A Comparative Analysis of the Women Characters Characteristics of Aladdin of Disney s ANIMATION and Live Action Film

J-Institute ◽  
2021 ◽  
Vol 6 (3) ◽  
pp. 49-60
Author(s):  
Seohyun Song
Keyword(s):  
Comparative Analysis ◽  
Women Characters ◽  
Action Film ◽  
Live Action

Visual affect in films: a semiotic approach

Semiotica ◽  
2021 ◽  
Vol 2021 (239) ◽  
pp. 99-124
Author(s):  
Yi Jing
Keyword(s):  
Facial Expressions ◽  
Visual Media ◽  
Meaning Potential ◽  
Action Film ◽  
Semiotic Approach ◽  
Semiotic Perspective ◽  
Affective Meanings ◽  
Live Action

Abstract This study investigates affective meanings expressed in facial expressions and bodily gestures from a semiotic perspective. Particularly, the study focuses on disentangling relations of affective meanings and exploring the meaning potential of facial expressions and bodily gestures. Based on the analysis of over three hundred screenshots from two films (one animation and one live-action film), this study proposes a system of visual affect, as well as a system of visual resources involved in the expression of visual affect. The system of visual affect makes a further step in the investigation of affective meanings afforded by facial expressions and bodily gestures, and can provide methodological insights into the examination of affective meanings expressed visually. The system of visual resources provides a more meaning-motivated framework for systematic tracking of the visual resources, which may be applied to the analysis of other visual media apart from films.

scholarly journals Roses in Amber: Gendered Discourse in Disney’s 2017 Adaptation of Villeneuve’s Fairytale Beauty and the Beast

2021 ◽  
Author(s):  
Atoof Abdullah Rashed ◽  
Laila. M. Al-Sharqi
Keyword(s):  
Fairy Tale ◽  
Film Adaptation ◽  
Cultural Appropriation ◽  
Beauty And The Beast ◽  
Diversity And Inclusion ◽  
Action Film ◽  
Feminist Discourse ◽  
Gendered Discourse ◽  
Live Action ◽  
Made In

This study considers the dialogic relationship between the 2017 Disney live-action film Beauty and the Beast with Gabrielle-Suzanne de Villeneuve’s fairy tale and Disney’s 1991 animated version. Drawing on cultural and feminist discourse, the study seeks to examine Disney’s live-action film for incidents of cultural appropriation of gender representation compared to Villeneuve’s fairy tale and Disney’s 1991 animated version. The Study argues that the 2017 film adaptation reverses the traditional patriarchal notions and embraces a transgressive feminist discourse/approach as part of Disney’s strategy of diversity and inclusion of gender, race, class, and sexual orientation as constantly evolving cultural categories. This study finds significant alterations made to the physical and psychological attributes of the 2017 film’s three characters: Beauty/Belle, the Beast, and the Enchantress, changes that align with the film’s gendered discourse. By reversing the characteristic privileging of the male and the empowerment of the female, the live-action succeeds in addressing the contemporary audience demands of diversity and inclusion. The study concludes that the changes made in the 2017 film adaptation displace the oppressive patriarchal notions and stereotypical modes of representing the male and female as they have been perceived in the original fairy tale, for they are no longer compatible with contemporary cultures’ assumptions on gender.

The Artist and the Poetic Provocations in the 1980 Bulgarian Live-Action Film Illusion

2021 ◽  
Vol 36 (1) ◽  
pp. 229-248
Author(s):  
Maria Panova
Keyword(s):  
Modern Art ◽  
Action Film ◽  
The Aesthetic ◽  
Live Action

This text highlights the aesthetic explorations of Bulgarian cinematographers from the 1980s, specifically those aimed at people of art. The article offers, first, a brief overview of films that examine the symbolic potential of the artist, which defines the consideration of an established and meaningful tendency in the development of Bulgarian cinema. The article focuses then on the live-action film Illusion (1980, directed by Lyudmil Staykov and written by Konstantin Pavlov) and examines the figure of the artist in the piece. The presented interpretation supports the view of the film as a morally valuable expression of modern art.

