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The pleasure and politics of viewing Japanese animeShen, Lien Fan. January 2007 (has links)
Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 153-164).
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Self fish /Rogers, Douglas E. January 2010 (has links)
Thesis (M.F.A.)--Rochester Institute of Technology, 2010. / Typescript. Includes bibliographical references (p. 30).
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Christian education utilizing cartoon & animation /Lim, Cheong San, January 2003 (has links)
Applied research project (D. Min.)--School of Theology and Missions, Oral Roberts University, 2003. / Includes abstract and vita. Translated from Korean. Includes bibliographical references (leaves 221-230).
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[Christian education utilizing cartoon & animation] /Lim, Cheong San, January 2003 (has links)
Applied research project (D. Min.)--School of Theology and Missions, Oral Roberts University, 2003. / Includes abstract and vita. Includes bibliographical references (leaves 143-152).
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"Freaking out: " an examination of freakazoid! and children's culture /Ratelle, Amy. January 1900 (has links)
Thesis (M.A.) - Carleton University, 2006. / Includes bibliographical references (p. 89-92). Also available in electronic format on the Internet.
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Creative applications of basic computer software: a practice-led exploration of visual art and design thinking drawing and animationRoome, John William January 2013 (has links)
Thesis
submitted
in
fulfilment
of
the
requirements
for
the
degree
Doctor
of
Technology:
Design
in
the
Faculty
of
Informatics
and
Design
at
the
Cape
Peninsula
University
of
Technology
2013 / Digital
drawing
and
animation,
using
basic
computer
software,
opens
up
new
possibilities
in
creative
practice-‐led
research.
The
digital
medium,
with
its
relative
ease
of
reproduction
and
storage
of
images,
facilitates
a
reflective
method
of
thinking-‐while-‐
drawing,
thereby
stimulating
the
creative
process
and
providing
a
unique
means
of
reflection-‐in-‐action.
The
computer’s
ability
to
record
images
allows
for
temporal
disruption,
providing
possibilities
for
exploring
alternative
creative
solutions
as
well
as
retrospective,
reflection-‐on-‐action.
This
thesis
presents
an
interrogation
of
the
researcher’s
creative
practice,
as
well
as
the
findings
and
creative
artefacts
of
other
relevant
practitioners
in
the
field
of
digital
drawing,
animation,
and
related
creative
activities.
A
reflexive
methodology
was
used
to
investigate
the
relationship
between
making,
doing,
and
knowing
in
creative
practice.
The
findings
are
supported
by
creative
outputs
(making),
reflection
on
the
creative
process
in
relation
to
supporting
literature
(doing),
and
knowledge
resulting
from
this
reflection
together
with
related
theoretical
research
(knowing).
The
research
revealed
that
digital
drawing
and
animation
supports
new
modes
of
making
resulting
in
the
production
of
original
creative
artefacts.
It
was
further
revealed
that
in
relation
to
“doing”,
the
digital
medium
supports
reflective
practice
by
enabling
the
creative
practitioner
to
document
and
reflect
on
these
outputs
both
during
and
after
making.
The
resulting
reflexive
actions
combined
with
theoretical
research
lead
to
revelations
concerning
the
relationship
between
thinking
and
drawing
when
using
digital
media
as
well
as
in
a
broader
sense.
The
study
thus
contributes
insights
concerning
art
and
design
thinking,
and
makes
a
contribution
to
new
developments
in
visual
arts
and
design
research.
Practice-‐led
research
introduces
a
theoretical
paradigm
that
has
methodological
implications
particularly
in
the
context
of
the
current
re-‐structuring
and
transformation
of
art
and
design
education
at
South
African
Universities
of
Technology.
The
findings
indicate
that
digital
drawing
and
animation
can
encourage
a
critical
and
reflective
approach
not
only
in
the
work
of
creative
practitioners
by
supporting
new
modes
of
making,
but
that
it
also
has
positive
implications
for
visual
arts
research
and
teaching.
In
this
regard
the
research
highlights
the
need
for
promoting
the
integration
of
theory
and
practice
in
visual
arts
and
design
education
curricula.
