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Books on the topic 'Traditional animation'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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1

Roberts, Steve. Character animation in 3D: Use traditional drawing techniques to produce stunning CGI animation. Oxford: Focal, 2004.

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2

Dyal, Susan. Preserving traditional arts: A toolkit for Native American communities. [Los Angeles]: American Indian Studies Center, University of California, Los Angeles, 1985.

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3

Solère, J. L. L'embryon, formation et animation: Antiquité grecque et latine tradition hébraïque, chrétienne et islamique. Paris: J. Vrin, 2008.

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4

Valentini, Alessandra. Agrippina Maggiore. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-346-5.

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On October 18th of 33 AD, after five years of confinement on the island of Ventotene, Agrippina the Elder, Augstus’ niece, Germanicus Caesar’s wife, Caligula’s mother and Nero’s grandmother, died. At first she was a witness and then she assumed a leading role in the fight for the choice of the prince's heir, held up by a consistent group of supporters and animating the opposition in the Domus Augusta. In recent years scholars’ attention has been dedicated to the reconstruction of Augustus and Tiberius’ politics and to the organization of the groups animating the fight for the heir’s choice in the domus principis. To Agrippina the Elder, who assumed for decades a central role in the dynamics of the principate’s succession, scholars didn’t give specific attention, favoring, instead, the male perspective in the Augustan and Tiberian politics or the study of other women linked to men who assumed important role on the political scene. In a historical context in which the domus Augusta became the space of the political discussion and where women easily acquired spaces in the political field, Agrippina the Elder assumed an increasingly important role, acting in fields traditionally precluded to women and obtaining major possibilities to interfere in politics.
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5

Xiang, Man. Integration of Domestic Animation Films and Traditional Culture. LONGMAN PRESS LTD, 2023.

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6

Frame-By-Frame Stop Motion: The Guide to Non-Traditional Animation Techniques. Taylor & Francis Group, 2017.

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7

How to make animated films: Tony White's masterclass on the traditional principles of animation. Amsterdam: Elsevier/Focal Press, 2009.

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8

Character Animation in 3D, : Use traditional drawing techniques to produce stunning CGI animation (Focal Press Visual Effects and Animation). Focal Press, 2004.

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9

Jones, Angie, and Jamie Oliff. Thinking Animation: Computer Graphics Skills for Traditional 2D Artists. Wiley & Sons, Incorporated, John, 2007.

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10

Frame-By-Frame Stop Motion: The Guide to Non-Traditional Animation Techniques, Second Edition. Taylor & Francis Group, 2017.

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11

White, Tony. How to Make Animated Films: Tony White's Complete Masterclass on the Traditional Principals of Animation. Taylor & Francis Group, 2018.

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12

Bottini, Cinzia. Redesigning Animation: United Productions of America. CRC Press LLC, 2018.

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13

Bottini, Cinzia. Redesigning Animation: United Productions of America. CRC Press LLC, 2018.

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14

Bottini, Cinzia. Redesigning Animation: United Productions of America. Taylor & Francis Group, 2018.

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15

Redesigning Animation: United Productions of America. Taylor & Francis Group, 2018.

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16

Redesigning Animation: United Productions of America. CRC Press LLC, 2018.

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17

Redesigning Animation: United Productions of America. CRC Press LLC, 2018.

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18

Spencer, Kathryn. How to Make Animated Films: Tony White's Masterclass Course on the Traditional Principles of Animation. CRC Press LLC, 2013.

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19

Spencer, Kathryn. How to Make Animated Films: Tony White's Masterclass Course on the Traditional Principles of Animation. CRC Press LLC, 2013.

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20

Spencer, Kathryn. How to Make Animated Films: Tony White's Masterclass Course on the Traditional Principles of Animation. CRC Press LLC, 2013.

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21

Perrott, Lisa. ZigZag. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.038.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Animators and visual music artists have long experimented with technological devices to explore the image–sound relationship, often innovating new ways of composing motion in time and space. For Len Lye this involved pioneering methods of animation and exploring the material qualities of organic materials such as film and metal, creating a substantial body of handmade animations that continue to affect audiences and inspire contemporary practitioners. Lye’s work provided the inspiration and raw materials for the development ofZig Zag, an homage to Lye, which integrated traditional musical instruments with digital media, remixed and projected visual imagery, and improvised theatrical performance. This complex process of remediation is discussed in relation to the extracinematic animation of both Lye’s sculptures and the theatrical performances. Extending the term “animation” is fundamental to understanding the wayZig Zagis a reanimation of the latent material life force embodied in Lye’s resting sculptures.
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22

Seargeant, Philip. Teaching the History of English OnlineOpen Education and Student Engagement. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190611040.003.0029.

