Animated color film with images of water, birds, winged humans, a man in a hooded sweatshirt, doors, the sea, a woman on a stool wearing a red scarf, marching soldiers, a gun, a knife, blood on hands, a dancing couple, a crowd of dancers, a seed, plants growing, clouds, a flying winged person, a figure playing an instrument. The images transform into each other in ever-changing sequences.

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

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.

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.

Animator-producer Paul Houlton Terry has been portrayed as having little passion for the animation he produced and being more concerned with making a profit than producing entertaining cartoons with high production values. The purpose of the dissertation is to re-evaluate Terry‘s legacy to animated cartooning by analyzing his business philosophies, production values, and studio practices. Application of four psychodynamic factors to the early life and career of Terry, 1887-1929, found that his economic decision making was characterized by: an external locus of control, risk-averse financial behaviour, extreme saving behaviour through precaution, and shrewd money management practices. Based on Terry‘s historical responses to twelve major economic, technological, or institutional forces of change for the period 1929-1955, the psychodynamic factors were found to provide accurate explanations for his studio practices and production decisions. There was no evidence to support the conclusion that three early career disappointments undermined Terry‘s intrinsic motivation to create animated cartoons. Rather, Terry‘s lack of risk taking, external locus of control, tight studio production schedule, desire to compete with neighbour studio Fleischer, difficulty in separating financial rewards from creative processes in animation, and practice of undertaking surveillance measures on staff may have undermined his and his studio‘s creativity. Archival research found Terry to possess strong passions for and to have made significant creative contributions to the field of animation. Biographical research found that Terry retained a stable nucleus of highly talented artists who dedicated a significant portion of their working careers to the studio. An analysis of the cel aesthetics of a random sample of animated cartoons produced during the years 1930-1955 found that Terry created animated cartoons with above average cel aesthetics when compared to the other studios thereby supporting an inference that Terry was motivated to producing quality crafted animation. Further research is suggested into the role psychodynamic factors and economic decision-making play in the film production process and a clarification of Terry‘s legacy to the field of animated cartoons.

The objective of this creative project was the exploration of the new genre of Design Cinema, specifically to use typography and motion graphics to tell a story. Design Cinema is best defined as a hybrid form of moving image that falls between motion graphics and filmmaking. The secondary objective was to design and create three significant pieces of work in Design Cinema, which focuses on utilizing typography and graphics in an abstracted story-based environment.The stories illustrated come from the book of Psalms in the New International Version translation of the Bible. These are some of the oldest texts in the world. This body of work, completed in high-definition video, required a process of pre-production (treatment, storyboarding, and planning), production (shooting, lighting, and directing), and post-production (capturing, editing, compositing, and design). Bill Viola, Jem Cohen, and Michel Gondry have impacted the style and structure of my video work. / Department of Art

Thesis (M.F.A.)--Rochester Institute of Technology, 2007. / Typescript.