As the pre-production phase is a vital process in feature-length animation filmmaking, this study focuses on the arrangement of this phase in Iranian animation film projects. They are Mouse and Cat, Tak Taz, Namaki & The Giant, The Sun of Egypt, Jamshid & Khorshid, Simorq’s Heart and Tehran 2121. In support of the investigation of these, the research reviews the background of Iranian cinema, television and animation. It looks also at the emergence and evolution of the pre-production phase in Disney and Pixar studios. Moreover, comparisons of pre-production phases implemented by Japanese, British and Pixar filmmakers are complementary contexts highlighting this process. It comprises four key stages: writing stages e.g. script; visualization stages e.g. concept design; scene setting e.g. storyboard, and a rough version of a film in the form of a story reel (Yun Mou et al, 2013). Implementation of these stages needs strategies to be employed by successful filmmakers. Based on such facts, a theoretical comparison analyses the arrangement of the pre-production phase in the seven projects. The findings indicate two types of factors affecting the arrangement of this phase. Indirect factors such as the dependency on management by government and its financial support constitutes issues influencing productions. Direct factors include filmmakers’ abilities and their direct actions on production.

The topic of the thesis is work of Karel Zeman - the important Czechoslovakian film director of the second half of 20th century and his media image in the Czech media of that period. Karel Zeman is one of the leading figures of post-war cinematography, especially one of it's branch - animated film. Karel Zeman is famous for his feature films Journey to the Beginning of Time, The Fabulous World of Jules Verne and The Fabulous Baron Munchausen, in which he combined performed and animated parts. His work is so specific and so tied together with the director that after his death nobody was able to continue in it. The thesis describes in chronological way Karel Zeman's work, from the first short animated films over the most famous featured combined films to the featured animated fairy tales for children. For understanding of the whole context the thesis briefly describes beginning of animation in the world and in Czechoslovakia and also continuously touch important changes in Czechoslovakian cinematography, which directly affected Zeman's work (post-war situation, nationalization of cinematography). The thesis also touches Karel Zeman's personal live. The base of the thesis is focused on characterization of the particular films - short description of the plot, art processing (visual conception of the...

Actuellement, le travail de protection du patrimoine culturel immatériel est en plein essor. Il est au cœur de l’attention des médias et de la société, et également des recherches académiques. Malgré sa très longue histoire, sa promotion, son admission et sa protection sont récentes. En ce sens, le patrimoine immatériel est encore « jeune ». En tant que nouveau domaine et nouvel objet de recherche, son étude implique de nombreuses disciplines, et les mesures de protection nécessitent des innovations et une recherche audacieuse. L'animation est l’une des industries culturelles les plus à la mode en Chine et la plupart des recherches sur l'animation se focalisent sur le développement de l'industrie de l'animation. Ces recherches considèrent le patrimoine culturel immatériel comme ressource culturelle pour l’animation, et explorent les possibles utilisations pour promouvoir l'animation chinoise. Nous croyons que, dans le contexte culturel contemporain, l'animation constitue tant une industrie culturelle qu’un divertissement artistique et un loisir, ainsi qu’un moyen de transmission culturelle ; il peut aussi, par extension, être considéré comme un outil d'imagerie visuelle employé dans la production et la vie des personnes. L’animation est vivante et riche en inspiration, naturellement attractive, en particulier pour les jeunes. D’une certaine façon, elle est le langage commun de l'humanité. L’animation doit être une partie intégrante de la protection du patrimoine culturel immatériel ; elle est à même de promouvoir l’héritage et la transmission du patrimoine culturel immatériel. Ainsi, la présente thèse propose que nous considérions l’animation comme moyen de promotion de l’héritage et de transmission du patrimoine culturel immatériel. La transmission en est le moyen, et l’héritage est le but ultime de la protection du patrimoine culturel immatériel. La thèse démontre que l'animation peut effectivement être chargée de cette mission. Après la présentation du sujet de recherche, nous discuterons systématiquement du sujet à travers la recherche historique, la recherche interdisciplinaire, l'analyse de document, l'analyse de cas, l’enquête sur le terrain, etc., remontant ainsi jusqu’aux fondements des recherches existantes sur l’animation et le patrimoine culturel immatériel. / Currently, the protection work of intangible cultural heritage is booming. It is at the heart of attention of the media and society, and also academic research. Despite its long history, its promotion, admission and protection are recent. In this sense, the intangible heritage is still "young". As a new field and new object of research, the study involves many disciplines and safeguards require innovation and a bold research. Animation is one of the cultural industries more fashionable in China and most of the research on the animation focus on the development of the animation industry. This research considers the intangible cultural heritage as a cultural resource for animation, and explore the possible uses to promote the Chinese animation. We believe that in the contemporary cultural context, the animation is as a cultural industry that artistic entertainment and leisure, and a means of cultural transmission; it can also, by extension, be considered an employee visual imaging tool in the production and life of people. The animation is vibrant and rich in inspiration, naturally attractive, especially for young people. In a way, it is the common language of humanity. Animation must be an integral part of the protection of intangible cultural heritage; she is able to promote the heritage and transmission of intangible cultural heritage. Thus, this thesis proposes that we consider animation as a means of promoting the heritage and transmission of intangible cultural heritage. The transmission is the means, and the inheritance is the ultimate goal of protecting intangible cultural heritage. The thesis shows that animation can actually be entrusted with this mission. After the presentation of the research topic, we systematically discuss the subject through historical research, interdisciplinary research, document analysis, case analysis, field survey, etc., and dating back to foundations of existing research on the animation and intangible cultural heritage.

