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The purpose of this essay is to examine, based on a qualitative semiotic image analysis, how the animated documentary Five Years After the War relates to authenticity in relation to animated realism. Parts of the film have been selected to characterize animated realism. The study discusses current concepts in the genre such as oxymoron, familization and defamiliarization. The study's theoretical starting points are stereotyping and contradictions as well as equivalence between characters, empathy and choices of color. The analysis interprets the underlying characters through connotations, which are divided into different sections in relation to the theoretical starting points and animated realism. The results show how the genre seen as oxymoronic, where animation and realism are in opposition to each other, can be reflected in this film. The scenes create contradictions and critical thinking in the underlying characters which in turn leads to an understanding of the signs and which thus becomes authentic. / Syftet med denna uppsats är att utifrån en kvalitativ semiotisk bildanalys undersöka hur den animerade dokumentärfilmen Five Years After the War förhåller sig till autenticitet i förhållande till animerad realism. Delar av filmen har valts ut som kännetecknar animerad realism. Undersökningen diskuterar begreppen aktuella inom genren såsom oxymoron, familisering samt defamilisering. Undersökningens teoretiska utgångspunkter är stereotypisering och motsatsförhållanden samt likvärdighet mellan karaktärer, empati och färgval. Analysen tolkas underliggande tecken genom konnotationer, som delas upp i olika avsnitt i förhållande till de teoretiska utgångspunkterna och animerad realism. Resultatet visar på hur genren som setts som oxymoronisk, där animation och realism står i motsats till varandra, går att avspeglas i denna film. Scenerna skapar motsättningar och kritiskt tänkande i de underliggande tecknen som i sin tur leder till förståelse för karaktären och som på så vis blir autentisk.

The use of still images in instruction has a long history in the field of education. With the widespread use of microcomputers and the development of graphic software, the ability to create and use animated images has greatly increased; today many people use animated images in their teaching and training activities. Since the use of different types of images in instruction has various influences on students'learning results, the different effects between animated images and still images have been studied widely among researchers. However, the research results are not consistent. Some research results show that animated images are more effective than still images and some show no difference or less effective results. This experimental study explores the effects of animated images and still images on college students' learning of motion-related tasks and non-motion related tasks, with the students possessing different levels of field dependence-independence. This study found that: For learning tasks involving motion and/or change, animated images were more effective than still images for college students, and field dependent students benefited more from animated images than did the field independent students. However, for learning tasks that did not involve motion or change, there was no difference in learning results from the use of still images as opposed to animated images. In addition, for such learning tasks, there was no difference in the learning benefits of still images to field dependent versus field independent learners. / Ph. D.

Television pitches are the first step towards launching a series. This paper focuses on that process and answers the question, “from developing concept art to preparing a polished and professional pitch, what are best practices for winning a network contract?” Getting a pitch requires several steps, such as finding an agent or a producer, and presenting the story, character relationships, and artwork to show your vision. Using my project, “Dynamite Decoys,” to create a story line, sketches, turnaround sheets, and key art scene pieces, I put it all together to formulate a television-ready pitch.

Spaced Out is about a 16-year-old high school student named Penny, who arrives home from school after a long day. She has astronomy homework that is due, and she is determined to sit down and get it done as fast as possible so that she can have some evening time to herself. This all goes awry when Opal, a dragon who is a manifestation of her ADHD, shows up to distract her. Penny must find a way to finish her assignment, not by ignoring Opal and pretending she isn't there, but by embracing the fact that she is a part of her and using it to her advantage.This short film is an educational fantasy based on my own experiences living with ADHD, and with it I hope to offer others a glimpse into my daily struggles. Many people still believe in harmful stereotypes about ADHD and assume it can manifest in only one way. Spaced Out is my attempt to bring further understanding to this complex mental health challenge.

This study examined the claim that animated films influence childrens' opinions of accented-English. Two hundred and eighteen 3rd through 5th graders participated in a web-based survey. They listened to speakers with various accents: Mainstream US English (MUSE), African American Vernacular English (AAVE), French, British, and Arabic. Respondents judged speakers' personality traits (Work Ethic, Wealth, Attitude, Intelligence), assigned jobs/life positions, and provided personal information, movie watching habits, and exposure to foreign languages. Results indicate: (1) MUSE ranks higher and AAVE lower than other speakers, (2) jobs/life positions do not correlate with animated films, (3) movie watching habits correlate with AAVE, French, and British ratings, (4) foreign language exposure correlates with French, British, and Arabic ratings.

This diploma thesis deals with animated clip and its application in teaching process, in particular in arts and music classes at secondary basic school, by means of project methodology. The theoretical part, besides project method, which is the center point of this work, also focuses on history of animated film, together with animated clip and its asset. Subsequently, the final section of the practical part applies the findings of the theoretical part. The final section of this diploma thesis is a model animated clip Adebars Reise "The Flight of a Stork" and a draft for the project education in arts and music education at secondary basic school, on the topic of animated clip.

