Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript.

Kong Pui Ling, Charlotte. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2001. / Includes bibliographical references (leaves 82-85). / Abstracts in English and Chinese. / Abstract --- p.ii / Chapter Chapter 1: --- Introduction --- p.1 / Chapter Chapter 2: --- Literature Review --- p.7 / Chapter Chapter 3: --- Methodology --- p.21 / Chapter Chapter 4: --- Manifestations of Childhood in Cartoons --- p.27 / Chapter Chapter 5: --- Negotiating Childhood --- p.48 / References --- p.82 / Chapter Appendix I: --- Interviewees' Families Profile --- p.85 / Chapter Appendix II: --- Interview Questions --- p.88 / Chapter Appendix III: --- "List of cartoons have been broadcast on TVB Jade, ATV Home, TVB Pearl and ATV Home from August, 1998 to January 1999 " --- p.89

Zebrafish, a novel vertebrate model organism, has a high nucleotide sequence homology with human genes. Its transparent and fast developing embryo allows the analysis of physiological and anatomical characteristics, many of which are similar to those of mammals. Although the prolific nature of zebrafish can facilitate genetic studies, linking genes and behaviour is difficult because behaviour is not well investigated in zebrafish. The aim of this project is to develop robust behavioural tests that can quantify shoaling with conspecifics and fear responses to natural predators. Eight conditions using different computer-animated stimuli were used to induce behavioural responses. The results demonstrate that shoaling behaviours and fear responses can be successfully induced. More importantly, the behaviours caused by the computer-animated images confirm previous research findings using natural conspecifics and predators. Thus, computer-animated images will help standardize behavioural tests in zebrafish and will lead the way to more sophisticated and better controlled experiments.

Zebrafish, a novel vertebrate model organism, has a high nucleotide sequence homology with human genes. Its transparent and fast developing embryo allows the analysis of physiological and anatomical characteristics, many of which are similar to those of mammals. Although the prolific nature of zebrafish can facilitate genetic studies, linking genes and behaviour is difficult because behaviour is not well investigated in zebrafish. The aim of this project is to develop robust behavioural tests that can quantify shoaling with conspecifics and fear responses to natural predators. Eight conditions using different computer-animated stimuli were used to induce behavioural responses. The results demonstrate that shoaling behaviours and fear responses can be successfully induced. More importantly, the behaviours caused by the computer-animated images confirm previous research findings using natural conspecifics and predators. Thus, computer-animated images will help standardize behavioural tests in zebrafish and will lead the way to more sophisticated and better controlled experiments.

Thesis (M.A.)--York University, 2000. Graduate Programme in Film and Television. / Typescript. Includes bibliographical references (leaves [167-169] of unnumbered sequence at the end). Filmography: leaf [170]. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ59182.

The Thesis is focused on life and work of Břetislav Pojar. It is also focused on animated film and gives instructions for basic animation technique, which could be utilized in Art at elementary school. The life of Bretislav Pojar and his work are introduced in the theoretical part of this Thesis. The history of Czech and world animated film and its creators are also introduced. My own lessons are included in a project, which is described in practical part. This project is focused on animation and it was realized in Art. This part also included the reflection from implementation of project. There are photograps of children working on their animations at the end of this Thesis.

The thesis focuses on ways of creating an animated video clip as part of art education at basic school and on various views of art as a school subject, in which multimedia creation is used. The theoretical part describes the animated film as a specific way of intermedia expression in the context of past and contemporary art. It deals with the origin and history of animated film and describes the production and various techniques used for its creation. It analyzes the scope for the creation of an animated video clip in intermedia and experimental activities in art education at basic school. The practical part contains the implementation and reflection of my own art lessons focusing on the creation of animated video clip in class 5.B at Lerchova school in Sušice in 2013.

