited by Nora A. Taylor, 49–73. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501732584-005.

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Conference papers on the topic "Shadow puppets"

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Gagné, Michel. "Insanely twisted shadow puppets - 12 interstitials." In ACM SIGGRAPH 2006 Computer animation festival. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1179196.1179240.

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Han, Shuang. "Computer Image Processing Technology on Reconstruction of Shadow Puppets in Jianghan Plain." In 2023 IEEE 3rd International Conference on Electronic Communications, Internet of Things and Big Data (ICEIB). IEEE, 2023. http://dx.doi.org/10.1109/iceib57887.2023.10170657.

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Li, Bo, Wenjin Xu, Hongning Yang, and Yonghui Du. "An Improved Algorithm for Identifying Facial Images Feature of Shadow Puppets Based on YOLOv5s." In 2023 IEEE 6th International Conference on Electronic Information and Communication Technology (ICEICT). IEEE, 2023. http://dx.doi.org/10.1109/iceict57916.2023.10245480.

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Xu, Taotao, Musdi bin Hj Shanat, Brendan Chan Kah Le, and Wei Zhang. "Design of Modeling Elements of Luoshan Shadow Puppets Creative Goods Based on Deep Learning." In 2023 5th International Conference on Applied Machine Learning (ICAML). IEEE, 2023. http://dx.doi.org/10.1109/icaml60083.2023.00093.

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Nuriman, Harry, Nia Kurniasih, Setiawan Sabana, Intan R. Mutiaz, and Rikrik K. Andryanto. "From Verbal to Three-dimensional Digital Visual Texts: A Construction of a Javanese Prince." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.13-2.

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Visualizations of the body of the famous Javanese Prince Diponegoro appears in various media, ranging across sketches, paintings, sculptures, banknotes and coins, shadow puppets, stamps, theatrical performances and electronic devices. All these visualizations mostly follow previous visualizations influenced by artist imaginations. This research seeks to present Prince Diponegoro in three-dimensional animated visualization using a motion capture technique. To complete this, the project draws from authentic manuscript research from the autobiography of Babad Diponegoro. Further, the project employs intertextuality as a method with which to interpolate the data, and hence to obtain a satisfactory overall visualization. The physical features, gestures and paralinguistic elements contained in the verbal text of Babad Diponegoro have been employed using motion capture data based on events written in the Babad Diponegoro. Many existing representations of the prince exist. However, this study attempts to rethink these existing visualizations, so as to produce a much more accurate, if not completely new, icon, thus differing to existing representations.
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Yang, Yuan, Yingxue Jia, and Hui Yang. "A study on the design and production of shadow puppets animation under the cultural background of “the Belt and Road” - Centering on the original work of shadow and image." In 6TH INTERNATIONAL CONFERENCE ON COMPUTER-AIDED DESIGN, MANUFACTURING, MODELING AND SIMULATION (CDMMS 2018). Author(s), 2018. http://dx.doi.org/10.1063/1.5039142.

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Ayala, Susana. "Becoming the Puppeteer: Reflections on Global Language and Culture by Puppetry Students in Yogyakarta, Indonesia." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.4-6.

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Puppet theater on the island of Java is an ancient art which has maintained some of its characteristics considered traditional, but has also been transforming innovations such as the wayang with hip-hop music among other popular expressions. The art of puppetry has also been institutionalized and is itself a degree program at the National Institute of Arts of Indonesia. In this paper, I show the outcomes of my research among students and shadow puppet art teachers in Java, Indonesia. There are two special characteristics in training puppeteers: The main use of Jawanese language and the development of communities of practice as ways of working in the teaching and learning process. As such, these contexts motivate students to be constantly reflecting on the Javanese language and culture. I note the process and the reflections of the participants on the Javanese language shift, and the uses of language in puppet performances which consider the reception of young Javanese. To analyze the data, I draw from fieldwork and interviews, I use the theoretical concepts of discursive genres and dialogism proposed by Bakhtin and I propose that the art of puppetry is a social field that encourages vitality and linguistic diversity on the island of Java.
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Brand, M. "Shadow puppetry." In Proceedings of the Seventh IEEE International Conference on Computer Vision. IEEE, 1999. http://dx.doi.org/10.1109/iccv.1999.790422.

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Hadzantonis, Michael. "Karangiozis in the Shadows: A Linguistic Anthropology of Greece's Shadow Puppetry." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.1-4.

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The Karangiozi theatre play has existed for centuries in its various forms and across territories. Initially emanating from the Ottoman regions, it entered Greece several centuries prior, and was popularized during Ottoman occupation of Greece. Structured on a system of multilayered symbolisms, the visuals, performances and narratives in Karangiozi present the lead character, Karangiozi, a poor and benevolent man who is frequently oppressed and beaten for his misdoings. The character must contend with the arrogance and comical approaches of other characters, and must support his family, all while accepting his low socioeconomic status. While the theatre has long addressed Greece’s political satire, nationalist discourse, and class and socioeconomic differentials, the performance has, over the past century, significantly shifted with respect to its poetics, narratives, and symbolisms. These shifts correlate with movements from capitalism to late capitalism, and to the information age, as technology and information flow, and the acceleration of time scales require a new engagement with media, technology and information, where old media, such as puppet theatre performance and its narratives, as well as poetic forms of vernacular, now appear redundant. In this paper, I address the changes in the Karangiozi puppet theatre performance. To this, I have collated a corpus of old and new Karangiozi narratives and performance scripts, which I compare. Factors I address include the altered poetics and script designs, and the notable shift in symbolisms, over the past century. Here, I draw on a framework of symbolic and narrative analysis, while also discussing the ways in which narratives and performance are newly appropriated in the shifting form of the theatre play.
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Grant, Ian A. "Surfaces and Shadows: Digital Shadow Puppetry and Augmented Silhouette Performance." In Electronic Visualisation and the Arts (EVA 2013). BCS Learning & Development, 2013. http://dx.doi.org/10.14236/ewic/eva2013.46.

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