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O documentário animado e a leitura não-ficcional da animação / The animated documentary and the nonfiction reading of animationSerra, Jennifer Jane, 1981- 19 August 2018 (has links)
Orientador: Marcius Cesar Soares Freire / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T18:32:25Z (GMT). No. of bitstreams: 1
Serra_JenniferJane_M.pdf: 8736280 bytes, checksum: c66b3c043b6914ea9a87103eb4ba4909 (MD5)
Previous issue date: 2011 / Resumo: Esta pesquisa teve por finalidade analisar os mecanismos através dos quais filmes de animação podem ser vistos pelo espectador a partir de uma leitura documental e como a animação pode ser utilizada como estratégia discursiva em filmes documentários. Para tanto, delimitou-se como objeto de análise filmes classificados, tanto por seus realizadores como por instituições relacionadas ao campo do cinema, como "documentário animado" e utilizou-se a abordagem Semiopragmática do filme para analisar esse tipo de produção com base no conceito de "modo de leitura documentarizante" proposta pelo teórico Roger Odin. O corpus fílmico para esta análise foi composto pelos seguintes filmes: Silence (Sylvie Bringas e Orly Yadin, Inglaterra, 1998); A is for Autism (Tim Webb, Inglaterra, 1992); Animated Minds (Andy Glynne, Inglaterra, 2003 e 2008); Revolving Door (Alexandra e David Beesley, Austrália, 2006); Dossiê Rê Bordosa (Cesar Cabral, Brasil, 2008); O Divino, De Repente (Fábio Yamaji, Brasil, 2009). A análise desses filmes, em particular, e de outros documentários de animação permitiu visualizar que a leitura de um documentário articula operações e processos de produção de sentido e afetos concernentes tanto ao campo do cinema documentário quanto do cinema de animação. Em documentários animados, as operações do processo de leitura são suscitadas por estratégias narrativas próprias da animação, tais como metamorfose, simbolismo, performance, etc., e a leitura documentarizante pode ser conduzida por instruções que não recaem apenas sobre aspectos estilísticos do documental, mas também sobre elementos narrativos da animação. Além disso, a animação tem o poder de tornar visível o que não pode ser captado pelo olhar humano e pela câmera, tornando-se uma poderosa ferramenta para expor sentimentos, pensamentos e idéias e para explorar temas através de uma abordagem subjetiva. A união entre animação e narrativa documental no documentário animado, entretanto, é carregada de tensão, especialmente porque a animação é tradicionalmente associada ao universo do "faz de conta" e sua natureza subjetiva entra em conflito com a visão tradicional do documentário como sendo um relato objetivo sobre o real e relacionado aos discursos científicos. No processo de leitura de um documentário animado essa tensão está presente e é uma de suas particularidades. A natureza aparentemente contraditória da junção entre animação e documentário chama a atenção do espectador para novas possibilidades de representação do mundo histórico que não apenas os modos já estabelecidos de narrativa documental e suscita a reflexão sobre a abordagem das questões envolvidas nas asserções apresentadas pelo filme / Abstract: This research aims to examine how the viewer can read animated films through a documentary reading and how animation can be used as a discursive strategy by documentary films. For this purpose, films classified - by their makers or institutions related to the cinema field - as "animated documentary" were chosen and used under the Semio-Pragmatic approach. The objective is to analyze this kind of production based on the concept of "documentarizing mode of reading" proposed by theorist Roger Odin. The set of films for this analysis consists of: Silence (Orly Yadin and Sylvie Bringas, England, 1998), A is for Autism (Tim Webb, England, 1992); Animated Minds (Andy Glynne, England, 2003 and 2008); Revolving Door (Alexandra and David Beesley, Australia, 2006); The Rê Bordosa Dossier (Cesar Cabral, Brazil, 2008), O Divino, De Repente (Fábio Yamaji, Brazil, 2009). The analysis of these films and other animated documentaries shows that the reading of an animated documentary articulates operations and production of meaning and affects related to both the fields of documentary and animation. The operations of the reading process of an animated documentary are raised by animation's narrative strategies, such as metamorphosis, symbolism, performance, etc., and the documentarizing reading can be produced by elements concerned to stylistic aspects of the documentary, but also based on elements of animation. In addition, animation has the power to make visible what is invisible to the human eye and to the camera, making the animated documentary a powerful tool to reveal feelings, thoughts and ideas and to explore issues through a subjective approach. The relationship between animation and documentary narrative in the animated documentary, however, has a tension. Because animation is traditionally associated with the fairytale world and it has a subjective nature it conflicts with the vision of the documentary as an objective narrative about the real and related to scientific discourses. In the process of the animated documentary reading this tension is present and one of its peculiarities. The contradictory nature of the junction between animation and documentary draws to the viewer the attention for new possibilities of representations about the historical world beyond the established modes of documentary narrative and it raises the viewer's reflection about the approach of the issues involved in the assertions made by the film / Mestrado / Multimeios / Mestre em Multimeios
