Academic literature on the topic 'Stop-motion animation films'
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Journal articles on the topic "Stop-motion animation films"
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Yekti, Bharoto. "Study of Laika’s Facial Expression Mechanism System for Stop-Motion Animation Puppet Through Knock-Down Strategies on Home-Scaled 3D Printer." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 185–93. http://dx.doi.org/10.18844/prosoc.v4i11.2873.
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The growth of 3D printing has been rapid over the decades. Laika is a United States-based animation production company, and the pioneer of 3D printing technology in stop-motion animation. Laika uses this technology in their production pipeline for making stop-motion puppets in most of their films, including their latest films, Kubo and the Two Strings (2016). Due to limited access and information of details of Laika’s facial expression, communities and fans of animation have tried to conduct experiments with their own 3D print, using footages of behind-the-screen processes from Laika studio. This paper explores facial expressions for creating stop-motion puppet using an affordable home scale 3D printer. Using limited technical information collected from documentation video from Laika as well as referring to articles written by stop-motion enthusiasts, this fan-based research ignites creativity to overcome the barriers of technology and access through strategies in producing affordable 3D print stop-motion animation. Keywords: Stop-motion animation, 3D printing, facial expressions.
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Wilson, Ewan. "‘Diagrams of Motion’: Stop-Motion Animation as a Form of Kinetic Sculpture in the Short Films of Jan Švankmajer and the Brothers Quay." Animation 13, no. 2 (July 2018): 148–61. http://dx.doi.org/10.1177/1746847718782890.
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Jean-Luc Godard wrote that ‘The cinema is not an art which films life; the cinema is something between art and life’ (cited in Roud’s, 2010, biography of Godard), an observation particularly true of stop-motion animation. The filmmakers discussed in this essay, Jan Švankmajer and the Brothers Quay, share a fascination with the latent content of found objects; they believe that forgotten toys, discarded tools and other such objects contain echoes of past experiences. Extrapolating Švankmajer’s belief that memories are imparted to the objects we touch, the manipulation of his found objects as puppets in his films becomes a means of evoking and repurposing their latent content, just as the Quays develop their dreamlike films from the psychic content they perceive in their armatures. Making a case study of a selection of these animators’ short films, this article examines the practice of stop-motion animation against that of kinetic sculpture, unpicking the complexities of the relationship between the inherently static mediums of sculpture and photography – symbolic of a fixed moment in time – and that of stop-motion animation, a temporal pocket in which these fossilized moments are revived once more.
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Purwaningsih, Dominika Anggraeni. "Eksplorasi Material Alternatif dalam Pembuatan Puppet dan Set untuk Produksi Animasi Stop-Motion Berjudul “Junk Food”." Ultimart: Jurnal Komunikasi Visual 14, no. 1 (June 21, 2021): 10–21. http://dx.doi.org/10.31937/ultimart.v14i1.2030.
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Traditional stop-motion animated films have unique visual characteristics so that they have many fans, but the number of stop-motion filmmakers is actually very minimal. This is understandable because compared to other animation techniques that are done digitally, stop-motion seems impractical because it requires longer time, higher production costs, and more tools and materials. This paper discusses the exploration and utilization of alternative materials from well-known conventional materials in making puppets and sets for stop-motion animation. The alternative materials in question will use used goods, household inorganic waste, and other reusable materials while still paying attention to function and aesthetics so as to contribute to waste recycling. This is in line with the theme of the film “Junk Food” which raises the issue of environmental pollution, where the results of this research will be applied. This qualitative research is project-based and uses literature study, observation, and experiment methods to collect data. The results of this research are up to the stage of making 2 puppets and 2 sets to answer the problem of exploring alternative materials from used goods.
Keywords: stop-motion animation, puppet, set, alternative materials
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Harris, Miriam. "Interview with Emily D. Myers, ShadowMachine armaturist on Guillermo del Toro’s Pinnochio." Animation Practice, Process & Production 11, no. 1 (June 1, 2022): 153–76. http://dx.doi.org/10.1386/ap3_00034_7.
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In this article, Emily D. Myers, ShadowMachine armaturist on Guillermo del Toro’s Pinocchio (GdTP), is interviewed by Animation Practice, Process and Production (AP3) co-editor Miriam Harris. Myers has significant experience as an armaturist in the stop-motion animation industry: she is a veteran of four LAIKA-animated feature films, has worked at Bent Image Lab, and spent a year and a half working on GdTP at ShadowMachine in Portland, Oregon. The article provides insights into Myers’s training, her experience working at LAIKA, reflections on the ShadowMachine environment and production process while working on GdTP, and her thoughts about analogue/digital hybridity and stop-motion’s future potentialities. An insider’s perspective is offered regarding the amount of personal creativity that might be exercised when working on a large-scale stop-motion animation production.
