The thesis will explore the idea of feeling Japanese spirituality of Shinto through a contemporary work of art, the animated film My Neighbour Totoro (1988). The idea of a felt spirituality revolves around Shinto’s notion of kami, divine entities whose existence becomes manifest through one’s feeling and perception to awe-inspiring things of the natural world and the aesthetic notion of aware, an immediate felt emotional response that coincides as the response/reaction when coming into contact with awe-inspiring things. This thesis conceives aware to be the meeting point in which the human and kami world converge, a Shinto concept known as shinjin-g itsu, or the meeting of the human spirit with kami. This thesis will uncover themes of Shinto spirituality through a close reading of the functionality of specific components of the film: music, setting, characters, character interactions, and symbolism. Themes such as nature, community, symbolism and the role of aesthetics within the film will be discussed to showcase the idea of a spiritual encounter. It is a spiritual encounter/meeting that is facilitated through the aesthetics and components of the film which elicits a response of aware from the viewer. / Graduate / 0322 / 0332 / 0900 / scarbul@gmail.com

This thesis makes three claims new to the critical literature onWalt Disney’s 1940 film Fantasia. Setting the scene by placing a spotlight on the long-serving Philadelphia Orchestra conductor Leopold Stokowski, it contextualizes his pervasive influence, as well as contributions by others that shaped Fantasia and defined the film’s stylistic elements. Inspired by recent critical debates on post-silent era filmmaking and theories of authorship, it makes a case for Fantasia being the culmination of a “sound film” and notes that its displays of individual artistic talent makes it a noteworthy example of distributed authorship. Fantasia remains a unique experiment in Disney’s filmmaking in that it acquired its eventual form only because of decisions taken during production since no absolute “blue-print” for the finished film existed at the time it went into production, when a large selection of musical numbers were assigned to teams of animators. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

Cheng, Hui Tung Eos. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 425-429). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract and appendix also in Chinese.

This research assesses the skills and knowledge necessary for the creation of animation in the 3D computer medium. It responds to the argument that students of this new form of animation must learn to apply principles and theories of animation that had their genesis in the early years of traditional, hand-drawn animation (Kroyer, 2002). Many industry notables argue for the use of traditional animation principles in 3D computer animation. John Lasseter, executive vice president at Pixar studios in the United States, represents one such example. He states that 'These principles were developed to make animation, especially character animation, more realistic and entertaining. These principles can and should be applied to 3D computer animation' (Lasseter 1987). The importance of animation principles in all animation mediums is stressed by Oscar-winning traditional animator Gene Deitch. He states that 'Every animated film made today uses those same basic principles developed at the Walt Disney studios during the 1930s. They still apply, no matter which technology is used' (2001). This research report examines the validity of this argument and identifies the tools, principles, and procedures that professional 3D animators are using. Central to this research is the dynamic of the contemporary relevance of traditional animation as an aesthetic, craft and economic entity. Most importantly this research considers how that dynamic might translate into the teaching of 3D animation courses. It is claimed that the findings of this research benefits 3D animation teachers, students, and those who employ them. To conduct on-site research with professional animators, this study enlisted the participation of a small number of animation studios in south-east Queensland, Australia by ensuring the protection of their Intellectual Property. Close observation of their working practices was made and numerous secondary sources of information (3D animation tutorials, books, DVDs, software manuals etc.) examined in order to locate the tools, processes, and principles that CG animators engaged. The findings were applied and critically assessed by means of a practical project (a seven-minute 3D-animated film) which was created concurrently with the research. Recommendations were formulated as to the most useful tools, processes, and principles for the student of computer animation by way of a revision of the existing Queensland College of Art syllabus for teaching computing animation. What follows is an account of the development and context of the project, the research methods applied, and critical analyses of the findings. The research concludes that it is necessary and advantageous to apply traditional animation skills to 3D computer work.

The Disney princess line includes nine films, in our study we have extended this line to include the latest three films from Walt Disney Pictures that follow the same pattern. These films are Tangled (2010), Brave (2012) and Frozen (2013). We have conducted our study using the same method used by England, Descartes and Collier-Meeks (2011) in their study of the first nine films, starting with Snow White and the Seven Dwarfs produced in 1937 to Princess and the Frog from 2009. A quantitative study was executed where we focused on gender role portrayal, the main characters behavioral characteristics and performed rescues. We applied the following theories to our result; the Social Constructivism, Laura Mulvey’s theory of the Male Gaze, Michel Foucault’s theory of power and discourse, intersectionality and Claude E. Shannon and Warren Weaver’s model of communication. Our result of the content coding shows a more nuanced depiction of both male and female main characters where the roles have shifted. The female main characters have been asigned a more traditionally masculine role in the films. The story in all of our three films revolves around the female main characters efforts to achieve their goals. The male main characters have abandoned their shiny armour and white horse and persued a role as the one who leads the female to her goal. A one-way analysis of variance was implemented to see differences over time in gender role portrayal of men and women. The result suggest that the male and female roles have changed over time, altough the men are those who have changed the most.

