Animation Technique and Significances Underlying in Michēle Cournoyner’s Animated Film “Soif” - Focusing on the Expressive Form of Metamorphosis -

2019 ◽  
Vol 13 (8) ◽  
pp. 255-266
Author(s):  
Eun-Mi Kang
Keyword(s):  
Animated Film ◽  
Animation Technique

scholarly journals “ROCKET TO ROCKET”: SEBUAH KISAH TENTANG CITA-CITA DAN HARAPAN

2019 ◽  
Vol 5 (2) ◽  
pp. 107-120
Author(s):  
Yholanda Kunthi Anggriva ◽  
Mahendradewa Suminto ◽  
Agnes Karina Pritha Atmani
Keyword(s):  
Visual Form ◽  
2D Animation ◽  
Animated Film ◽  
Animation Technique ◽  
The Creation

Rockets are spacecraft, missiles, or flying vehicles that get a boost through rocket reactions to fluid materials. In this film the rocket represents dreams and hopes. The process of launching a rocket is the process of reaching someone's dream. The process of launching missiles into space is not easy, but that doesn't mean it can't. This film, invites the audience to be sure of hope and dare to fight for it. The creation of this animated film is presented in the form of 2D animation without using any narration or dialogue. As a support for the atmosphere, music is created that can build an atmosphere. Not forget the 12 principles of animation applied in this animated film to strengthen and improve the artistic impression as a support of visualization. The twodimensional animation technique is intentionally used because the visual form of 2D animation has a light but easy to remember impression.

scholarly journals Animation creativity as a factor in the development of children’s giftedness

2021 ◽  
Vol 117 ◽  
pp. 02006
Author(s):  
Natalia Sergeevna Murodhodjaeva ◽  
Sergey Alexandrovich Averin ◽  
Andrey V. Koptelov ◽  
Svetlana Ivanovna Karpova ◽  
Elena Ivanovna Sukhova
Keyword(s):  
Information Technologies ◽  
Educational Process ◽  
Preschool Age ◽  
Collective Work ◽  
Use Of Technology ◽  
Preschool Age Children ◽  
Animated Film ◽  
Animation Technique ◽  
The One ◽  
Figurative Thinking

The main premise of the study is the objective need to find new means for the development of children’s personality in the modern educational process. Scientific and technological progress, the active use of technology and gadgets by children, even young children, the expansion of the use of distance learning and communication, artificial intelligence, and social networks are the realities in which we already live. Therefore, high relevance is gained by the means that are based on information technologies on the one hand but have the potential for the development of children’s personality on the other. What can be considered as one such instrument is animation creativity of children that involves the process of children jointly composing, creating, and discussing a cartoon of their own making. The assumption of the potential effectiveness of animation creativity as a means of developing children’s giftedness is based on the fact that in the process of joint creation of a cartoon, children show and develop several abilities as they create the script, images of characters, their characters and appearances, as they are involved in filming, montage, editing, as well as the presentation and promotion of the finished animated film. Children interact with one another and with technical devices, learn to listen to and hear each other, substantiate their opinion, carry the responsibility for collective work, distribute responsibilities between each other, and bring the creative idea to fruition in the finished product. The goal of the study is to conduct an empirical study to determine the effect of the author’s children’s animation technique on the development of figurative thinking in older preschool-age children. Methods: observation, conversation, measurement, creative tasks, comparative analysis of experimental data.

Somethin’ about Scandinavia: Danish Shorts on the Post-war International Scene

2018 ◽  
Author(s):  
C. Claire Thomson
Keyword(s):  
United Nations ◽  
International Collaboration ◽  
Marshall Plan ◽  
The Third ◽  
Animated Film ◽  
International Audience ◽  
Post War ◽  
Nordic Cooperation

Building on the picture of post-war Anglo-Danish documentary collaboration established in the previous chapter, this chapter examines three cases of international collaboration in which Dansk Kulturfilm and Ministeriernes Filmudvalg were involved in the late 1940s and 1950s. They Guide You Across (Ingolf Boisen, 1949) was commissioned to showcase Scandinavian cooperation in the realm of aviation (SAS) and was adopted by the newly-established United Nations Film Board. The complexities of this film’s production, funding and distribution are illustrative of the activities of the UN Film Board in its first years of operation. The second case study considers Alle mine Skibe (All My Ships, Theodor Christensen, 1951) as an example of a film commissioned and funded under the auspices of the Marshall Plan. This US initiative sponsored informational films across Europe, emphasising national solutions to post-war reconstruction. The third case study, Bent Barfod’s animated film Noget om Norden (Somethin’ about Scandinavia, 1956) explains Nordic cooperation for an international audience, but ironically exposed some gaps in inter-Nordic collaboration in the realm of film.