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Sputnitskaya, Nina Yu. "Soviet Puppet Cinema of the 1930s: from Avant-Garde to Mainstream." Journal of Flm Arts and Film Studies 8, no. 3 (September 15, 2016): 8–18. http://dx.doi.org/10.17816/vgik838-18.
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Evaluation of Russian animated cartoons of the 1930s wasnt positive for a long time; historians of cinema, directors, artists marked this period as the era of hard times, as formalism and imitation Disney's esthetics. However the films considered in the article have played a significant role in development of world cinema. Particularly they have influenced upon moulding of the Czech, Polish and Ukrainian stop motion animation of the post-war years. Unfortunately, some works released in the Union of puppet animation at Mosfilm studios under the leadership of A.L. Ptushko have been lost, and nowadays it is impossible to establish precisely their actual released number. In the article the experimental animation films of the second half of the 1930s which have remained on film and also in the form of editorial scripts (RGALI, Mosfilm, Gosfilmofond) are being analyzed. It should be noted/ that five films of the group shot with P. Mershin's method are restored (method of time-lapse reconstruction) by N. Mayorov and V. Kotovsky (on the remained color negatives) in the 2010s. So it is possible now to estimate innovation and originality of these films, and to define a role of school of the Soviet animation in development of the world stop motion. Special attention is drawn to the socio-cultural context accentuating peculiarities of reading the films, which formed their imagery and on specific reflection of a defence discourse in the Soviet animation of 1935-41s.
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Maselli, Vincenzo. "Narrating Fabrics: Nostalgia in Animated Puppets’ Skin." Animation 19, no. 1 (March 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 characteristics of an artifact. To validate this hypothesis, three stop-motion short films are considered: the Japanese film Komaneko’s Christmas: The Lost Present (2009) by Tsuneo Goda and produced by the Dwarf studio; Christopher Kezelos’ film The Maker (2011); and Marionette (2012) by Thomas Tanner and Frayah Humphries. In these films, puppets’ materiality enhances either the melancholy aspects or the positive consequences of nostalgia and this interpretation can be formulated by looking at the ‘stories’ narrated by puppets’ fragile fabric skin as a manifestation of wistfulness. After providing an interdisciplinary overview of the main theoretical studies that explore concepts such as craftsmanship, puppets’ materiality and nostalgia from either animation, design or psychanalytical perspectives, the article defines three phenomenological dimensions of nostalgia suggested by fabric-skinned puppets’ material surface. Nostalgia is analysed as an emotion that proactively allows us to face the present by remembering the past, as an unconscious relational feeling that manifests human beings’ need to connect and as a pessimistic reaction to an inconsolable and irretrievable loss.
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Nurul Fadilah. "PENGEMBANGAN MEDIA PEMBELAJARAN FILM ANIMASI STOP MOTION PADA MATERI PANGKAT TIGA DAN AKAR PANGKAT TIGA UNTUK KELAS VI SD." Jurnal Ilmu Pendidikan dan Sosial 1, no. 2 (July 19, 2022): 181–89. http://dx.doi.org/10.58540/jipsi.v1i2.31.
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Development of Learning Media for Stop Motion animated film on the cube of three and cube roots. The purpose of this study was to develop a stop motion animation film for mathematics learning media for sixth grade elementary school students on the power of three and cube roots and determine the feasibility of the developed media. The development model used in this research is ADDIE (Analyze, Design, Development, Implementation, Evaluation). The stages passed in this research and development include: (1) needs analysis, (2) design, (3) initial product development, (4) evaluation, (5) product revision. Evaluation of media and material products through the validation of media experts and material experts. The results of the assessment from media experts with an average score of 3.16 and material experts with an average score of 3.62. Overall the media can be categorized as good. Thus the mathematics learning media, stop motion animation films, material to the power of three and cube roots that have been developed are good or suitable to be used as learning media in schools.
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Purwaningsih, Dominika Anggraeni. "PUPPET MOVEMENTS IN STRUCTURE-SPECIFIC TRADITIONAL PAPER CUT OUT ANIMATION PRODUCTION." Ultimart: Jurnal Komunikasi Visual 13, no. 2 (December 22, 2020): 61–68. http://dx.doi.org/10.31937/ultimart.v13i2.1821.
