Thesis (Ph. D.)--University of Hong Kong, 2009. / Includes bibliographical references (leaves 258-263). Also available in print.

Thesis (Ph. D.)--University of Washington, 2003. / Vita. Includes bibliographical references (p. 202-209).

published_or_final_version / Computer Science and Information Systems / Master / Master of Philosophy

No description available.

This thesis is a systematic study of significant American television animation programs produced between 1948 and 1980, with special mention given to selected works produced by three influential studios: Hanna-Barbera, Jay Ward and Filmation. It considers how outside forces such as network television censorship, grassroots political activism, and other social and political forces served to limit how the genre developed, and the extent to which the producers chose to test the limits to get their points across. It provides a discussion of masculine images in television animation of the 1950s and 1960s, and of the reactions of television animation producers to outside concerns regarding "violence" in children's programming, and the threat of censorship related to this, in the 1970s. My thesis demonstrates that television animation producers, as a result of the need to remain actively involved in production, were forced to change and adapt with the times around them.

Closed captioning has not improved since early 1970s, while film and television technology has changed dramatically. Closed captioning only conveys verbatim dialogue to the audience while ignoring music, sound effects and speech prosody. Thus, caption viewers receive limited and often erroneous information. My thesis research attempts to add some of the missing sounds and emotions back into captioning using animated text. The study involved two animated caption styles and one conventional style: enhanced, extreme and closed. All styles were applied to two clips with animations for happiness, sadness, anger, fear and disgust emotions. Twenty-five hard of hearing and hearing participants viewed and commented on the three caption styles and also identified the character’s emotions. The study revealed that participants preferred enhanced, animated captions. Enhanced captions appeared to improve access to the emotive information in the content. Also, the animation for fear appeared to be most easily understood by the participants.

Closed captioning has not improved since early 1970s, while film and television technology has changed dramatically. Closed captioning only conveys verbatim dialogue to the audience while ignoring music, sound effects and speech prosody. Thus, caption viewers receive limited and often erroneous information. My thesis research attempts to add some of the missing sounds and emotions back into captioning using animated text. The study involved two animated caption styles and one conventional style: enhanced, extreme and closed. All styles were applied to two clips with animations for happiness, sadness, anger, fear and disgust emotions. Twenty-five hard of hearing and hearing participants viewed and commented on the three caption styles and also identified the character’s emotions. The study revealed that participants preferred enhanced, animated captions. Enhanced captions appeared to improve access to the emotive information in the content. Also, the animation for fear appeared to be most easily understood by the participants.

No description available.

No description available.

This thesis is a systematic study of significant American television animation programs produced between 1948 and 1980, with special mention given to selected works produced by three influential studios: Hanna-Barbera, Jay Ward and Filmation. It considers how outside forces such as network television censorship, grassroots political activism, and other social and political forces served to limit how the genre developed, and the extent to which the producers chose to test the limits to get their points across. It provides a discussion of masculine images in television animation of the 1950s and 1960s, and of the reactions of television animation producers to outside concerns regarding "violence" in children's programming, and the threat of censorship related to this, in the 1970s. My thesis demonstrates that television animation producers, as a result of the need to remain actively involved in production, were forced to change and adapt with the times around them.