scholarly journals Film Animasi sebagai Medium Dokumentasi Kekayaan Alam, Intelektual, Budaya, dan Dinamika Sosial Politik

Humaniora ◽  
2012 ◽  
Vol 3 (2) ◽  
pp. 668
Author(s):  
Ardiyansah Ardiyansah

Animation is a medium that has the ability to represent a visual phenomenon as a whole. Animation is not just a work of image-driven, but the work depicted motion, as expressed by Norman McLaren, Canadian animator Academy Award winner. As the interpretation of the motion, the animation is not subject to the laws of nature, so there is no limitation including movements that cannot be done in the real world or recorded in the live-action movie. So is the characterization or characterizations in the animation can be so free and open more opportunities for exploration. This advantage makes the animation a favorite medium to draw the attention of the audience, especially in the growing era of digital animation technology. Animation is now not only used for entertainment purposes, but has penetrated other fields such as education, tourism, health care, and so on. As a cultural product, animation, as well as films and works of art of human culture in general, is a historical marker that describes the spirit of an era that functions inherent in the animated film documentation of socio-political dynamics of a nation in a given period. This paper describes the process of documentation of natural, intellectual, cultural and socio-political dynamics in countries that intensively utilize the medium of animation.  

Author(s):  
Christopher Holliday

This chapter argues that mannerism and traditions of mannerist art give greater definition to how computer-animated films playfully dismantle their illusionist activity by making false claims about their relation to live-action cinema. To consider these specific forms of Mannerist humour in the computer-animated film, this chapter plots Mannerism’s cinematic lineage within certain styles and genres (film noir, pop music film, heritage drama, period film and cinéma du look), and notes that despite scholars having employed a vocabulary drawn from European art history to describe the (often digitally-assisted) bravura camerawork of New Hollywood cinema, Mannerism has yet to be employed as a descriptor for digital animation. This chapter therefore re-imagines computer-animated film comedy as strongly Mannerist in its invention, and draws particular attention to their strategies of allusive anti-illusionism. Computer-animated films frequently stage false, illusory discourses of revelation (feigned blooper reels, outtake material, behind-the-scenes ‘actor’ interviews) as a comic flourish that maintains the genre’s illusion. To interrogate the wit of the genre’s Mannerist play, I examine its many trompe-l’œil illusion effects and activities of self-deception.


Author(s):  
Christopher Holliday

Chapter One maintains the genre narrative established in the book’s introduction, interrogating in greater depth the shape of contemporary film genre theory, and its relationship to the study of digital animation to understand how computer-animated films might be conceptualised in generic terms. The interrelationship between animation and genre is identified as a complex series of engagements and negotiations, and drawing on animation scholarship and theories of film genre, this chapter engages with the problem of generic classification when placed within the specific context of animation. Informed by Paul Wells’ work on animation’s generic “deep structures”, this chapter argues that it is in the process of ‘doing’ recognisable genres (similar to notions of genre parody) that computer-animated films both create and announce their own internal structures and attributes, which will be pursued across the book as a whole. Chapter One also works through technological considerations (including current software packages) to identify the computer-animated film genre as a significant attribute of textual structures that are underpinned by technological concerns. Questions of genealogy and the computer-animated film’s potential influence (live-action cinema; videogames) are therefore brought together in a discussion of the ‘computer-animated film’ as a viable critical label.


2020 ◽  
Vol 4 (Supplement_1) ◽  
pp. 645-645
Author(s):  
Anne Ordway

Abstract Aging and disability are normative processes that extend across the lifespan. However, ageism and ableism are incorporated into many of our practices, programs, and policies—devaluing the lives of older adults and people aging with disabilities and ultimately preventing their full participation in society. Ageism and ableism are closely connected. For example, both systems identify impairment as an individual and social liability. As recent studies have demonstrated, this has real world implications for the quantity and quality of health care requested, delivered, and received by both older adults and people with disabilities. In this session, we discuss the connections between these two forms of oppression and present recent work by researchers in both fields and the FrameWorks Institute that shows how to transform our cultural ideas of aging and disability and development more inclusive policies and services. Part of a symposium sponsored by the Lifelong Disabilities Interest Group.


2009 ◽  
Vol 102 (12) ◽  
pp. 1234-1240 ◽  
Author(s):  
Horst Gerlach ◽  
Viola Hach-Wunderle ◽  
Eberhard Rabe ◽  
Hanno Riess ◽  
Heike Carnarius ◽  
...  

SummaryCurrent guidelines recommend optimised algorithms for diagnosis of suspected deep-vein thrombosis (DVT). There is little data to determine to what extent real-world health care adheres to guidelines, and which outcome in terms of diagnostic efficiency and safety is achieved. This registry involved patients with clinically suspected DVT of the leg recruited in German ambulatory care between October and December 2005. Registry items were: diagnostic methods applied; diagnostic categories at day 1; and venous thromboembolic events up to 90 days in patients without firmly established DVT. A total of 4,976 patients were recruited in 326 centres. Venous ultrasonography was performed in 4,770 patients (96%), D-dimer assay in 1,773 patients (36%) and venography in 288 patients (6%). At day 1, DVT was confirmed in 1,388 patients (28%), and ruled out in 3,389 patients (68%), and work-up was inconclusive in 199 patients (4%).The rate of venous thromboembolism at 90 days was 0.34% (95% confidence interval [CI]: 0.09 to 0.88) in patients in whom the diagnosis of DVT had been ruled out, and 2.50% (95% CI: 0.69 to 6.28) in patients with inconclusive diagnostic workup. This nationwide evaluation in German ambulatory care revealed that the diagnostic work-up for suspected DVT did not adhere to current guidelines. However, the overall diagnostic safety was excellent, although there is potential for improvement in a well defined minority of patients.The TULIPA registry was funded by GlaxoSmithKline GmbH und Co KG, Munich.


2018 ◽  
Vol Volume 10 ◽  
pp. 629-641 ◽  
Author(s):  
Machaon Bonafede ◽  
Joseph Feliciano ◽  
Qian Cai ◽  
Virginia Noxon ◽  
Nicole Princic ◽  
...  

2014 ◽  
Vol 17 (3) ◽  
pp. A131
Author(s):  
Viana ADJR ◽  
AF Lopes ◽  
CP Matias ◽  
VP Moreira ◽  
JL Viana ◽  
...  

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