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Physical paper puppets are inanimate objects, but when we’re speaking in terms of the production of traditional paper cut out animation, they become the actors and the souls that drive the movie. When shooting and animating traditional paper cut out animation, the puppets are laid flat on a surface so they can only move in limited directions compared to conventional 2D or 3D animation. As we know, each character in animated movie has its own personality and unique to each other. The challenge lays in bringing out the characteristics and personality of the character through the limited medium of paper puppet. In this qualitative research, puppet movements will be applied to quadruped cat characters in a public service announcement titled “Spay & Neuter”. The puppet along with the visual design, segmentations, and joints were done in previous research. Qualitative observations and audio-visual materials are used to collect the data for references. Literature review will study the characteristics of cats, body language, behaviour, and principles of animation especially timing and exaggeration. Observation is conducted by studying the movements of real cats from online videos and direct observations and also studying how other animators animate cat characters in animated films. In the exploration stage, paper puppets will be animated according to the movement design while experimenting with the timing and frame rate of the stop motion to achieve the final results.
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Lorenzo Hernández, María. "César Díaz Meléndez: commissioned animator de día, animador independiente de noche." Con A de animación, no. 7 (March 1, 2017): 60. http://dx.doi.org/10.4995/caa.2017.7295.
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César Díaz Meléndez (Madrid, 1975) es uno de los animadores españoles más multidisciplinares y valorados a nivel internacional. Animador desde 1994, y después de haber colaborado en decenas de producciones de dibujos animados para televisión y cine —incluyendo Las tres mellizas (Robert Balser, Baltasar Roca, 1995) y El Cid: la leyenda (José Pozo, 2003)—, comenzó a compaginar sus cortometrajes personales —como Documentales animados (2002), No corras tanto (2008) o el más reciente y celebérrimo Zepo (2014), con exquisita animación sobre arena— con su participación en trabajos de stop-motion, como el corto ganador de un Goya El viaje de Said (Coke Rioboo, 2007), el largometraje O Apóstolo (Fernando Cortizo, 2012) y toda una miríada de películas de proyección mundial, como Frankenweenie (Tim Burton, 2012), ParaNorman (Chris Butler, Sam Fell, 2012), Anomalisa (Duke Johnson, Charlie Kaufmann, 2015) y La vida de calabacín (Ma vie de Courgette, Claude Barras, 2016). En la actualidad está trabajando en Londres, en el rodaje del nuevo y misterioso filme de animación de Wes Anderson: Island of Dogs, prevista para 2018.
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Dr. Mangesh Karandikar, Geeta Sharma, Dr Nima John,. "Multimodality In Stop Motion Animation Films." European Economic Letters (EEL) 14, no. 1 (March 1, 2024). http://dx.doi.org/10.52783/eel.v14i1.1146.
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Stop motion animation films use a complicated process of giving life to inanimate objects through visuals and cinematic experience that are created by using puppets made of clay, resin, silicon, wool etc. In the world of digital communication and technology, there has been rise of using multiple modes in order to give deeper meaning to the visuals of a film. Today, apart from language, stop animation film uses various semiotic modes of sound, music, visual metaphors, set design, camera angles, color theory, gestural, spatial and haptic illusion that helps in disseminating ideas, and concepts that are difficult to communicate through a film. The researcher has conducted a content analysis of three Oscar Nominated stop motion animation films including Negative Space, Sister and Lost and Found to identify the various semiotic modes used in the narrative of the film and a quantitative study was conducted to investigate the perception of the young adults including college students of undergraduate and post graduates and professionals between age group of (18-24) living in Mumbai regarding these modes.
Dissertations / Theses on the topic "Stop-motion animation films"
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Menchaca, Brandan Nuria Margarita. "No budget animation : la référence à l'objet dans l'animation stop-motion." Master's thesis, Université Laval, 2009. http://hdl.handle.net/20.500.11794/21314.
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À travers le long parcours qu'implique la production d'une animation en stop-motion, l'objet animé subit une longue chaîne d'interprétations qui transformeront son identité. L'objet concret, bien que matériellement absent de l'oeuvre animée, aura la capacité de nous référer à sa réalité, même à partir d'un contexte fictif. J'analyse quatre éléments propres à l'animation image par image : objet, image, séquence et animation, depuis le point de vue de chaque participant de la triade spectateur/oeuvre/artiste. À partir des points de rencontre de tous ces éléments, je fais un survol du processus de création d'une oeuvre animée. En traitant différents sujets, j'essaie de comprendre l'évolution d'un objet à partir de sa réalité, suivant par la transformation de son image jusqu'à son assimilation dans une oeuvre d'art. Ce travail de recherche accompagne une production artistique basée dans le concept d'animation. Les idées présentées naissent de mes expérimentations dans le domaine du stop-motion pendant ma maîtrise en arts visuels. Ces oeuvres sont les composantes d'une exposition nommée No Budget Animation.