The purpose of this study was to investigate the effects of an animated pedagogical agent on Spanish vocabulary learning. Furthermore, the study examined learners’ reactions and attitudes towards the presence of the pedagogical agent in a web-based environment, as well as how learners used the conversational component of the pedagogical agent in their learning process. A total of 47 university students enrolled in two fourth-semester Spanish classes participated in this study. Both the Control group and the Experimental group used a web-based environment that presented new vocabulary (in audio and text), along with activities for practicing the vocabulary in context. The difference between the two groups was that an animated pedagogical agent (Laura) was present in the environment used by the Experimental group. In addition, a conversational component was added at a second phase to the environment used by the Experimental group, which the learners used to chat with the pedagogical agent about the material presented. The data were analyzed through quantitative and qualitative methods. The quantitative data were derived from a demographic information questionnaire, a vocabulary pre-test and two vocabulary post-tests (an immediate post-test and a delayed post-test), as well as from attitudes scales completed prior to the learners’ exposure to the web-based environments and after completing the learning sessions. The qualitative data were derived from a learning experience questionnaire completed by all learners at the end of the learning sessions, as well as from the scripts of the chat sessions between the learners in the Experimental group and the pedagogical agent, and a chatting experience questionnaire completed by the same group. Analysis of the quantitative data did not yield significant differences between the Control and the Experimental groups with respect to vocabulary learning outcomes and affective outcomes. Analysis of the qualitative data revealed learners’ preferences with respect to features embedded in the web-based language learning environments. In addition, it explored how learners utilized the conversational aspect of the pedagogical agent, and provided information as to the type of information the agent’s knowledge base should include in order for the agent to be a beneficial tool for the learners’ progress. / text

A la frontière entre musique et mathématiques, cette étude présente un espace musical géométrique original utilisé pour l'analyse et la pédagogie.En utilisant différentes méthodes, les mathématiciens et théoriciens de la musique ont démontré que notre espace des hauteurs tempéré à douze notes peut être considéré comme une combinaison de tierces mineurs et majeures. Nous utilisons le produit cartésien de deux graphes circulaires C3□C4 pour construire le graphe Planet qui répond à ce concept. Comme la décomposition implique deux ensembles et que chaque classe de hauteur est la combinaison unique de ces deux sous-groupes, nous utilisons une coloration en termes de graphes par des nombres complexes et introduisons le concept d'idéogrammes à deux dimensions. Nous effectuons une analyse spectrale du graphe Planet pour déterminer ses espaces propres et obtenir des coordonnées géométriques. Le modèle qui en résulte est appelé Planet-4D, il offre à chaque symbole une position physiquement équivalente. Il comporte plus de symétries que tout modèle discret 3D. A partir de ce modèle, nous construisons une représentation en quatre dimensions où les accords parfaits se trouvent en surface d'une hypersphère. Nous étendons enfin le concept principal pour afficher n'importe quel agrégat de notes sur l'hypersphère dans un cadre atonal. Dans une seconde partie, nous modélisons sous forme de graphes des objets musicaux existants : claviers, réseaux de notes (Tonnetze) ou d'accords ainsi que des schémas de modulation. Nous appliquons des projections spectrales afin de visualiser les symétries inhérentes à ces objets et terminons par des études d'œuvres tonales et atonales, effectuées avec le système de visualisation inventé. / At the frontier between music and mathematics, this study presents an original geometrical musical space used for musical analysis and pedagogy.Using different schemes, mathematicians and music theorists have demonstrated that the tempered twelve tones pitch space can be considered as a combination of minor and major thirds. We use the Cartesian product of two circular graphs C3□C4 to build the Planet graph that matches this concept. Since the decomposition involves two sets and each pitch class being a unique combination of these two sub-groups, we use a graph coloration based on complex numbers and introduce the concept of bi-dimensional ideograms. We perform a spectral analysis of the Planet graph to determine its Eigen spaces and obtain geometrical coordinates. The resulting model, called Planet-4D, grants each symbol and equivalent physical position, and involves more symmetries than any discrete 3D model. From there, we build a four dimensional chordal space where perfect chords lie on a hypersphere. We finally extend this concept to display any set of pitches in an atonal context. In the second section we construct the graphs of some existing musical objects such as keyboards, tone networks (Tonnetze), chordal spaces or modulation schemes. We apply spectral projections to visualize the symmetries that are inherent to these objects. This work concludes with musical studies of tonal and atonal pieces, performed with the help of the visualization tolls designed in this study.

Esta dissertação tem por objetivo estudar a relação som-imagem nos filmes de animação norte-americanos realizados no período final do cinema silencioso e no início do cinema sonoro. Foram feitos levantamentos históricos sobre o processo de produção do cinema de animação e sobre o processo de criação de suas trilhas sonoras antes e após o advento do som sincrônico. A partir desses levantamentos e da análise de curtas-metragens do final da década de 1920, identificou-se características próprias do cinema de animação tanto em relação ao uso de soluções visuais para sugestões sonoras nos filmes silenciosos quanto à criação de uma relação única entre som e imagem nos filmes sonoros, especialmente nos filmes produzidos por Walt Disney. / The present work aims at studying the sound-image relationship in North American animated films made at the end of the silent era and in the beginning of the sound film era. Historical surveys have been developed about the production process of animated films and about the creative process of their soundtrack before and after the advent of synchronized sound. From these surveys and analysis of short films made at the end of the 1920s, specific traits of animated film have been identified in regard to visual solutions for sound suggestion in silent cartoons as well as the creation of a unique relationship between image and sound in the sound films, especially in Walt Disney\'s films.