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Hipercinema : elementos para uma teoria formalista do cinema de animação hiperrealista / Hypercinema : elements for a formalist theory of hyperrealist animation cinemaLucena Júnior, Alberto 21 August 2018 (has links)
Orientadores: Antonio Fernando da Conceição Passos, Marcello Giovani Tassara / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T08:12:31Z (GMT). No. of bitstreams: 1
LucenaJunior_Alberto_D.pdf: 14069485 bytes, checksum: 0faaf35a9f1dd903e00f992649686519 (MD5)
Previous issue date: 2012 / Resumo: A pesquisa almeja formular uma teoria estética para o cinema de animação hiperrealista. Após completar meio século de existência, a computação gráfica finalmente alcançou um estágio tecnológico no qual o artista dispõe de ferramentas poderosas e flexíveis o suficiente para enfim encarar o desafio de criar filmes com imagens realistas sintéticas absolutamente convincentes. Impõe-se, entretanto, a necessidade de fundamentação estética para fornecer o apoio artístico capaz de colaborar para o êxito expressivo desse novo cinema, tanto no trabalho de produção quanto na avaliação crítica. Para tanto o estudo empreende uma investigação do desenvolvimento da arte desde sua origem a fim de situar, seja na arte fixa ou na arte móvel, o lugar da forma realista e verificar as exigências formais que transformam uma imagem de alto nível icônico em obra de arte / Abstract: The research aims to formulate an aesthetic theory for the hyperrealist animated film. After completing half a century, computer graphics has finally reached a technology stage in which the artist has powerful and flexible tools to finally face the challenge of creating films with realistic synthetic images absolutely convincing. It must be, however, the need for aesthetic reasons to provide artistic support able to contribute to the expressive success of this new cinema, both in production work and in critical evaluation. For that, the study undertakes an investigation of the development of art from its origin in order to place, whether in still art or moving one, the place of realistic form and check the formal requirements that make a high-level iconic picture into the work of art / Doutorado / Multimeios / Doutor em Multimeios
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Emotional avatars : choreographing emotional facial expression animationSloan, Robin J. S. January 2011 (has links)
As a universal element of human nature, the experience, expression, and perception of emotions permeate our daily lives. Many emotions are thought to be basic and common to all humanity, irrespective of social or cultural background. Of these emotions, the corresponding facial expressions of a select few are known to be truly universal, in that they can be identified by most observers without the need for training. Facial expressions of emotion are subsequently used as a method of communication, whether through close face-to-face contact, or the use of emoticons online and in mobile texting. Facial expressions are fundamental to acting for stage and screen, and to animation for film and computer games. Expressions of emotion have been the subject of intense experimentation in psychology and computer science research, both in terms of their naturalistic appearance and the virtual replication of facial movements. From this work much is known about expression universality, anatomy, psychology, and synthesis. Beyond the realm of scientific research, animation practitioners have scrutinised facial expressions and developed an artistic understanding of movement and performance. However, despite the ubiquitous quality of facial expressions in life and research, our understanding of how to produce synthetic, dynamic imitations of emotional expressions which are perceptually valid remains somewhat limited. The research covered in this thesis sought to unite an artistic understanding of expression animation with scientific approaches to facial expression assessment. Acting as both an animation practitioner and as a scientific researcher, the author set out to investigate emotional facial expression dynamics, with the particular aim of identifying spatio-temporal configurations of animated expressions that not only satisfied artistic judgement, but which also stood up to empirical assessment. These configurations became known as emotional expression choreographies. The final work presented in this thesis covers the performative, practice-led research into emotional expression choreography, the results of empirical experimentation (where choreographed animations were assessed by observers), and the findings of qualitative studies (which painted a more detailed picture of the potential context of choreographed expressions). The holistic evaluation of expression animation from these three epistemological perspectives indicated that emotional expressions can indeed be choreographed in order to create refined performances which have empirically measurable effects on observers, and which may be contextualised by the phenomenological interpretations of both student animators and general audiences.