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Blair, Jeremy Michael. "Animated Autoethnographies: Using Stop Motion Animation As a Catalyst for Self-acceptance in the Art Classroom." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804983/.
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As a doctoral student, I was asked to teach a course based on emerging technologies and postmodern methods of inquiry in the field of art education. The course was titled Issues and Applications of Technology in Art Education and I developed a method of inquiry called animated autoethnography for pre-service art educators while teaching this course. Through this dissertation, I describe, analyze, interrogate, value, contextualize, reflect on, and artistically react to the autoethnographic animated processes of five pre-service art educators who were enrolled in the course. I interviewed the five participants before and after the creation of their animated autoethnographies and incorporated actor-network theory within the theoretical analysis to study how the insights of my students’ autoethnographies related to my own animations and life narratives. The study also examines animated autoethnography as a method of inquiry that may develop or enhance future teaching practices and encourage empathic connections through researching the self. These selected students created animations that accessed significant life moments, personal struggles, and triumphs, and they exhibited unique representations of self. Pre-service art educators can use self-research to create narrative-based short animations and also use socio-emotional learning to encourage the development of empathy within the classroom. I show diverse student examples, compare them to my own animations, and present a new model of inquiry that encourages the development of self by finding place in chaos, loving the unknown, embracing uncertainty, and turning shame into a celebration of life.
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Jacobs, Daneille. "Entering the grotto of the biomechanical puppeteer : exploring the grotesque in stop motion puppetry." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/96010.
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Thesis (MPhil)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis investigates the significance of stop motion puppetry as an artistic device that enables illustrators to explore the notion of the ‘grotesque’. Mikhail Bakhtin and Wolfgang Kayser’s theorisation of the grotesque provides the foundation for my analysis of the manifestation of the grotesque in the puppets and stop motion techniques utilised in Jan Švankmajer’s Something from Alice (1988) and a selected film from my own work entitled Bad Man He Comin’ (2011). A comparative study of these two films demonstrate that stop motion puppetry is an apt medium for facilitating and exploring forms of the grotesque.
AFRIKAANSE OPSOMMING: Die klem in hierdie tesis val op die belangrikheid van stop-aksie poppespel as ‘n artistieke toestel wat kunstenaars kan gebruik om idees van die groteske weer te gee deur die gebruik van objekte sowel as die destruktiewe aard van die animasie proses. Mikhail Bakthin en Wolfang Kayser se idees rondom the groteske, vestig die grondslag vir die studie, om karaktereienskappe van die groteske te ontbloot in die poppe en metodes wat gebruik is in Jan Švankmajer se film Something from Alice (1988), sowel as ‘n geselekteerde film van my eie werk genaamd Bad Man He Comin’ (2011). ‘n Vergelykende studie, weerspieël dat groteske karakteruitbeelding verkry kan word deur sekere materiale te gebruik om poppe-liggame te skep. Die studie ontul verder dat die groteske geïdentifiseer kan word in die animasie proses waarin die verwronging en afbreking van objekte, tyd, spasie en beweging plaasvind.
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Young, Tamlyn. "Animated storytelling as collaborative practice : an exploratory study in the studio, the classroom and the community." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95797.
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Thesis (MPhil)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis investigates stop motion animation as a form of socially engaged visual storytelling. It aims to expand commonly held perceptions that associate animation with the mass media and entertainment industries by investigating three non-industry related contexts: the artist studio, the classroom and the community. In each respective context the coauthoring of stop motion animation was employed as a means to promote collaboration between artists, students and members of the public. This was intended to encourage participants to share their stories regardless of language differences, contrasting levels of academic development and diverse socio-cultural backgrounds. Thus, animation making provided a means of promoting inclusivity through active participation and visual communication. This process is perceived as valuable in a South African context where eleven official languages and a diversity of cultures and ethnicities tend to obstruct an integrated society. My fundamental argument is that animation can be used as a tool to facilitate the materialisation, dissemination and archiving of stories whilst promoting the creative agency of the storyteller.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek stop-aksie animasie as ‘n tipe van sosiaal-geaktiveerde visuele vertelkuns. Die studie is daarop gerig om algemene aannames oor animasie – wat animasie assosieer met die massamedia en die vermaaklikheidsindustrie – te verbreed deur drie nienywerheidsverbonde kontekste te ondersoek: die kunstenaar se ateljee, die klaskamer en die gemeenskap. In elk van die onderskeie kontekste word die gesamentlike skepping van die stop-aksie animasie gebruik as ‘n manier om samewerking tussen kunstenaars, studente en die algemene publiek te bevorder. Die doel is om deelnemers aan te moedig om hul stories te deel, ongeag taalverskille, verskillende vlakke van akademiese ontwikkeling, en diverse sosio-kulturele agtergronde. Daarom verskaf die skepping van animasie ‘n geleentheid om samewerking te bevorder deur aktiewe deelname en visuele kommunikasie. Die proses word veral in die Suid Afrikaanse konteks as waardevol beskou, waar elf amptelike tale, asook ‘n diversiteit van kulture en etniese groepe, dikwels die skep van ‘n geïntegreerde samelewing belemmer. My hoofargument is dat animasie met vrug gebruik kan word as ‘n metode om die skepping, disseminasie en argivering van stories te fasiliteer en terselfdertyd ook die kreatiewe rol van die storieverteller aan te moedig.