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.

Work process for the production of the short film ÄLGEN (2019); Technical aspects and thematics. Film synopsis: Two animals trying to entertain at a forest zoo get humiliated and decide to run away in search of freedom. At the same time a mysterious shadow haunts the countryside and a national symbol becomes an idol of worship. A short film about national identity, freedom, climate and dancing animals. Graduation project, MFA degree , Konstfack, Stockholm. 2019

This study explores uses of metaphor and metonymy related to the concept of anger in the American television series Teenage Mutant Ninja Turtles from 2012. The theoretical framework of the study is Conceptual Metaphor Theory. The data consists of metaphors and metonymies in the verbal and the pictorial mode. The pictorial data are visual expressions of the type called pictorial runes. In both modes, the underlying conceptual metaphors are identified, and the results are then compared between modes. The main finding is that the verbal mode contains a greater variety of metaphorical expressions. Explanations suggested for differences found between modes are: different technical possibilities of the two modes; universality in the pictorial mode and language specific metaphors as well as universal ones in the verbal mode; a connection of pictorial and verbal data respectively to different genres within the series; and the different narrator roles between the two modes.

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.

Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-04-24T13:49:05Z No. of bitstreams: 2 Dissertação - Ettore Riter - 2018.pdf: 2170187 bytes, checksum: bffd5f6760020d77af7b8df9c2228129 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-04-25T12:09:20Z (GMT) No. of bitstreams: 2 Dissertação - Ettore Riter - 2018.pdf: 2170187 bytes, checksum: bffd5f6760020d77af7b8df9c2228129 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-04-25T12:09:20Z (GMT). No. of bitstreams: 2 Dissertação - Ettore Riter - 2018.pdf: 2170187 bytes, checksum: bffd5f6760020d77af7b8df9c2228129 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-28 / The contemporary capitalist society reproduces through Cultural Industry, ideological and social processes, promoting a type of formation adapted to the way of life and the objectives of this model of social organization. In this work, the cinema was highlighted, especially the animated film. In the Cultural Industry, the animated film is produced based on successful formulas, both in its forms, effects and repetitions, as well as in the construction of characters and narratives, which results in audience satisfaction and profitability. It contains sociological and technical elements, full of representations of social objects and their ideologies; it presents its contents to viewers through layers of meanings, both apparent and hidden; the senses of the viewers are flooded by audiovisual stimuli in such a way that hold their attention; the aesthetic experience which the film provides collaborates with the production of pseudoformation, a form of formtation. This research effort discusses the role the animated film plays in the cultural formation of the individual, since childhood. The family is a place of intense affective and social relations, fundamental to socialization; it presents social models and ideologies that are reaffirmed in other social relations, providing a consistency and apparent social harmony. Based theoretically on the Critical Theory of the Society this research was an analysis of the animated film "Minions", in addition to the content analysis model used by Adorno, to apprehend the layers of meanings presented in the object. Content and patterns of socially validated behaviors related to narcissism, barbarism and violence, were identified. The use of humor (laughter) in the smoothing of these elements and in the desensitization of the viewers regarding the ferocity of the society of domination and exploitation, was verified through the production of tension-relief dynamics. / A sociedade capitalista contemporânea reproduz, por meio Indústria Cultural, processos ideológicos e sociais, promovendo um tipo de formação adaptada ao modo de vida e aos objetivos deste modelo de organização social. Neste trabalho, o cinema recebeu destaque, em especial o filme de animação. Na Indústria Cultural, o filme é produzido sob orientação de fórmulas de sucesso, tanto nas formas, efeitos e repetições quanto na construção das personagens e narrativas, que garantam a satisfação do público e a lucratividade. O filme contém elementos sociológicos e técnicos, trazendo em si, representações dos objetos sociais e suas ideologias; ele transmite seus conteúdos aos espectadores por camadas de significados, tanto aparentes quanto ocultas; os sentidos dos espectadores são inundados por estímulos audiovisuais atrativos e em um fluxo que domina a atenção; a experiência estética que um filme provoca colabora com a produção da pseudoformação, uma modalidade de formação. Neste esforço de pesquisa discute-se a atuação que um filme de animação pode ter para a formação cultural do indivíduo, desde a infância. A família é espaço de relações afetivas e sociais intensas, fundamental à socialização; ela apresenta modelos sociais e ideologias que são reafirmadas nas demais relações sociais, provendo uma consistência e aparente harmonia social. Fundamentada na Teoria Crítica da Sociedade, essa pesquisa procedeu a uma análise do filme de animação “Minions”, juntamente com um modelo de análise de conteúdo utilizada por Adorno, para apreender as camadas de significados apresentadas no objeto. Identificou-se conteúdos e padrões de comportamentos socialmente validados, relacionados ao narcisismo, à barbárie e à violência. Verificou-se o uso de humor (o riso) na suavização desses elementos e na dessensibilização dos espectadores quanto à ferocidade e aos modos de dominação próprios da sociedade capitalista, por meio da produção da dinâmica de tensão-alívio.