Orientador: Arnaldo Cortina / Banca: Jean Cristtus Portela / Banca: Elizabeth Harkot-de-La-Taille / Resumo: Devido ao amplo interesse dos estudos da linguagem pelo texto sincrético e midiático, seus mecanismos de produção de sentido e uma metodologia de análise desse tipo de texto, este trabalho dedica-se a aprofundar a discussão do assunto. Como corpus, selecionam-se os filmes de animação dos estúdios da Walt Disney, uma vez que esses textos possuem grande popularidade e circulam com intensidade no meio social, figurando como discursos que, naturalmente, refletem muito características caras à vida cultural do mundo de hoje e das últimas décadas. Unem-se, assim, um assunto precioso à semiótica discursiva - o texto sincrético - e um assunto de interesse peculiar aos estudos do discurso em geral - o estilo no meio social. Como recorte no corpus, são escolhidos apenas quatro filmes, que obtiveram maior destaque dentre a produção dos estúdios. Três deles, A pequena sereia, A bela e a fera e Aladim, lançados, respectivamente, em 1989, 1991 e 1992, fazem parte de uma geração de títulos musicais da era conhecida como renascença Disney. O quarto filme, Frozen: uma aventura congelante, de 2013, parece retomar o estilo musical e conquistar o público em larga escala, pondo a companhia em evidência novamente. Como tópicos teóricos do trabalho, ao lado de questões da imanência do sentido e de articulações internas da expressão e do conteúdo, há também questões relativas à enunciação como uma totalidade concisa de enunciados, no tocante à ligação existente entre os títulos selecionados. Dessa fo... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Given the wide interest addressed to the study of syncretic texts and media in general by Linguistics and other language fields that discuss how those texts signify and how to systematize their inner mechanisms, we have decided to mature that debate in the present work. Our corpus is composed by animated films by Walt Disney due their popularity and the intensity with which they relate to society and, therefore, can present many characteristics of nowadays and previous decades culture. Thus, we present both a precious subject to discursive semiotics - syncretic text - and another one common to all discourse theories - style and society. We selected four famous titles from the Studios. Three of them - The little mermaid, Beauty and the beast and Aladdin, released, respectively, in 1989, 1991 and 1992, belong to the musical generation known as Disney Renascence. The fourth film, Frozen, 2013, seems to reclaim the musical style and conquer positively the public, putting Disney on the spotlight once more. Besides meaning's immanent aspects that come the way, the main challenge is to deal with questions relating to enunciation as a totality of enunciates, establishing the relation among them. Hence, the only way is to go through authorship subject, searching for a definition for the Disney enunciative style, with its own discursive and textual isotopies that round the musical issue. At last, we can define a strongly American Disney style, closely linked to the American Dream ideology, that mobilizes its formants by a general structure of amplification and attenuation in the Subject's sensibility and material retention / Mestre

Orientador: Pelópidas Cypriano de Oliveira / Banca: Luiz Guimarães Monforte / Banca: Rubens Eduardo Monteiro de Toledo / Acompanha DVD com animações / Resumo: Na história do cinema a técnica do stop motion, também conhecido como animação por deslocamento, dificultava a padronização que a indústria impunha como regra, assim, foram praticamente eliminadas dos grandes circuitos e prosseguiram pela produção de artistas independentes que podiam experimentar técnicas e estilos, sem a necessidade da criação de rígidos conjuntos de regras de produção e sem ficarem presos à linguagem cinematográfica criada. A proposta desta pesquisa é entrar no universo dos animadores que criaram uma linguagem independente da usada nas animações de grande massa, trazendo para a atualidade a prática do stop motion como técnica artesanal de animação. Como prática produzimos e realizamos cinco curtíssimas, sendo os processos e procedimentos mais relevantes do que as obras em si, porque neles encontramos a construção do pensamento que os tornaram possíveis, ilustrando a diferença entre aquilo que se concretiza como filme e o seu projeto idealizado / Abstract: In the history of movie making, the stop motion technique - also known as animation by displacement - hindered the pattern imposed by the industry as a rule, therefore it was practically eliminated from the big circuits and its production continued only by the efforts of independent artists who were able to experiment techniques and styles without following a rigid set of production rules, being free to explore the cinematographic language. This research intends to enter the universe of the animators who created an independent language from those used in the industrial circuits, bringing the current practice of stop motion as a craft technique and labelling the animation as a cinematographic and artistic practice. The stop motion as a creative reflection of how it would be possible to give thoughts new meanings of expression by the observation and description of the whole creative process / Mestre