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Claesson, Nils. "Spökmaskinen : Sju förändringar och förflyttningar – gestaltningsprocesser i animerad film." Doctoral thesis, Stockholms konstnärliga högskola, Institutionen för film och media, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-270.
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The Ghost Machine is a practice-based research project that explores the process of embodiment in animated film. It describes the process of transfiguration from the artist’s/auteur’s point of view and not from an outside position. The dissertation follows the embodiment of a dramatic text, the Ghost Sonata by August Strindberg (1907), into an animated film. The starting point is my experience of the drama, at the age of thirteen, when staged by Ingmar Bergman at the Royal Dramatic Theatre. As a teenager, the world of the grown-ups seemed to be corrupt, twisted and ruled by violent power plays and economic sanctions, and this play confirmed my world view. Was I right, as a thirteen-year-old boy? What kind of world emerges in my version of the Ghost Sonata? In this thesis work, the films and the experimental research process meet the practice and art of writing. Using text, not as “theory” separated from “practice” but as a bodily art practice, creates a shifting border between the results and intentions of art and filmmaking, and the results of writing. At the same time a unity emerges where the results of the research process can be seen and experienced in the interaction between the texts and the artwork. The Ghost Machine is a totality where the text, films and artworks included in the project are equally important and must be seen as a unity. The Ghost Machine is a work journey where travelling, animated film practice, networking with colleagues and collecting data are mixed with experiments using methods from contemporary arts practice, performance, reenactment, appropriation and transfiguration, blended with traditional puppet animation in classic Czech style. In collaboration with actors, mime artists, puppet makers, musicians and a minimal film crew, century old stop-motion animation is combined with computer animation. The textual part of the work falls into two categories: life stories and work stories. The work stories traces the forming of an artwork in all aspects. The life stories are related to the subject of ghosts. Suddenly, dead friends and dear family members claimed their space. The understanding of the Ghost Sonata came to be a process of sorting out and following lines of memory using an inverted version of the Orpheus myth as a guide. Instead of never turning around, when walking the dead out of oblivion, I chose to look back, again and again, until I hit something and could not write anymore.https://www.uniartsplay.se/slin
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Statkutė, Kristina. "STOP KADRO ANIMACINIS FILMAS „KELIAS TOLIMAS“. KOLIAŽAS STOP KADRO ANIMACIJOJE." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100902_222004-01456.
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Statkutė, K. Koliažas Stop kadro animacijoje. Darbo vadovas: doc. A. Uogintas; Šiaulių universitetas, Menų fakultetas, Audiovizualinio meno katedra – Šiauliai, 2010. – 28 p. Kūrybinis darbas – Stop kadro animacinis filmas „Kelias tolimas“. Koliažas Stop kadro animacijoje. Šiame bakalauro darbe analizuojami du meninės raiškos būdai ir jų sintezė – koliažas ir sustabdyto kadro animacija. Pateikiamas video darbas emigracijos tema. Rašto darbo teorinėje dalyje nagrinėjamas koliažas, jo atsiradimas, technologijos, bruožai, aprašomi kai kurie animacijos kūrimo būdai ir technologijos. Autorės nuomone, turintys sąsają su jos kurtu video darbu. Plačiau nagrinėjama ir aptariama stop kadro animacija. Socialinis emigracijos aktualumas kūrybiniame darbe virsta meniniu objektu, turinčiu aiškią motyvaciją, priežastis ir tikslus. Lengva parodijos forma ir sarkazmo prieskoniu kurtas filmas pristatomas kaip savotiška šios temos interpretacija.Statkutė, K. Stop-motion animation collage. Labour leader: associate professor A. Uogintas; Šiaulių University, Faculty of Arts, Multimedia Arts Department - Šiauliai, 2010. - 28 p. Creative work - stop frame animated film „Long way“. Stop-frame animation collage. This bachelor's work analyzes two forms of artistic expression and synthesis - collage and Stop-frame. A video work emigration. Writing in the theoretical work dealt with a collage of his appearance, technology, features, presented in the animation building techniques and technologies. The author with a link to the video work of Kurt. Discusses the wider issue stop-motion animation. The social relevance of the creative work of emigration turns into the artistic object, having a clear motivation for the reasons and goals. Easy to parody in the form of sarcasm and flair for film is presented as a sort of interpretations.
