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Disney and Japanese feature-length animations, which have led the world's animation markets for a long time, show their own unique, inherent characteristics in the representation of animated images. As such, the analysis on the characteristics of the signification system of Disney and Japanese feature length animations that this thesis centrally deals with eventually examines the aesthetic characteristics and value of these two animations. Moreover, this thesis examines how the animated representations of Disney and Japanese feature-length animations, which individually have their OV..r1l signification system and aesthetic characteristics, are accepted by the audience. This can be considered the analyses on 'the reality effect' that these two animations pursue. In general, most animation works focusing on characters and stories contain the signification systems related to 'denotation' and 'connotation'. However, the aesthetic representational tendency that appears differently, depending on the characteristics of the signification system that each animation work pursues, can be known through creative practice. In addition, noteworthy is the fact that the tendency of aesthetic representation shown in each work appears differently, depending on the signification system that the director and animator pursue even if the same theme is dealt with. From this point of view, the characteristic difference of the two animations' signification system and aesthetic representation can be explained through the terms 'denotative' for Disney and 'connotative' for Japanese animation. Disney animation strongly shows the tendency that makes the audience directly immersed in the theme and message of the work conveyed further in the myths by pursuing denotative signification system and aesthetic representation. So characters movements based on 'typified animation principles', 'the typified character design ', 'the realistic background design' , 'the application of camera techniques of Hollywood live-action film', and the entertainment-like 'musical elements' to embody hyper-reality in the animated representation of Disney animation can be said to be aesthetic techniques and elements to make the consciousness of the audience immersed and led into animation works eventually. On the other hand, Japanese feature-length animation emphasises connotative signification system and aesthetic representation. Unlike Disney animation, the tendency to make the audience contemplate and look for the connotation contained in the work by itself appears prominently. And, unlike Disney animation, in the case of Japanese animation, the 'dissenting and arbitrary interpretation' of the theme, the message that the animation work intends to convey and myths pursued is bound to appear diversely, depending on the audience's experiences and cultural and social backgrounds. Through not only theoretical discourse on the research theme but also Beautiful Things in the World produced as a creative practice related to the research theme, this thesis also more practically approaches the characteristics of the signification system that these two Disney and Japanese feature length animations have. Particularly, by attempting to materialise and compare the signification systems that each Disney and Japanese feature length animation pursues in the one work through creative practice, eventually this research thesis more practically compares and analyses the essential differences that the characteristics of aesthetic representations of these two animations have from a communicative point of view.

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This thesis examines two main things. Firstly, animation as a set of signifying practices, and its relationship to Film and Media Studies; secondly, the ways in which those working within Animation Studies might constitute an identifiable academic community. This synthesis of reflection on the epistemological dimension of animation, and analysis of what animation scholars actually do in their various contexts, is what gives the research its originality. The nature of knowledge, its classification along disciplinary lines, and the emergence of new and hybrid forms of knowledge - such as Film and Media Studies - are all outlined in the opening sections. The central argument is that knowledge must be viewed in its historical and institutional contexts, and that people's active engagement with these contexts is a productive force. The ontological status of the animated image is delineated via some case studies and textual analyses. The epistemological basis of animation is assessed by looking at it as a 'discursive field' rather than as a 'disciptfne'. The specifically pedagogic dimension of animation is approached via the rich set of debates associated with practice-theory relations in the sphere of cultural production (and education in particular). It is this discursive/dialogical dimension that underpins the key findings of the thesis: that we need to view academic behaviours in the context of theories of 'recognition' and identity-formation. In this respect, the ways that people talk about, name and recognise what they do has a very real impact on their social activity. Methodologically, the thesis uses a combination of textual analysis and theoretical reflection on the nature of animation and knowledge about it. A range of empirical data related to animation teaching - syllabuses, email questionnaires and e-group discussion posts - are analysed, highlighting the discursive aspects of interview exchanges. In particular, the impact of online exchanges, and the nature of online communities, is examined.

This thesis examines the characterization of blacks in contemporary British-made animated films exploring racial stereotyping and locating significant absences. Recent work produced within Britain has largely been destined for television. This thesis argues that Britain's multiculturality has not been adequately represented in popular modes of television animation. This is particularly evident in the work of Aardman, Britain's premier animation studio.