Animation films are daily being screened on television, and offer an available medium with themes easily associated with. The researcher became interested in the possibility of utilising animation films in the play therapy process. A deficiency in relevant literature on the use of animation as medium in the play therapeutic process was identified. The aim of this study was to explore how therapists can use animation as a medium in play therapy and to fully describe it. In order to achieve this goal, qualitative research was employed and a focus group discussion with therapists was carried out. The data collected was analysed and the use of animation in the play therapeutic process was described in-depth. The goal of the study was therefore achieved in that the research provided specific information about where and how animation can effectively be used in the different stages of the play therapeutic process. / Animasiefilms word daagliks op televisie vertoon en is 'n beskikbare medium met temas waarmee die mens maklik assosieer. Die moontlikheid dat hierdie animasiefilms in die spelterapeutiese proses benut kan word, het die navorser ge"interesseer. 'n Leemte in die literatuur oor hoe animasie as 'n medium in die spelterapeutiese proses benut kan word, is as navorsingsprobleem geformuleer. Die doelstelling van hierdie studie was gevolglik om te verken hoe terapeute animasie as medium in spelterapie kan benut ten einde 'n volledige beskrywing hiervan te bied. Om hierdie doelstelling te bereik is 'n kwalitatiewe navorsingstudie uitgevoer en 'n fokusgroeponderhoud met terapeute voltooi. Die ingesamelde data is geanaliseer en die benutting van animasie as medium in die spelterapeutiese proses is in diepte beskryf. Daar is dus in die doel van die studie geslaag deurdat die navorsing spesifieke inligting gebied het oor hoe animasie tydens die verskillende momente van die spelterapeutiese proses effektief benut kan word. / Social Work / M. Diac. (Play Therapy)

This dissertation focuses on the animated, charcoal, hand-drawn films of William Kentridge‟s Drawings for Projection series (1989—2003). At the beginning of this study, Kentridge‟s films are positioned as a dialectic of self and memory as embodied in a post-colonial South African setting. The series itself was selected as being representative of his artistic oeuvre. They are a closed-ended narrative, using a ground-breaking animation technique, created by the artist himself (Christov-Bakargiev 1998; Godby 1982). They were made by Kentridge during a specific South African cultural and historical period: beginning with Johannesburg, 2nd Greatest City after Paris, made in 1989 at the height of apartheid; through to Tide Table, made in 2003 at the beginning of post post-apartheid South Africa. The hypothesis presented is that Kentridge‟s films have memory as their main theme. Memory itself takes different forms, and the discourse of memory deals with, for instance: memorialisation; repressed memories; traumatic memories; the unconscious and memories; and “postmemory”. How he depicts memories of his own and those of others is at the centre of this research. Using qualitative research methodology, with contextualisation (socio-historical and cultural) and comparative studies (apartheid and the Holocaust; different artistic representations of memory, for example Pascal Croci and William Kentridge; and Anselm Kiefer and William Kentridge) being part of the research design, this thesis has sought to substantiate this hypothesis. Further substantiation and clarification has been expounded by referencing seminal works in the field, such as those of Sigmund Freud (1899: “screen memories”; 1917: trauerarbeit); Roland Barthes (1981: the punctum / spacio-temporal continuum); Pierre Nora (1989: “lieux de mémoiré” / “sites of memory”); Henri Raczymow (1994: “memoire trouée” / “memory shot through with holes”); Richard Terdiman (1993: poesis); Marianne Hirsch (1997: “postmemory”); and Hayden White (1996: historical metafiction); among others. There have already been numerous references to how William Kentridge has depicted the ephemeral nature of memory / memories (Boris 2001; Cameron, Christov-Bakargiev and Coetzee, 1999; Christov-Bakargiev 1998; Sitas 2001). However an in-depth, hermeneutic, comparative analysis has not yet been undertaken. This study is therefore significant in that it explicates William Kentridge‟s works, making the following contributions: to the scholarship on Kentridge‟s work; to a South African perspective to the growing field of trauma studies; and to the apartheid and post-apartheid reflections on re-remembering and forgetting, memorialisation, forgiveness and guilt. Through socio-cultural and historical comparisons as well as artistic contrasts, the films themselves are acknowledged as an important source of reference of South African society. They are a documentation of life lived during apartheid and post-apartheid South Africa. / Department of Communication Science / D.Litt. et Phil.

Animated movies have had a big impact in the film business all over the world. A lot of these films are mainly produced for a younger audience, which leads to a greater responsibility to show a legitimate worldview. Children do not have the same ability of critical thinking as an adult, and that is why it is vital in such movies. In this study, we have examined the movies Kung Fu Panda and Mulan to see how the Chinese culture is represented, having in mind that the relation between East and West have been, and in some ways still are strained. We have examined whether there have been any postcolonial elements such as cultural myths, orientalism, ethnocentrism and stereotypes, originated from the field of cultural studies. Based on a three dimensional analysis, we have looked at the films’ structure, the context and the socio-historical context. The study concluded that the Chinese culture is often represented in a somewhat stereotypical way and with symbols associated with Asia and its culture but the movies also includes certain Western elements.