Thesis (M.A. (Digital Animation))--University of the Witwatersrand, Faculty of Humanities, 2016 / Time slicing is a film-based visual effect that refers to an enhanced simulation of time at variable speeds by creating the illusion of frozen or slowly progressing motion in time; it is most commonly digitally manipulated. This report will research and analyse how it can be utilized to amplify dramatic tension, or suspenseful situations in contemporary action films through theories, technology and various filming techniques. The theoretical methodology in this report is a historical account of the technology and process in the evolution of time manipulation within photography and film leading up to time slicing. Some Film theory is included in this report in a more conceptual manner as to why time slicing or slow motion is used in suspenseful situations, particularly in the action film genre. The report also demonstrates how the high standards of time slicing in feature films can be similarly achieved on a budget which will be demonstrated through a practical component that will compare a real time versus a time sliced scenario. While it would be preferable to use a full 360-degree array of cameras, the technology involved in time slicing has not yet reached a point where it is economically accessible to a student film maker and most local industries, which is why the focus of the research paper analyses a shorter array of cameras that is just enough to capture a time slice effect. The results will then be assessed based on dramatic tension/suspense to see if they equate to the theories of montage and mise en scène discussed in the research report. As a case study, the report will then compare a scene from The Matrix to that of a scene produced as part of the practical component in order to draw conclusions on quality and the possibilities of a lower budget set-up. / MT2017

Thesis (M.A. (Digital Animation))--University of the Witwatersrand, Faculty of Humanities, 2016 / This study aims to determine whether motion-captured animation is better suited for hyper-realistic or caricatured film aesthetics and whether it creates or breaks the aesthetics engagement for the viewer. This will be done by analysing how each aesthetic maintains or breaks 'suspension of disbelief' in viewers towards character engagement and identification. This paper specifically aims to report on a study of body motion capture, via attaching trackers only on the body and not on the face and fingers. Films used to critically analyse these ideas will be The Advantures of Tintin: The secret of the Unicorn (year) directed by Steven Spielberg to illustrate motion capture, which pertains to caricatured animated feature film aesthetics with caricatured designs. in comparison Beowulf (year) directed by Robert Zemeckis will be studied to demonstrate motion capture with hyper-realistic aesthetics. Motion capture has often been critiqued negatively for its depiction of human characters and their movement as having a disturbing appearance; which is mostly criticised as effects of the Uncanny valley- a phenomenon first introduced by Professor Masahiro Mori. There are currently 13 major motion capture animation feature films, such as Final Fantasy: Spirits within, final fantasy: Advent children, the polar express, Last order final fantasy VII, monster house, happy feet, Beowulf, A Christmas Carol, The Adventures of Tintin: The secret of the Unicorn, Mars needs moms, Happy feet 2, kochadaiiyaan, Space Captain Haddock. With the amount of motion capture being used in current animation features, especially with a local South Africa studio such as The Flying Circus using it as a means of saving costs on animation production, there needs to be an understanding of where motion capture is best suited depending on the aesthetic design of the film. This becomes especially imperative to animated films, because it has its own codes of depicting 'realism' that are separate to that of live action films that are discussed in details in the paper. To conclude, this study will aid in determining which aesthetic style provides better engagement through a critique of aesthetics the films chose to pursue and which keeps viewers succumbed to 'suspension of disbelief'. This will aid in determining whether motion capture is an appropriate method to creating animated movement for a particular aesthetic. / MT2017

Thesis (MFA)--Rochester Institute of Technology, 1989. / "Based on 'Harold's Circus' by Crockett Johnson." Includes bibliographical references (leaves 53-55).