Este estudo tem como propósito pesquisar como as produtoras de animação publicitária em São Paulo absorveram gradativamente a tecnologia digital a partir de meados dos anos 1980 até os anos 1990, observando seu funcionamento antes, durante e após a implementação mais efetiva dos novos recursos, identificando os fatos e dados que apontam para o impacto no processo criativo em todas as suas etapas. A partir de uma revisão bibliográfica, apresenta-se o modelo de produção analógico em animação, permitindo-se conjecturar a respeito do ambiente sócio-cultural que propiciou o surgimento dos estúdios de animação que imprimiram sua marca na história da publicidade brasileira. Dentro de uma perspectiva de pesquisa qualitativa fundamentada na história oral, procura-se, por meio de entrevistas com os produtores, compreender o trajeto da realização de um filme de animação, tanto da era analógica como da era digital. Buscou-se, com a coleta de depoimentos, criar evidências para a pesquisa, esperando contribuir assim para o resgate histórico de um momento muito fértil em nossa animação, e de um segmento audiovisual tradicionalmente pouco contemplado nas discussões acadêmicas. Como resultado, obteve-se uma reflexão sobre a evolução do processo criativo, que se mostrou dar-se não apenas em função da tecnologia, mas também em função de um conjunto de elementos sócio-econômico-culturais que influenciam na fruição através dos tempos e determinam diretrizes de produtividade para o audiovisual / This study aims to research how animation advertising companies have gradually absorbed digital technology in São Paulo from the mid-1980s until the 1990s. By observing their functioning before, during and after the effective implementation of new resources, and, by this investigative approach, the study identifies the facts and data which point toward the impact on the creative process at all its stages. In the review of literature, the analog production model of animation is presented, which allows for conjecturing as to what socialcultural environment has enabled the emergence of animation studios which have left their mark in the history of Brazilian advertising. From a qualitative research perspective grounded on Oral History, it used interviews with producers, to document and gain a clearer understanding of the making of an animation film, in both in the analog as well as in the digital era. By the collecting accounts, research evidence hopes to contribute to a historical review of a particularly fertile moment in the history of Brazilian animation. As well this study documents an audiovisual segment that traditionally is not addressed in academic discussions. As a result, a reflection of the development of the creative process was obtained, not only because of technology used but also by virtue of a set of social-economic-cultural elements which have influenced the fruition throughout times and determined productivity guidelines for the audiovisual.

Este estudo tem como propósito pesquisar como as produtoras de animação publicitária em São Paulo absorveram gradativamente a tecnologia digital a partir de meados dos anos 1980 até os anos 1990, observando seu funcionamento antes, durante e após a implementação mais efetiva dos novos recursos, identificando os fatos e dados que apontam para o impacto no processo criativo em todas as suas etapas. A partir de uma revisão bibliográfica, apresenta-se o modelo de produção analógico em animação, permitindo-se conjecturar a respeito do ambiente sócio-cultural que propiciou o surgimento dos estúdios de animação que imprimiram sua marca na história da publicidade brasileira. Dentro de uma perspectiva de pesquisa qualitativa fundamentada na história oral, procura-se, por meio de entrevistas com os produtores, compreender o trajeto da realização de um filme de animação, tanto da era analógica como da era digital. Buscou-se, com a coleta de depoimentos, criar evidências para a pesquisa, esperando contribuir assim para o resgate histórico de um momento muito fértil em nossa animação, e de um segmento audiovisual tradicionalmente pouco contemplado nas discussões acadêmicas. Como resultado, obteve-se uma reflexão sobre a evolução do processo criativo, que se mostrou dar-se não apenas em função da tecnologia, mas também em função de um conjunto de elementos sócio-econômico-culturais que influenciam na fruição através dos tempos e determinam diretrizes de produtividade para o audiovisual / This study aims to research how animation advertising companies have gradually absorbed digital technology in São Paulo from the mid-1980s until the 1990s. By observing their functioning before, during and after the effective implementation of new resources, and, by this investigative approach, the study identifies the facts and data which point toward the impact on the creative process at all its stages. In the review of literature, the analog production model of animation is presented, which allows for conjecturing as to what socialcultural environment has enabled the emergence of animation studios which have left their mark in the history of Brazilian advertising. From a qualitative research perspective grounded on Oral History, it used interviews with producers, to document and gain a clearer understanding of the making of an animation film, in both in the analog as well as in the digital era. By the collecting accounts, research evidence hopes to contribute to a historical review of a particularly fertile moment in the history of Brazilian animation. As well this study documents an audiovisual segment that traditionally is not addressed in academic discussions. As a result, a reflection of the development of the creative process was obtained, not only because of technology used but also by virtue of a set of social-economic-cultural elements which have influenced the fruition throughout times and determined productivity guidelines for the audiovisual.