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Technique Arms The Imagination Developing An Acting Theory Best Suited For Motion Capture Performance And The Creation Of A Virtual CharacterRogers, Brendan 01 January 2011 (has links)
“The untrained body, like the sculptor's marble, can express nothing but its own limitations” (Lust 70). As acting styles have changed through the years, corresponding schools of thought have arisen to prepare performers for their unique challenges. Perhaps the goal of producing a “gripping performance,” one in which the audience is truly invested, has remained the same since the time of Thespis. How one arrives at this desired result, however, has varied greatly through the ages. Techniques, not surprisingly, tend to build on previous theories, beliefs and practices. Étienne Decroux’s corporeal mime technique builds on the teachings of Jacques Copeau, but as a result, takes the art form into a radically new direction. Vsevolod Meyerhold studied with Stanislavski, learning his inside-out approach to performance, and, with biomechanics, creates a performance technique that turns Stanislavski’s approach on its head. The point is not that these theorists developed something that undermines the previous work, but that they built their theories from knowledge of older techniques. In essence, these theorists learned from the past to prepare for the future. Advancements in film technology have dramatically changed both the nature of film, and performance, itself. Computer-generated characters and environments are becoming more commonplace in film due to the flexibility they provide in composing shots, and the relatively low price tag that comes with them. Technology still can’t replace the subtlety that comes from a human performance, so currently, actors find themselves in the unique position of having one foot in the real world and the other foot in the virtual world. The motion-capture process, or moCap, is the best example of this unique relationship. By placing sensors at key joints on an actor’s body, their performance can be tracked by a computer and then directly applied to a computer-generated model (Hooks 30). In a iv sense, it’s digital puppetry. Because only the movements are being recorded and not the actor’s physical appearance, performers can play parts that are not necessarily their physical type or even their own species. Director Peter Jackson cast Andy Serkis to play a forty-foot-tall ape in the 2005 remake of King Kong, and thanks to the motion-capture process, the result is a perfect blend of live acting and computer-generated graphics. The relatively low cost and flexibility of this process has made it available, not just to filmmakers in Hollywood, but also to the independent market. I am currently directing a feature length film that utilizes both computergenerated backgrounds and virtual characters accomplished through the motion-capture process. This production has been in the works since I started graduate school. As I learn more and more about specific acting techniques in class, I am always looking for something that I could apply specifically to motion-capture performance. Currently there is little research on the topic and certainly, there’s no specific acting theory that applies to this medium. In this paper I hope to formulate an acting technique that is tailored for the field of motion-capture performance, building upon theories of the past. Further study in this technique will better prepare future performers in this field, as well as provide insights for directors new to the medium. The following three techniques in particular, each with their emphasis on an outside-in approach to acting, will provide the basis for this theory: Meyerhold’s biomechanics; Decroux’s corporeal mime; and Edward Gordon Craig’s uber-marionette concept. I will provide detailed sections on each one of these approaches, discussing the theoretical sides of each, as well as specific exercises students in these schools are asked to perform. Next, I will provide a detailed section on the motion-capture process, discussing how it works and the challenges it presents to performers. Finally I will apply each one of the three theories to the motion-capture process, v finding points where the theories apply and also where they fall short. By choosing specifically what applies to the moCap process from each one of the techniques, we will be left with a new theory that specifically relates to virtual performance. This will not only serve as an invaluable guide to both future performers and directors entering the field of motion capture, but will hopefully be the beginnings of an acting theory that can bring performance education programs into the 21st century. Working in the virtual realm requires a performer to use his imagination, but having training and knowledge in theories of the past will mean the imagination is not the only thing actors have to work with.
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