Thesis (M.A.)--York University, 2005. Graduate Programme in Communication and Culture. / Typescript. Includes bibliographical references (leaves 120-131). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://proquest.umi.com/pqdweb?index=0&did=1299817311&SrchMode=1&sid=14&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1195572105&clientId=5220

Thesis (M.F.A.)--Ohio State University, 2009. / Title from first page of PDF file. Includes bibliographical references (p. 108-111).

Thesis (Ph. D.)--Yale University, 1977. / Typescript. Includes abstract. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (v. 1, leaves 324-357).

Made available in DSpace on 2014-06-11T19:22:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-07-02Bitstream added on 2014-06-13T20:48:58Z : No. of bitstreams: 1 martins_aa_me_ia.pdf: 3633470 bytes, checksum: 08cdca1ded22f08a56552c194a5bbce4 (MD5) / Na história do cinema a técnica do stop motion, também conhecido como animação por deslocamento, dificultava a padronização que a indústria impunha como regra, assim, foram praticamente eliminadas dos grandes circuitos e prosseguiram pela produção de artistas independentes que podiam experimentar técnicas e estilos, sem a necessidade da criação de rígidos conjuntos de regras de produção e sem ficarem presos à linguagem cinematográfica criada. A proposta desta pesquisa é entrar no universo dos animadores que criaram uma linguagem independente da usada nas animações de grande massa, trazendo para a atualidade a prática do stop motion como técnica artesanal de animação. Como prática produzimos e realizamos cinco curtíssimas, sendo os processos e procedimentos mais relevantes do que as obras em si, porque neles encontramos a construção do pensamento que os tornaram possíveis, ilustrando a diferença entre aquilo que se concretiza como filme e o seu projeto idealizado / In the history of movie making, the stop motion technique - also known as animation by displacement - hindered the pattern imposed by the industry as a rule, therefore it was practically eliminated from the big circuits and its production continued only by the efforts of independent artists who were able to experiment techniques and styles without following a rigid set of production rules, being free to explore the cinematographic language. This research intends to enter the universe of the animators who created an independent language from those used in the industrial circuits, bringing the current practice of stop motion as a craft technique and labelling the animation as a cinematographic and artistic practice. The stop motion as a creative reflection of how it would be possible to give thoughts new meanings of expression by the observation and description of the whole creative process

A Research Report submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements of the degree of Mater of Arts in Digital Arts: 3D Animation by Coursework and Research Report, 2017 / During the colonial era, stereotypes of Africa were created and normalised in order to gain, maintain and justify colonial power. Europe during the colonial era, defined itself, using binary thinking (stemming from the Enlightenment period), against the "Other". This was used to establish a definition of the savage against which Europe was defined as civilised; Europe, deeming itself rational, used nineteenth-century African ways as an opposition by which the binary of rational against irrational could be expressed (Loomba 45). Colonial depictions of Africa often overlooked complexities and distinctions and represented the continent as a homogenous land and created oversimplified representations of the people and places (Harth 14). From the repeated production of imperial imagery, a regime of representation was created portraying Africa as a primitive wilderness, inferior to Europe, and as a site of colonial adventure. More recently, Triggerfish Animation Studios, based in Cape Town, created the films Adventures in Zambezia (2012) and Khumba (2013). This research argues that both films contain colonial stereotypes that conform to the regime of representation depicting Africa as a homogenous land of animals and landscapes, and repeat the colonial single story of an Edenic Africa. Khumba (2012), although still containing colonial stereotypes, offers a less stereotypical depiction than Adventures in Zambezia (2013). / XL2018