Esta dissertação tem como objetivo geral avaliar como propriedades técnicas particulares, e aspectos afetivos, expressivos e culturais contribuem para a vitalidade, apropriação e criação de novos usos para o GIF animado, considerando as limitações e defasagens dessa tecnologia. O referencial teórico divide-se em três partes: na primeira, são tratadas questões referentes às propriedades técnicas do formato GIF, suas vantagens e limites, e seu histórico de usos e aplicações; na segunda, são explorados fenômenos culturais que podem ter implicado nas apropriações do GIF animado; e na terceira, o GIF animado é investigado a partir de seus aspectos afetivos e expressivos. Na investigação empírica, recorreu-se à seleção por bola de neve para identificar sujeitos que usam intensamente GIFs animados em suas práticas cotidianas. Foram realizadas dezesseis entrevistas qualitativas semiestruturadas, a partir das quais foram feitas a análise e discussão dos resultados. Em termos gerais, concluiu-se que a vitalidade do GIF animado deve-se a uma combinação de questões técnicas inerentes às materialidades da tecnologia, demandas de consumo próprias da cultura contemporânea e, também, ao surgimento de espaços adequados para sua circulação e proliferação. / This study aims primarily to evaluate how specific technical proprieties, and affective, expressive and cultural aspects contribute to the vitality, appropriation and creation of new uses for the animated GIF, regarding its technical restrictions. The theoretical part is divided in three chapters: in the first one, we deal with the matter of the technical features of the GIF format, its advantages and limitations, and the history of its uses and applications; in the second chapter, some of the cultural phenomena that made the appropriations of the animated GIF possible are scanned; finally, in the third one, the animated GIF is investigated from its affective and expressive aspects. To develop the empirical research we identified, through snowball selection, subjects who use animated GIFs intensively on their daily practices. Then, sixteen qualitative interviews were conducted, from which emerged the analysis and discussion of results. In summary, we concluded that the vitality of the animated GIF was made possible due to a combination of technical and material aspects, intrinsic to this technology, consumption demands typical of the present-day culture and, also, to the emergence of spaces suited to its circulation and proliferation.

abstract: Believe It! is an animated interactive computer program that delivers cognitive restructuring to adolescent females' irrational career beliefs. It challenges the irrational belief and offers more reasonable alternatives. The current study investigated the potentially differential effects of Asian versus Caucasian animated agents in delivering the treatment to young Chinese American women. The results suggested that the Asian animated agent was not significantly superior to the Caucasian animated agent. Nor was there a significant interaction between level of acculturation and the effects of the animated agents. Ways to modify the Believe It! program for Chinese American users were recommended. / Dissertation/Thesis / M.C. Counseling 2013

Orientador: Ana Luiza Bustamante Smolka / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-11T01:40:48Z (GMT). No. of bitstreams: 1 Bortoletto_Maira_M.pdf: 709175 bytes, checksum: 902ec7efac0324757293707845dba148 (MD5) Previous issue date: 2008 / Resumo: Esta dissertação problematiza a influência dos desenhos animados sobre o público infantil e investiga o processo de recepção deste tipo de produção em crianças, em dois ambientes escolares diferentes. Refletindo sobre os repertórios culturais, elementos constitutivos do mundo infantil e contexto da recepção das mídias como partes integrantes essenciais do processo comunicativo, tem também o intuito de discutir o funcionamento da ideologia que permeia as condições de produção. O desenvolvimento teórico da presente proposta está ancorado, principalmente, em dois autores, Bakhtin e Vygotski. As análises das interações verbais das crianças, durante e depois da recepção do desenho animado ¿Tio Patinhas¿, colocam em evidência e nos permitem compreender diversos aspectos que atuam no âmbito das relações sociais - o imaginário coletivo, gêneros discursivos, imaginação e significação na recepção e compreensão dos desenhos animados / Abstract: The present work investigates the influence of cartoons as social production and inquires about the process of their reception by children. Assuming that: 1. cultural repertories are constitutive of the children¿s world; and 2. the context of midia reception is an essential part of the contemporary communicative process; it has also the aim to discuss the functioning of the ideology which pervades the conditions of production. The empirical study was conducted in two different school environments and the theoretical development of the proposal was mainly anchored on two authors, Bakhtin and Vygotski. The analysis of the verbal interactions of children, during and after reception of the cartoon "Duck Tales", places in evidence and allow us to understand several aspects operating within the framework of social relations - the collective imagination, gender discourses, imagination and meaning in receiving and understanding of cartoons / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação

Atualmente as animações, antes destinadas somente ao público infantil, são sucesso de público inclusive entre adultos. Esses desenhos modernos têm atraído pela tecnologia, pela criatividade e pela mensagem que desejam passar. Crianças e até mesmo adultos são influenciados no imaginário por essas tramas. Raras são as animações que não utilizam animais como personagens principais que interagem com humanos ou que substituem completamente os próprios humanos. Nelas os animais são aproximados dos humanos tanto que até ganham voz e podem ser compreendidos por todos quanto aos seus interesses que, em algumas vezes, são mostrados de forma semelhante ao dos humanos. Adultos costumam compreender essas representações de animais como metáforas de nossas sociedades humanas. Então, nós podemos nos perguntar: antropomorfizar é eticamente correto? O que isso diz sobre nossa cultura? E sobre nossa relação com os animais? Tal dissertação objetiva investigar o que a representação desses animais antropomorfizados diz a respeito de nossa cultura, especialmente sobre o modo como vemos e lidamos com os animais. / Nowadays both, children and adults appreciate animated movies. Families do not need to have children to go to the movies to watch cartoons. These cartoons keep a high appeal due to their technology, creativity and their moral message. People are influenced by these movies in their imagination. It is interesting to note that the main characters of these movies are, usually, anthropomorphized animals. In these animations, the animals are approximated to humans and the animals can be understood by everyone according to their interests. These interests are showed very similar to the humans interests. Adults usually understand these animal representations as metaphors of our society or humanity. So, we can question ourselves: Is anthropomorphizing ethically correct? What does it show about our culture? What about our relationship with other animals? This dissertation aim is to investigate what the animal animated representation tells us about our culture, mainly, about the way that we see and deal with animals.

As people respond strongly to faces and facial features, both consciously and subconsciously, faces are an essential aspect of social robots. Robotic faces and heads until recently belonged to one of the following categories: virtual, mechatronic or animatronic. As an original contribution to the field of human-robot interaction, I present the R-PAF technology (Retro-Projected Animated Faces): a novel robotic head displaying a real-time, computer-rendered face, retro-projected from within the head volume onto a mask, as well as its driving software designed with openness and portability to other hybrid robotic platforms in mind. The work constitutes the first implementation of a non-planar mask suitable for social human-robot interaction, comprising key elements of social interaction such as precise gaze direction control, facial expressions and blushing, and the first demonstration of an interactive video-animated facial mask mounted on a 5-axis robotic arm. The LightHead robot, a R-PAF demonstrator and experimental platform, has demonstrated robustness both in extended controlled and uncontrolled settings. The iterative hardware and facial design, details of the three-layered software architecture and tools, the implementation of life-like facial behaviours, as well as improvements in social-emotional robotic communication are reported. Furthermore, a series of evaluations present the first study on human performance in reading robotic gaze and another first on user’s ethnic preference towards a robot face.

As gender stereotypes could lead to adherence to rape myths later in life, it is important to study the potential development of gender role stereotypes. Based on the theoretical approach of Bandura’s social learning, this mixed methods study sought to expand the literature on children observing gender stereotypes through film viewing. A content analysis of verbal and body language of the highest grossing animated films between 2017-2019 was conducted. The results indicated that most main characters displayed both traditional and non-traditional gender role stereotypes, which is indicative of gender role flexibility. This shows promise that there could be a moderating affect with gender role flexibility, but further research is needed. However, the results found that there was no significant difference between the amount of gender role stereotypes across all the films. It was concluded that there is still a concern for children to be indoctrinated with traditional gender role stereotypes.

Representation of time in cartographic works on the example of maps of historical battles Abstract This study contains an in-depth analysis of possible graphical presentation of the fourth cartographic dimension (time) and utilizes the acquired findings in prototypical animated maps of historical battles. The initial chapter reflects cartography in general, later, the area of animated maps is in focus. The first part of the text is dedicated to the connection of cartography and time. Practical means of time representation are described. Further, a recommended general pattern is specified for design and development of time legend, so that time presentation suits the nature of the depicted theme. Consecutively, this general pattern is applied to a set of pieces of cartographical work depicting (historical) battles. The tangible result of this work is an interactive cartographic animation presenting the battle of Gettysburg and preceding events. Keywords: time, cartography, temporal legend, animated map, battle