Horror and Death: Rethinking Coco's Border Politics

2020 ◽  
Vol 73 (4) ◽  
pp. 41-49
Author(s):  
Orquidea Morales
Keyword(s):  
The United States ◽  
Horror Film ◽  
Walt Disney Company ◽  
Life And Death ◽  
Walt Disney ◽  
Day Of The Dead ◽  
Animated Film ◽  
Border Politics ◽  
The Dead ◽  
The U.S

In 2013, the Walt Disney Company submitted an application to trademark “Día de los muertos” (Day of the Dead) as they prepared to launch a holiday themed movie. Almost immediately after this became public Disney faced such strong criticism and backlash they withdrew their petition. By October of 2017 Disney/Pixar released the animated film Coco. Audiences in Mexico and the U.S. praised it's accurate and authentic representation of the celebration of Day of the Dead. In this essay, I argue that despite its generic framing, Coco mobilizes many elements of horror in its account of Miguel's trespassing into the forbidden space of the dead and his transformation into a liminal figure, both dead and alive. Specifically, with its horror so deftly deployed through tropes and images of borders, whether between life and death or the United States and Mexico, Coco falls within a new genre, the border horror film.

VERBALIZATION OF THE ANTAGONIST IMAGE: FROM THE BYLINA TO THE ANIMATED FILM

2020 ◽  
Vol 3 (96) ◽  
pp. 39-48
Author(s):  
Elena N. Ilyina ◽  
Violetta S. Tivo
Keyword(s):  
Animated Film

Book Reviews

Projections ◽  
2020 ◽  
Vol 14 (2) ◽  
pp. 102-123
Author(s):  
Kata Szita ◽  
Paul Taberham ◽  
Grant Tavinor
Keyword(s):  
Video Games ◽  
Film Industry ◽  
Indiana University ◽  
Animated Film ◽  
The Mind

Bernard Perron and Felix Schröter, eds., Video Games and the Mind: Essays on Cognition, Affect and Emotion (Jefferson, NC: McFarland, 2016), 224 pp., $39.95 (softcover), ISBN: 9780786499090.Christopher Holliday, The Computer-Animated Film: Industry, Style and Genre (Edinburgh: Edinburgh University Press, 2018), 272 pp., $39.95 (paperback), ISBN: 9781474427890.Aubrey Anable, Playing with Feelings: Video Games and Affect (Minneapolis: Minnesota University Press, 2018), 200 pp., $25.00 (paperback), ISBN: 9781517900250. and Christopher Hanson, Game Time: Understanding Temporality in Video Games (Bloomington: Indiana University Press, 2018), 296 pp., $38.00 (paperback), ISBN: 9780253032867.

Designing Emotion Of Characters By Referencing From Facs In Short Animated Film “RANA”

2018 ◽  
Vol 9 (2) ◽  
pp. 31-38
Author(s):  
Fransisca Adis ◽  
Yohanes Merci Widiastomo
Keyword(s):  
Facial Expression ◽  
Basic Characteristic ◽  
Early Stage ◽  
3D Animation ◽  
Coding System ◽  
Facial Action Coding System ◽  
Facial Action ◽  
Animated Film ◽  
Character Design ◽  
The Face

Facial expression is one of some aspects that can deliver story and character’s emotion in 3D animation. To achieve that, we need to plan the character facial from very beginning of the production. At early stage, the character designer need to think about the expression after theu done the character design. Rigger need to create a flexible rigging to achieve the design. Animator can get the clear picture how they animate the facial. Facial Action Coding System (FACS) that originally developed by Carl-Herman Hjortsjo and adopted by Paul Ekman and Wallace V. can be used to identify emotion in a person generally. This paper is going to explain how the Writer use FACS to help designing the facial expression in 3D characters. FACS will be used to determine the basic characteristic of basic shapes of the face when show emotions, while compare with actual face reference. Keywords: animation, facial expression, non-dialog

‘An Elegant Legacy?’

2019 ◽  
pp. 181-203
Author(s):  
Danielle Birkett
Keyword(s):  
Archival Research ◽  
Animated Film ◽  
Political Message ◽  
Broadway Musicals ◽  
Frank Sinatra

Different issues challenged the screen adaptation of Finian’s Rainbow, which was one of the most successful Broadway musicals of the 1940s but took more than twenty years to be released as a film. Using archival research, this chapter reveals the frustrated early attempts to make Finian’s into an animated film musical, partly blighted by the blacklisting of lyricist E. Y. Harburg in 1951. Ex-Disney animator John Hubley was hired to work on the film and created more than 400 storyboard sketches, designs, and character drafts for the movie. By 1954, ten key songs had been recorded by leading artists such as Frank Sinatra, Ella Fitzgerald, and Louis Armstrong; indeed, in an attempt to make the project as commercial as possible, Sinatra was assigned a part in nearly all the songs. A new prologue was added and changes were made to the story to soften its vigorous political message, but for a mixture of political and financial reasons the production was abruptly closed down; Finian’s Rainbow would not reach the screen until late the following decade.

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