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Junior, Kurt Jurgen Stuermer. "Do barro do rio: um filme de animação inspirado na lenda do Golem." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-18112013-164805/.
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O golem é um ser mítico ligado ao misticismo judaico. O relato mais significativo envolve Judah Loew, rabino de Praga na república Checa no século XVI. O rabino Loew modelou o seu golem com o barro do rio Vltava e lhe deu vida através de um processo mágico. O Golem foi criado para proteger o povo judeu dos crescentes ataques anti-semitas. Nesta animação, feita com a técnica de stop-motion utilizando a argila como meio de expressão, a lenda do golem assume uma abordagem contemporânea. O Golem tem de proteger não só o povo judeu, mas toda a humanidade contra sua maior ameaça. Buscando entender sua tarefa, ele se depara com a contradição que ela representa. Neste filme de animação a argila sublima sua materialidade e liberta-se de seu peso para tornar-se um meio líquido e etéreo. Por este motivo ela foi escolhida como meio de expressão para este projeto.The golem is a being connected to Jewish mysticism. The most significant narrative involves Judah Loew, the late 16th-century rabbi of Prague, in the Czech Republic. The rabbi modelled the Golem out of clay from the banks of the Vltava river, and brought it to life through a magic process. The Golem was created to defend the Jews from antisemitic attacks. In this short stop-motion animation made with clay, the story of the Golem takes a contemporary approach. The Golem has to defend not the Jews only, but the whole human kind from its greatest threat. Searching for the meaning of its task, the Golem faces the contradiction it represents. In this animation, clay frees itself from its materiality leaving behind its weight to become fluid and ethereal. That is the reason why it was chosen to be used as the means of expression in this project.
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Oliveira, Flávio Gomes de. "Vida de boneco: um filme para pensar a respeito do uso de bonecos em produções audiovisuais." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6526.
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This work consists of a research on the use of puppets in many audiovisual productions, and also at analyzing the various types of puppets that are made for this type of application. After this analysis, map production system of this type of character by means of an inventory of the main characteristics that involve the proABSTRACT duction, use and animation of this type of character. Finally, propose the production of a short film made with various puppets that exemplifies the data obtained during the bibliographical research, this step presents the production processes of each type of puppet and the animation process thereof.
Este trabalho consiste em uma pesquisa sobre o uso de bonecos em produções audiovisuais diversas, bem como, analisar, os diversos tipos de bonecos que são produzidos para este tipo de aplica- ção. Após esta análise, mapear o sistema de produção deste tipo de personagem por meio de um levantamento das principais características que envolvem a proRESUMO dução, uso e animação de personagens deste tipo. Por fim, propor a produção de um curta metragem feito com bonecos diversos que exemplifique os dados obtidos durante a pesquisa bibliográfica, nesta etapa, são apresentados os processos de produção de cada tipo de boneco bem como o processo de animação dos mesmos.
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Whybray, Adam Gerald. "Animate dissent : the political objects of Czech stop-motion and animated film (1946-2012)." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/17936.
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Czech animated allegories of the period of 1946 to 2012 encode their political ideas in objects and things, rather than through conventional narrative techniques such as voice-over or dialogue. The existence of these objects in cinematic time and space is integral to this process of political encoding, which is achieved through the selection of objects, cinematography and editing. In some of these films, time and space themselves are politically encoded. Materialist critical approaches to the film texts can help illuminate these latent political meanings. 'Thing theory', which puts a critical emphasis upon reading objects and things, exposes the politically resistant role of simple, domestic objects in the films of Jiří Trnka and Hermína Týrlová. Trnka's cinema in particular defends traditional, pastoral modes of being in which the individual is rooted within their environment. 'Actor-network-theory', a means of interrogating the relationship between actors in networks, resonates with the political ideas present in the cinema of Surrealist artist Jan Švankmajer. Švankmajer's central political project is an interrogation of anthropocentrism and attempts by humans to exert systems of control and order upon non-human actors. Rather than celebrating functional, domestic objects like Trnka or Týrlová, Švankmajer's cinema is radically anti-utilitarian. Objects are depicted as things that resist categorisation. 'Rhythmanalysis' – a mode of poetic-scientific investigation developed by philosopher Henri Lefebvre – can be used to unpick the rhythms in the animations of Jirí Barta. Barta's films critique rational clock time and the design of urban spaces through the use of editing patterns and repetition. Finally, all three materialist approaches in combination help illustrate the political content of animated films (and live-action films with significant passages of animation) produced in the wake of the Velvet Revolution. Such films often question the relationship between the individual Czech citizen and the Czech capital city of Prague. The animated films of the aforementioned directors and historical periods, tend to give precedence to the material world of objects over the semiotic world of humans, though these two realms are often shown to be inter-dependent. To this end, the political messages of the films are conveyed not through language, but through images and things.