Since dental caries in children remains a significant public health problem, this study developed a brief cartoon video e-health intervention focused on parents’ ensuring their children’s engagement in three key oral health behaviors: brushing twice a day with fluoridated toothpaste, avoiding the consumption of large quantities of sugar-containing foods and beverages, and visiting the dentist every six months. The purpose of the study was to evaluate the cartoon video as a brief e-health intervention, and to identify significant predictors of parental self-efficacy to ensure their children’s engagement in recommended oral health behaviors after viewing an animated video with their child. The sample included 75 parents with a child aged six to eight years. Parents were mostly female (85%, n = 63), white (84.0%, n = 63), with a mean age of 35.2 years (SD = 5.5), mean educational level between a two- and four-years of college, and mean household income of $20,000 to $39,000 per year. Parents had one or two children (51.8%, n = 39) with a mean age of 6.72 years who were mostly boys (65.3%, n = 49) in public school (80.0%, n = 60). Findings indicated the brief e-health cartoon was an effective intervention, given significant changes from pre-video to post-video in mean scores for: parent oral health knowledge (t = –5.437, df = 74, p = 0.000); global stage of change for performing all three key oral health behaviors (t = –1.804, df = 74, p = 0.000); and, global self-efficacy for performing all three key oral health behaviors (t = –3.838, df = 74, p = 0.000). Further, most parents rated the cartoon highly and indicated they would recommend it to other parents and children. Backwards stepwise regression, controlling for social desirability, indicated higher post-video parental self-efficacy for the three recommended oral health behaviors post-video was significantly predicted by: parent female gender (B = 1.072, p = 0.000); parent was not born in the U.S. (B = –0.544, p = 0.028); parent had a partner (yes) (B = 0.707, p = 0.000); parent was a student (yes) (B = 0.933, p = 0.001); lower parent education level (B = –0.142, p = 0.021); child was not in public school (B = –0.427, p = 0.028); higher Parental Intention Scale (PI-S-3) score (B = 0.302, p = 0.011); and higher parent pre-video oral health knowledge (B = 0.313, p = 0.000)—with 55.2% of variance predicted (R2 = 0.608, adjusted R2 = 0.552) by the model.

La estructura visual es un elemento fundamental que un realizador tiene que tomar en cuenta al momento de construir el producto cinematográfico. En tal sentido, la estructura visual; que se conforma por componentes visuales básicos, entre los que están el espacio, la línea, la forma, el tono y el color; ha dado definitivamente personalidad y estilo a muchas películas a partir del criterio que el realizador, como Wes Anderson, maneja previamente con un estilo definido. Esta investigación analiza precisamente los componentes visuales que conforman la estructura visual con los que los personajes de "Fantastic Mr. Fox"(2009) y "Isle of Dogs"(2018) van generando una relación empática con el espectador. Para lo cual se realizó un análisis de los personajes principales de estas películas, como también de los aspectos visuales, en base a 27 frames de estos filmes, en los cuales se halló que los personajes tienen conflictos originados por sí mismos al carecer completamente del conocimiento de sus propias virtudes y defectos. De este modo, al relacionarse con su entorno, buscan la aceptación en otros personajes para sentir que alguien más los considera importantes. Asimismo, se identificó que visualmente, en la mayoría de casos, se logra reafirmar los sentimientos y las características que definen a los personajes en base a los componentes visuales que plantea Anderson. / The visual structure is a fundamental element that a filmmaker has to considerate when is building the film product. In this sense, the visual structure; which consists of basic visual components, among which are the space, the line, the shape, the tone and the color; has definitely given personality and style to many films based on the director’s criteria, like Wes Anderson, previously handles with a definite style. This research analyzes precisely the visual components that make up the visual structure with which the characters of "Fantastic Mr. Fox" (2009) and "Isle of Dogs" (2018) are generating an empathetic relationship with the spectator. For this purpose, an analysis was made of the main characters of these films, as well as the visual aspects, based on 27 frames of these films, in which it was found that the characters have conflicts originated by themselves completely a lack of knowledge of their own virtues and defects. In this way, by relating to their environment, they seek acceptance from other characters to feel that they are considered important by someone else. It was also identified that visually, in most cases, one manages to reassert the feelings and characteristics that define the characters based on the visual components that Anderson poses. / Trabajo de investigación

<p>This research focuses on making animated pedagogical agents more emotionally expressive to facilitate students’ learning process and create a true connection between the agents and the students for effective learning. The author of this thesis focused on applying affective hand and arm gestures that were derived from the Geneva Multimodal Emotion Portrayals (GEMEP) core set of affective expressions on top of animated lecturing agents. The GEMEP database includes 145 video recordings of French actors portraying different emotions. Only arm and hand gestures were extracted from the database and were applied on top of lecturing animations of animated pedagogical agents. 131 participants participated in an online perception study where they were asked to watch different animations of six basic emotions (anger, joy, sadness, disgust, fear, and surprise) displayed by male and female characters. Results of the perception study showed that only one angry expression by the female character passed the 75% bar of recognition rate, while the remaining expressions showed a low recognition rate (1.5% -64%). The author also examined whether levels of emotion arousal and valence were correctly identified by the students. Participants’ identification of correct levels of arousal and valence was more accurate than recognition of Ekman’s basic emotions but was still not sufficient for further statistical analysis on validating hypotheses of research on observing how gender of participants and characters influence the emotion perception. Overall, significant reasons were identified that influenced the low perception rate among participants, which are discussed in the conclusion. </p>