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Within the context of a rapidly changing educational landscape, this chapter addresses issues around the teaching of the history of English to non-traditional students via online and multimedia platforms. It uses as a case study the video series “The History of English in Ten Minutes”—a ten-part animation series broadcast via YouTube and iTunesU—as a means of examining how pedagogical approaches which use new media resources can actively engage large, often non-traditional student audiences. The chapter reviews the design, production, and dissemination of these teaching materials and the implications of their reception and uptake for contemporary pedagogical approaches to the history of English.
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23

Norris, Van. British Television Animation, 1997-2010: Drawing Comic Tradition. Palgrave Macmillan, 2014.

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24

Norris, V. British Television Animation 1997-2010: Drawing Comic Tradition. Palgrave Macmillan, 2014.

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25

British Television Animation 1997-2010: Drawing Comic Tradition. Palgrave Macmillan, 2014.

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26

Norris, V. British Television Animation 1997-2010: Drawing Comic Tradition. Palgrave Macmillan Limited, 2014.

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27

Tutino, Stefania. All That Live Must Die, Passing Through Nature to Eternity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190694098.003.0011.

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This chapter presents the third and final case study showing how relevant probabilism was in the development of modern Western culture. In early modern Europe, the emergence of new medical and philosophical theories on the nature and development of fetuses challenged the traditional doctrine, which was based on the Aristotelian notion of animation. In this situation, theologians, natural philosophers, and medical doctors were confronted with new and unprecedented doubts and dilemmas, which touched on the crucial medical, biological, philosophical, theological, and moral problem of how to establish what it means for humans to be alive. This chapter explains the role of probabilism in addressing one of these dilemmas, namely whether miscarried fetuses were in fact endowed with a soul, and consequently whether they should be baptized.
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28

Holliday, Christopher. The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.001.0001.

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The Computer-Animated Film: Industry, Style and Genre is the first academic work to examine the genre identity of the computer-animated film, a global phenomenon of popular cinema that first emerged in the mid-1990s at the intersection of feature-length animated cinema and Computer-Generated Imagery (CGI). Widely credited for the revival of feature-length animated filmmaking within contemporary Hollywood, computer-animated films are today produced within a variety of national contexts and traditions. Covering thirty years of computer-animated film history, and analysing over 200 different examples, The Computer-Animated Film: Industry, Style and Genre argues that this international body of work constitutes a unique genre of mainstream cinema. It applies, for the very first time, genre theory to the landscape of contemporary digital animation, and identifies how computer-animated films can be distinguished in generic terms. This book therefore asks fundamental questions about the evolution of film genre theory within both animation and new media contexts. Informed by wider technological discourses and the status of animation as an industrial art form, The Computer-Animated Film: Industry, Style and Genre not only theorises computer-animated films through their formal properties, but connects elements of film style to animation practice and the computer-animated film’s unique production contexts.
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29

Roberts, Rosemary. The Making and Remaking of China’s “Red Classics". Edited by Li Li. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390892.001.0001.

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This book brings together research on China’s “red classics” across the entire Maoist period through to their re-emergence in the reform era. It critically investigates the changing nature and significance of China’s “red classics” at each point of their (re/)emergence in three key areas: their socio-political and ideological import, their aesthetic significance and their function as a mass cultural phenomenon. The book is organised in two parts in chronological order covering the Maoist period and post-Cultural Revolution respectively, and includes a representative range of genres including novels, short stories, films, TV series, picture books (lianhuanhua), animation and traditional style paintings (guohua). The book illuminates important questions such as: What determined what could and could not become a “red classic”? How was the real revolutionary experience of authors shaped by the regime to create “red classic” works? How were traditional forms incorporated or transformed? How did authors and artist negotiate the treacherous waters of changing political demands? And how did the “red classics adapt to a new political environment and a new readership in new millennium China? While most of the chapters focus primarily on one of the two periods under consideration many also follow the fate of their subject through both periods, creating overall a highly coherent overview of the changing phenomenon of the “red classics” over the seventy-five years since the Yan’an Forum and in the process simultaneously tracing the changing dynamic between the CCP and these classic narratives of the communist revolution.
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30

Napier, Susan. An Anorexic in Miyazaki’s Land of Cockaigne. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190240400.003.0016.

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This chapter discusses how copious excretion and vomit feature in popular animator Miyazaki Hayao's Academy-award winning feature Spirited Away (2001), arguing that these bodily eruptions are critiques of rampant consumer capitalism in contemporary Japan. Set in a carnivalesque world revolving around a luxurious bathhouse for gods of all shapes and sizes, the film repeatedly portrays scenes of food excess, denial, and expulsion, which can be interpreted as anorexia and bulimia. The chapter sees the eating frenzies depicted as Miyazaki's metaphor for materialistic overconsumption, and perceives the strong work ethic and self-denial that bring about the protagonist Sen's salvation as Miyazaki's call for a return to traditional values.
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31

Eustace, Nicole. Emotion and Political Change. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038051.003.0009.