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Bergner, Niklas. "Att skapa musik med videoredigering: En handledning." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-167162.
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Det finns mer än ett sätt att skapa musik. Vissa sätt är dock mer okonventionella än andra. En särskild metod behöver inga professionella inspelningsmjukvaror eller digitala musikinstrument kompatibla för sammankoppling med datorer. Istället behövs, förutom ett musikinstrument, enbart videoinspelningsutrustning och videoredigeringsmjukvara. Syftet med denna rapport är att undersöka hur väl personer kan -med en instruktionsvideo innehållande tal, grafik och realtidsinstruktioner- lära sig att skapa egen musik. En inledande, mindre studie genomfördes för att finna personer (utan tidigare erfarenhet av musikskapande) villiga att göra ett användartest under uppsikt. Det tänkta antalet testpersoner hölls lågt till följd av den rådande covid-19-pandemin, samt det sista användartestets natur. Samtliga tillfrågade var entusiastiska till att genomföra testet att av instruktionsvideon och dess innehåll. För att besvara syftet utformades, genom en iterativ design- och redigeringsprocess, en instruktionsvideo. Denna instruktionsvideo visades för samtliga testpersoner varpå de instruerades att redigera samman egna, förutbestämda, korta musikstycken. Resultatet av de kvalitativa testerna visar att man kan lära sig denna typ av musikskapande förutsatt att vägledningen är pedagogisk, tydlig och tidseffektiv.There are several ways to create music. Some ways are more unconventional than others, however. One particular method does not require professional audio editing softwares or digital music instruments compatible with computers. Instead, the only thing required, apart from a music instrument, is video recording equipment and video editing software. The purpose of this study is to examine how well people can –using a video tutorial containing speech, graphical elements and real time instructions- learn how to create their own music. A small-scale, initial study was conducted to find people (without any past experience of music creation) willing to take part in a supervised user test. The supposed amount of test subjects was kept at a minimum due to a current covid19-pandemic, as well as the nature of the test itself. Every respondent was enthusiastic about testing the tutorial and its content. Through an iterative design and editing process, a video tutorial was created with the intent to answer the purpose of this study. The video tutorial was shown to every test subject, whereupon they were instructed to edit their own, predetermined, short musical pieces. The results of the quality-based tests show that musical content creation can be taught, given that the tutorial is clear, pedagogical and efficient.
Books on the topic "Stop-motion animation films"
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Geleyn, Yves, and Vinciane Verguethen. Motion factory: Les ficelles du monde animé. Paris: Pyramyd, 2014.
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Lauridsen, Craig. Creating a stop motion story: Unlock your imagination. Wellington, New Zealand: Acumen, 2015.
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Pickett, David (David M.), author, ed. The LEGO animation book: Make your own LEGO movies! San Francisco, CA: No Starch Press, Incorporated, 2017.
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Pettigrew, Neil. The stop-motion filmography: A critical guide to 297 features using puppet animation. Jefferson, N.C: McFarland & Co., 2008.
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Maselli, Vincenzo. Anatomy of a puppet: Design driven categories for animated puppets' skin. Milano, Italy: FrancoAngeli, 2020.
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Geijutsusai, Bunkachō Media, ed. Film, special screening, Tomoyasu Murata, Stop Motion Master, Sat., Feb. 23 at 3, 5 & 7 pm. New York, NY: Japan Society, 2019.
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Gasek, Tom. Frame by Frame Stop Motion: NonTraditional Approaches to Stop Motion Animation. CRC Press LLC, 2013.
Find full textBook chapters on the topic "Stop-motion animation films"
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Ghosh, Kerenza. "Chapter 4. Exploring animality and childhood in stop-motion animation Prokofiev’s Peter & the Wolf." In Children’s Literature, Culture, and Cognition, 52–70. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.16.04gho.
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This chapter presents animality as a way to illuminate interconnected relations between children and animals in film through an analysis of stop-motion animation Prokofiev’s Peter & the Wolf (Templeton 2006), adapted from a symphonic fairy tale by Sergei Prokofiev (1936). It argues for animality as a core concept in preserving animal essence and credibility while exploring how animal characters integrate the human and nonhuman. Interdependence between animals and children is considered through notions of “significant otherness” (Haraway 2003) and “childhoodnature” (Cutter-Mackenzie-Knowles, Malone, and Barratt Hacking 2020). The chapter also examines how the film’s material qualities accentuate its production of animality.