As the pre-production phase is a vital process in feature-length animation filmmaking, this study focuses on the arrangement of this phase in Iranian animation film projects. They are Mouse and Cat, Tak Taz, Namaki & The Giant, The Sun of Egypt, Jamshid & Khorshid, Simorq’s Heart and Tehran 2121. In support of the investigation of these, the research reviews the background of Iranian cinema, television and animation. It looks also at the emergence and evolution of the pre-production phase in Disney and Pixar studios. Moreover, comparisons of pre-production phases implemented by Japanese, British and Pixar filmmakers are complementary contexts highlighting this process. It comprises four key stages: writing stages e.g. script; visualization stages e.g. concept design; scene setting e.g. storyboard, and a rough version of a film in the form of a story reel (Yun Mou et al, 2013). Implementation of these stages needs strategies to be employed by successful filmmakers. Based on such facts, a theoretical comparison analyses the arrangement of the pre-production phase in the seven projects. The findings indicate two types of factors affecting the arrangement of this phase. Indirect factors such as the dependency on management by government and its financial support constitutes issues influencing productions. Direct factors include filmmakers’ abilities and their direct actions on production.

Text in English, with abstracts and keywords in English and Sesotho / This doctoral study investigates the practice of narrative strategies in the creation of animated poetry-film. The status of the animator as auteur of the poetry-film is established on the grounds of the multiple instances of additional authoring that the animated poetry-film requires. The study hypothesises that diverse narrative strategies are operative in the production of animated poetry-film. Two diametrically opposed strategies are identified as ideal for the treatment of lyrical narrative. The first narrative strategy explored is that of metamorphosis, demonstrating how the filmic material originates and grows organically via stream of consciousness and free association. The second narrative strategy entails a calculated approach of structuring visual imagery and meaning through editing from a pre-existing visual lexicon. In both cases, the interdependence is explored between embodied activity and conceptual activity, between tacit and explicit knowledge in the creative act. These two strategies are practically investigated through my creative praxis, specifically the production of two animated poetry-films, Mon Pays and Parys suite. Through these works, the strategies are tested for their effectivity in communicating visual content not contained in the poetry-text, yet adding value to the poetry/animated film hybrid. Animated poetry-film is theoretically contextualised in terms of intermediality and the specific multi-modal nature of the medium. The construction of animated poetry-film is explored through the research study consisting of a thesis and two animated poetry films, with the hope of contributing to research on animated poetry-film specifically, and to animation theory within the South African context. / Dinyakišišo tše tša bongaka di nyakišiša tiro ya mekgwa ya kanagelo ge go hlangwe difilimi tša go ekišwa ke diphoofolo. Maemo a moekiši wa diphoofolo bjalo ka molaodi wa filimi ya theto a hwetšwa go seemo sa mabaka a mantši a go ngwala ka tlaleletšo fao go nyakwago ke filimi ya theto ya go ekišwa ke diphoofolo. Dinyakišišo tše di šišinya gore mekgwa ya kanegelo ye e fapafapanego e a šomišwa ka go tšweletšo ya filimi ya go ekišwa ke diphoofolo. Mekgwa ye mebedi ye e thulanago e a hlaolwa bjalo ka yeo e swanetšego go šomišwa go kanegelo ya mantšu. Leano la mathomo la kanegelo leo le utollotšwego ke la kgolo ya diphoofolo, leo le laetšago ka fao dingwalwa tša filimi di tšwelelago le go gola ka tlhago ka tatelano ka sengwalwa seo se ngwadilwego ka moela wa kwešišo le poledišano ya go hloka mapheko. Leano la bobedi la klanegelo le mabapi le mokgwa wo o nepišitšwego gabotse wa go beakanya seswantšho sa go bonwa le tlhalošo ka go rulaganya go tšwa go polelo ya peleng ya seo se bonwago. Mabakeng ka bobedi, go amana fa go utollwa magareng ga tiro ye e kopantšwego le tiro ye e gopolwago, magareng ga tsebo ye e kwešišwago le yeo e lego nyanyeng ka tirong ya boitlhamelo. Mekgwa ye mebedi ye e a nyakišišwa ka go diriša mokgwa wa ka wa boitlhamelo, kudukudu go tšweletšwa ga difilimi tše pedi tša go ekišwa ke diphoofolo tšeo di bitšwago, Mon Pays le Parys suite. Ka mešomo ye, mekgwa ye e lekwa ka ga go šoma gabotse ga yona gabotse go hlagiša diteng tša go bonwa tšeo di sego gona ka gare ga Sengwalwa sa theto, le ge go le bjale e tsenya boleng go mohuta wa filimi ya theto/ya kekišo. Filimi ya theto ya go ekišwa ke diphoofolo e amantšhwa ka teori mabapi le kgokaganyo le sebopego sa yona sa mekgwa ye mentši ya polelo. Tlhamo ya filimi ya theto ya go ekišwa ke diphoofolo e utollwa ka dinyakišišo tšeo di nago le taodišo le difilimi tše pedi tša theto tša go ekišwa ke diphoofolo, ka kholofelo ya go tsenya letsogo go dinyakišišo mabapi le filimi ya theto ya go ekišwa ke diphoofolo kudukudu, le go teori ya kekišo ka gare ga seemo sa Afrika Borwa. / Art and Music / Ph. D. (Art)