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This chapter examines how political history is reshaped by attention to the emotions. It explores how sentiment undergirded political identities and allegiances and how emotion shaped civic memory and consciousness in revolutionary and early-nineteenth-century America. From the American Revolution to the French Revolution to the Haitian Revolution, from the rise of eighteenth-century republicanism to the emergence of nineteenth-century nationalism, emotion proved pivotal to political change. Whether animating the spirit of freedom or sparking action on behalf of the nation, emotion was, by definition, central to patriotism in all its dynamic forms. In addition to this, the chapter also considers why emotions have been excluded from traditional political narratives.
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32

Balboni, Michael J., and Tracy A. Balboni. A Spirituality of Immanence. Edited by Michael J. Balboni and Tracy A. Balboni. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780199325764.003.0012.

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This chapter argues that by secular medicine’s repudiation of religious partners, it ironically establishes itself as a religious-like phenomenon. Medicine is dangerously close to aligning itself with a spirituality of immanence centered on bodily cure and comfort as chief affection or ultimate concern. This realignment away from Western religions and toward a spirituality of immanence monopolizes the structures of medicine, marginalizing the Abrahamic religious traditions, and animating a rival spiritual power. Contemporary medicine is not freed from spirituality or religion. Medicine in its contemporary secular institutions and professions is both intrinsically spiritual in its ultimate concerns and loves and infused with a veiled, quasi-religious structure embedded in its systems. Clinicians are deeply socialized into immanence, leading them to unconsciously avoid or neglect their patients’ spiritual needs.
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33

Tate, Andrew. The Novel. Edited by Joel D. S. Rasmussen, Judith Wolfe, and Johannes Zachhuber. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780198718406.013.30.

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The nineteenth-century novel in English is frequently defined by a theological shape. Fiction was sometimes regarded with suspicion by Christian readers, particularly those shaped by the legacies of the Puritan tradition. Yet alternative understandings of the pervasive influence of evangelical culture emphasize a more complex relationship with the novel, even after the advent of the ‘Higher’ biblical criticism. The chapter builds on Callum Brown’s analysis of what he names the ‘salvation economy’: a matrix of evangelical sermons, hymnody, and popular narrative shaped British culture in the nineteenth century. Conversion, fundamental in evangelicalism, is also a frequent trope in popular fiction. The chapter examines the animating presence of Christian thought in novels by, for example, Charles Dickens, Mary Ward, Emma Jane Worboise, and the Brontë sisters. The chapter gives particular focus to George Eliot whose fiction challenges assumptions regarding the apparent binaries of faith and scepticism and sacred and profane.
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34

Camper, Martin. Letter versus Spirit. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190677121.003.0004.

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Chapter 4 turns its attention to the stasis of letter versus spirit. Traditionally, this stasis has been understood as pitting the exact words of a text against the author’s intent, but the chapter expands the notion of spirit to include other animating forces of textual meaning, such as an overarching principle of interpretation brought by readers to the text. The chapter shows how both the letter and spirit of a text can be divided, with arguers disputing the text’s real versus apparent letter or the author’s real versus apparent intent. To demonstrate how arguers construe authorial intention for their own ends, the chapter analyzes the controversy during the 2008 presidential campaign over the “God damn America” sound bite extracted from a sermon preached by Jeremiah Wright, Barack Obama’s then-pastor. Critics dismissed Wright’s defense of his intentions, pointing to the sermon’s exact wording as evidence of his, and by extension Obama’s, anti-Americanism.
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35

Brunstetter, Daniel R. Just and Unjust Uses of Limited Force. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192897008.001.0001.

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Limited force—no-fly zones, limited strikes, Special Forces raids, and drones strikes outside “hot” battlefields—has been at the nexus of the moral and strategic debates about just war since the fall of the Berlin Wall but has remained largely under-theorized. The main premise of the book is that limited force is different than war in scope, strategic purpose, and ethical permissions and restraints. By revisiting the major wars animating contemporary just war scholarship (Kosovo, Afghanistan, Iraq, the drone “wars,” and Libya) and drawing insights from the just war tradition, this book teases out an ethical account of force-short-of-war. It covers the deliberation about whether to use limited force (jus ad vim), restraints that govern its use (jus in vi), when to stop (jus ex vi), and the after-use context (jus post vim). While these moral categories parallel to some extent their just war counterparts of jus ad bellum, jus in bello, jus post bellum, and jus ex bello, the book illustrates how they can be reimagined and recalibrated in a limited force context, while also introducing new specific to the dilemmas associated with escalation and risk. As the argument unfolds, the reader will be presented with a view of limited force as a moral alternative to war, exposed to a series of dilemmas that raise challenges regarding when and how limited force is used, and provided with a more precise and morally enriched vocabulary to talk about limited force and the responsibilities its use entails.
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36

Luc, Heres, ed. Time in GIS: Issues in spatio-temporal modelling. Nederlandse Commissie voor Geodesie, 2000. http://dx.doi.org/10.54419/v5m55p.