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Kılınçarslan, Yasemin. "A Woman Director in the History of Animated Film." In Advances in Media, Entertainment, and the Arts, 159–71. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1774-1.ch011.
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Rapidly spreading computer technologies cause many classical art applications to disappear. One of these is the classic stop motion animation cinema. Animation film director Lotte Reiniger has an important place in the history of cinema both through her personality and films. The avant-garde style of the director puts her in the category of modern artists. Reiniger's technical and stylistic innovations in the art of animation are still important. In this study, the artistic life and film aesthetics of the Lotte Reiniger will be discussed and the elements that make it an auteur method will be examined through her animation films.
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Motrescu-Mayes, Annamaria, and Heather Norris Nicholson. "Reimagining Boundaries: Amateur Animations." In British Women Amateur Filmmakers, 196–226. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420730.003.0008.
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Very few amateur women filmmakers chose to focus on animation and none have been identified in the colonial settings considered in this book. This chapter discusses varied approaches to animation and suggests that early stop motion experiments were entertaining acts of story-telling and capturing scenes of childhood. Some filmmakers added animated titling sequences to their films and used special visual effects, either working on their own, with a partner or as part of a larger group as seen in films by the Grasshopper Group and Leeds Animation Workshop. Working at home characterises many of this chapter's examples although some teachers have explored animation with children of different ages. IAC records and reminiscences trace over eighty years of women's involvement including still active practitioners and many invisible and under-acknowledged contributors to Britain's professional mid century animation industry
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Kraaikamp, Nanette. "Drawings to Remember." In Drawn from Life, 129–42. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748694112.003.0008.
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South African Artist William Kentridge’s Drawings for Projection films animate his charcoal drawings. This chapter analyses Kendridge’s animated film Felix in Exile (1994), for which forty charcoal drawings were amended and filmed during each step of the work’s stop-motion animation process. Felix in Exile addresses the traumatic history of South Africa during apartheid and provides a good meta-level insight into the process of drawing. This chapter explores how Kentridge’s drawing mechanisms and the representation of history, time and memory are interrelated. Questions examined include: How are mechanisms of drawing and animation related to history? How does Felix in Exile mediate time and memory? What is it exactly that causes this film’s affect? This chapter reflects on these questions by using Walter Benjamin’s philosophical texts, On the Concept of History (1942) and On the Mimetic Faculty (1933) in conjunction with theoretical literature on drawing in order to analyse Kentridge’s work.
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"calendar of animation festivals and film festivals incorporating animation." In Stop Motion, 221–34. Elsevier, 2008. http://dx.doi.org/10.1016/b978-0-240-52055-1.50021-5.
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Barrier, Michael. "Warner Bros.,1945-1953." In Hollywood Cartoons, 467–500. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195037593.003.0013.
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Abstract On 1 July 1944, Leon Schlesinger sold his studio to Warner Bros. for $700,000. He remained associated with the studio in a limited way by retaining 25 percent of the profits from the merchandising of the characters, but Edward Selzer, a Warner Bros. veteran with no animation experience (he had been in charge of the Warner trailer and title department for the previous seven years) took Schlesinger ‘s place at the head of the renamed Warner Bros. Cartoons, Inc. When Warners bought the cartoon studio, it acquired along with it the contracts of the directors and a few key writers and animators. Within a year, though, two of the four directors had been replaced. Frank Toshlin left in September 1944, after two years back on the staff, to direct stop-motion puppet films for the John Sutherland studio. He saw this change, Toshlin said many years later, as yet another step toward writing and eventually directing live-action films. Bob McKimson, promoted from Bob Clampett ‘s unit, took Toshlin ‘s job. By 7 May 1945, Clampett, too, was no longer a director of Warner Bros. cartoons; that was when a Selzer memorandum told the studio that Art Davis would be Clampett ‘s successor.
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Rehak, Bob. "Chains of Evidence." In More Than Meets the Eye. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479813155.003.0004.
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A certain class of film acting has always depended on special effects for its realization. This chapter traces the history of augmented performance from its roots in cel and stop-motion animation to the digital “synthespian,” using the case of Gollum in the Middle Earth trilogy to argue that the sense of life for these characters relies on a “chain of evidence” through which the animator’s (and later actor’s) performance is channeled into the artificial screen body. Willis O’Brien’s creation of King Kong receives extended scrutiny, as does the 2001 film Final Fantasy: The Spirits Within. Ultimately, the chapter argues that augmented performance is central to the transmedia presence of virtual actors across media and platforms.