The first part of the thesis aims to provide basic background information for teachers prior to teaching FAE. The second part provides reflections on practical classroom teaching. The thesis also broaches the problems and possibilities which occur when working with with the film medium in the classroom.

Czech animated allegories of the period of 1946 to 2012 encode their political ideas in objects and things, rather than through conventional narrative techniques such as voice-over or dialogue. The existence of these objects in cinematic time and space is integral to this process of political encoding, which is achieved through the selection of objects, cinematography and editing. In some of these films, time and space themselves are politically encoded. Materialist critical approaches to the film texts can help illuminate these latent political meanings. 'Thing theory', which puts a critical emphasis upon reading objects and things, exposes the politically resistant role of simple, domestic objects in the films of Jiří Trnka and Hermína Týrlová. Trnka's cinema in particular defends traditional, pastoral modes of being in which the individual is rooted within their environment. 'Actor-network-theory', a means of interrogating the relationship between actors in networks, resonates with the political ideas present in the cinema of Surrealist artist Jan Švankmajer. Švankmajer's central political project is an interrogation of anthropocentrism and attempts by humans to exert systems of control and order upon non-human actors. Rather than celebrating functional, domestic objects like Trnka or Týrlová, Švankmajer's cinema is radically anti-utilitarian. Objects are depicted as things that resist categorisation. 'Rhythmanalysis' – a mode of poetic-scientific investigation developed by philosopher Henri Lefebvre – can be used to unpick the rhythms in the animations of Jirí Barta. Barta's films critique rational clock time and the design of urban spaces through the use of editing patterns and repetition. Finally, all three materialist approaches in combination help illustrate the political content of animated films (and live-action films with significant passages of animation) produced in the wake of the Velvet Revolution. Such films often question the relationship between the individual Czech citizen and the Czech capital city of Prague. The animated films of the aforementioned directors and historical periods, tend to give precedence to the material world of objects over the semiotic world of humans, though these two realms are often shown to be inter-dependent. To this end, the political messages of the films are conveyed not through language, but through images and things.

Made available in DSpace on 2016-06-02T20:23:17Z (GMT). No. of bitstreams: 1 6525.pdf: 2110192 bytes, checksum: 8ef07ecfefdea1b1ef30c6ddf74cfd80 (MD5) Previous issue date: 2014-10-30 / Financiadora de Estudos e Projetos / This research analyses the artistic creation process of a short animation film called the Tempest. Created in 2010, by Brasilian director Cesar Cabral at the Coala Film Studios (Santo André, São Paulo). The audiovisual production was shown at the 14th. Festival of English Culture. The narrative tells the fable of a lonely and passionate sailor confronting a storm. The creative procedural critique is basis of the methodology used in this research. It follows, step by step the creation and consequently the different manuscripts and ideas of a creative body whose understanding of the key elements produced different results. Through study of sketches, art direction layouts, still photographs, interviews with creators and annotations in different languages. Also included are tests and trials of the software used for editing. Without prior assumptions, the object of this work is to indicate and discuss the intersemiotic translations which constitute the Tempest and the contributions and dialogues established between the creators of the animation. The results were planned in graphical form to show the significant and possible meanings of the work under study. / Esta pesquisa analisa o processo de criação do curta-metragem de animação stop motion Tempestade. Dirigido pelo brasileiro Cesar Cabral, nos estúdios Coala Filmes (Santo André, São Paulo), no ano de 2010, a produção visava atender ao edital do 14º Festival da Cultura Inglesa. A narrativa traz a fábula de um solitário marujo que em alto mar enfrenta uma tempestade em busca do reencontro com a mulher amada. A investigação tem como base metodológica a Crítica de Processo Criativo, (SALLES 2006, 2007a, 2007b, 2010) a qual entende todas as etapas da criação e, consequentemente, seus registros, como constituintes de um corpus investigativo, entendendo como elementos-chave os diferentes roteiros elaborados, esboços da direção de arte (layouts), fotos still, entrevistas com os idealizadores, anotações em diferentes linguagens (verbais ou não verbais), testes e experimentações em softwares utilizados para a edição, entre outros. Diante de tais pressupostos, o objetivo desse trabalho é apontar e discutir as traduções intersemióticas (PLAZA, 2010) que constituem Tempestade, assim como as contribuições e os diálogos estabelecidos entre os idealizadores da animação. Os resultados foram planificados em uma configuração gráfica, ou seja, a cartografia da criação, que aponta para o mapa constitutivo diagramático do processo.