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Most Geographic Information Systems started as a substitute for loose paper maps. These paper maps did not have a built-in time dimension and could only represent history indirectly as a sequence of physically separate images. This was in fact imitated by these first generation systems. The time dimension could only be represented by means of separate files. A minority of Geographic Information Systems however, started their life as a substitute for ordered lists and tables with a link to paper maps. In these lists, the inclusion of a time com-ponent in the form of a data field was quite usual. This method too was copied by the systems that replaced these paper tables. The current trend in the development of Geographic Information Systems is towards the inte-gration of the classical map-oriented concepts with the table-oriented concepts. This often leads to the explicit embedding of the time component in the GIS environment. The Subcommission Geo-Information Models of the Netherlands Geodetic Commission has organized a workshop to discuss the theory and practice of time and history in GIS on 18 May 2000. This publication contains 6 articles prepared for the workshop. The first paper, written by Donna Peuquet, gives a bird’s-eye view of the current state of the art in spatio-temporal database technology and methodology. She is a well-known expert in the field of spatio-temporal information systems and the author of many articles in this field. The second article is written by Monica Wachowicz. She describes what you can do with a GIS once it contains a historical dimension and how you can detect changes in geographic phenomena. Furthermore, her article suggests how geographic visualisation and knowledge discovery techniques can be integrated in a spatio-temporal database. How to record the time dimension in a database is one thing, how to show this dimension to users is another one. In his contribution, Menno-Jan Kraak first tells about the techniques, which were used in the age of paper maps and the limitations these methods had. He goes on to explain what kind of cartographic techniques have been developed since the mass introduc-tion of the computer. Finally he describes the powerful animation methods which currently exist and can be used on CD-ROM and Internet applications. Peter van Oosterom describes how the time dimension is represented in the information sys-tems of the Cadastre and how this is used to publish updates. The Cadastre has a very long tradition in incorporating the time component, which has always been an inherent component of the cadastral registration. In former times this was translated in very precise procedures about how to update the paper maps and registers. Today it is translated in spatio-temporal database design. The article of Luc Heres tells about the time component in the National Road Database, origi-nally designed for traffic accident registration. This is one of the systems with ''table'' roots and with quite a long tradition in handling the time dimension. He elucidates first the core objects in the conceptual model and how time is added. Next, how this model is translated in a logical design and finally how this is technically implemented. Geologists and geophysicians also have a respectable tradition in handling the time dimension in the data they collect. This is illustrated in the last paper, which is written by Ipo Ritsema. He outlines how time is handled in geological and geophysical databases maintained by TNO. By means of some practical cases he illustrates which problems can be encountered and how these can be solved.
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37

Smith, Briana J. Free Berlin. The MIT Press, 2022. http://dx.doi.org/10.7551/mitpress/14167.001.0001.

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An alternative history of art in Berlin, detaching artistic innovation from art world narratives and connecting it instead to collective creativity and social solidarity. In pre- and post-reunification Berlin, socially engaged artists championed collective art making and creativity over individual advancement, transforming urban space and civic life in the process. During the Cold War, the city's state of exception invited artists on both sides of the Wall to detour from artistic tradition; post-Wall, art became a tool of resistance against the orthodoxy of economic growth. In Free Berlin, Briana Smith explores the everyday peculiarities, collective joys, and grassroots provocations of experimental artists in late Cold War Berlin and their legacy in today's city. These artists worked intentionally outside the art market, believing that art should be everywhere, freed from its confinement in museums and galleries. They used art as a way to imagine new forms of social and creative life. Smith introduces little-known artists including West Berlin feminist collective Black Chocolate, the artist duo paint the town red (p.t.t.r), and the Office for Unusual Events, creators of satirical urban political theater, as well as East Berlin action art and urban interventionists Erhard Monden, Kurt Buchwald, and others. Artists and artist-led urban coalitions in 1990s Berlin carried on the participatory spirit of the late Cold War, with more overt forms of protest and collaboration at the neighborhood level. The temperament lives on in twenty-first century Berlin, animating artists' resolve to work outside the market and citizens' spirited defenses of green spaces, affordable housing, and collectivist projects. With Free Berlin, Smith offers an alternative history of art in Berlin, detaching artistic innovation from art world narratives and connecting it instead to Berliners' historic embrace of care, solidarity, and cooperation.
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