Transmedia storytelling and transmediated bodies in Fullmetal Alchemist (2017)

Asian Cinema ◽  
2020 ◽  
Vol 31 (2) ◽  
pp. 187-202
Author(s):  
Kukhee Choo
Keyword(s):  
Popular Culture ◽  
Comic Book ◽  
Border Crossing ◽  
Fan Culture ◽  
Transmedia Storytelling ◽  
Cross Border ◽  
Action Film ◽  
Racial Performance ◽  
Live Action ◽  
Globally Distributed

Hagane no Renkinjutsushi (Fullmetal Alchemist) (2001, Hagaren in short) is a Japanese comic book franchise that not only expanded into a larger supersystem through its transmedia storytelling on multimedia platforms, but also through the global fandom of cosplay (the Japanese term for costume play), a form of popular culture that is heavily promoted by the Japanese government’s Cool Japan policy. Hagaren is set in an unidentifiable European landscape, a common depiction in many Japanese manga and anime, yet, in the 2017 live-action film that was globally distributed on Netflix, audiences witness a full Japanese cast performing European characters. This cross-racial performance, or yellow washing, challenges the border-crossing narrative and global viewership of the Hagaren’s manga and anime franchise. By examining how Hagaren’s supersystem developed out of the interplays of media industries, fan culture and broader governmental policies, this article aims to excavate the multifaceted politics of not only cross-border consumer identities, but also cross-racial performances propagated by the transmediation of Japanese popular culture on the global stage.

Adaptation in Japanese media mix franchising: Usagi Drop from page to screens

2019 ◽  
Vol 12 (3) ◽  
pp. 143-161
Author(s):  
Rayna Denison
Keyword(s):  
External Factors ◽  
Media Culture ◽  
Action Film ◽  
The Media ◽  
Adaptation Practice ◽  
Internal And External Factors ◽  
Adaptation Processes ◽  
Adaptation Practices ◽  
Media Mix ◽  
Live Action

Abstract Japanese media franchising is normally discussed in relation to long-running chains of serial transmedia production known in Japan as 'media mix'. I argue that this focus on the biggest of Japanese franchises is over-determining how we conceptualize the flows of adaptation in Japanese media culture. Therefore, in this article, I focus on a short-lived franchise based around Yumi Unita's manga Usagi Drop (literally, Bunny Drop, 2009‐11) in order to think about the media mix as a set of relational adaptation processes. In the space of just a few months in 2011, this manga about a young man adopting his grandfather's illegitimate daughter became the seemingly unlikely source of a transmedia franchise that included television animation and live action film. Focusing on such a short-lived cycle of production allows me to reconsider how Japanese franchise media texts relate to one another, and to decentre anime as the defacto core medium in Japanese franchising. Expanding the view of Japanese media mix adaptations, I consider how both internal and external factors can influence media franchising and adaptation practices in contemporary Japan. Retracing the production discourses around the creation of the Usagi Drop franchise therefore allows me to reconsider the concept of media mix as adaptation practice and process in Japan.

The Hands of the Animator: Rotoscopic Projection, Condensation, and Repetition Automatism in the Fleischer Apparatus

2012 ◽  
Vol 18 (1) ◽  
pp. 47-78 ◽  
Author(s):  
Lisa Cartwright
Keyword(s):  
Film Studies ◽  
Object Relations Theory ◽  
Repetition Compulsion ◽  
Media Archaeology ◽  
Bodily Movement ◽  
Action Film ◽  
Production History ◽  
Animated Film ◽  
Secondary Objective ◽  
Live Action

This article is concerned with the affective relationship among bodies and film technologies in the process of building and using filmmaking instruments, taking as its object the early Rotoscope, a device patented by the legendary American animator Max Fleischer that entailed the projection of live-action film for use as a template in the drawing of animated figures, to which the live-action trace was thought to impart life-like, normative patterns of movement. Drawing from media archaeology, psychoanalytic theories of repetition, projection, and condensation, and object relations theory, this article offers an interpretation of some of the kinds of psychic interactions offered in animated film through traces of the Rotoscope’s production history found in the device’s patent drawings, its patent embodiments, and its published family legend. It is proposed that the device was the locus of a collective fraternal performance, serving as a shared ground for an array of condensations and displacements and enactments of repetition compulsion among the multiple bodies engaged in the production of the device, as well as among the multiple animated and live-action film bodies that crossed its production screens and patent pages. One objective of this article is to shift the interpretive and analytic focus in film studies from the filmstrip and the projected screen image to the relationship between bodies and technologies in the experience of making films, and making the filmic apparatus. A secondary objective of this article is to suggest that the approach to bodily movement embedded in the design of the Rotoscope was hardly normative. The device offered a means to stretch and distort both norms and stereotypes of human expression through movement. The rotoscoped body sometimes performed in ways that pushed the limits of viewer expectations about how a given body will, or should, move, in space or across the screen.

scholarly journals Absence, Excess and Epistemological Expansion: Towards a Framework for the Study of Animated Documentary

Animation ◽  
2011 ◽  
Vol 6 (3) ◽  
pp. 215-230 ◽  
Author(s):  
Annabelle Honess Roe
Keyword(s):  
Action Film ◽  
History Of ◽  
Way Of Thinking ◽  
Live Action ◽  
The Way

This article gives an overview of the history of animated documentary, both in regard to the form itself and how it has been studied. It then goes on to present a new way of thinking about animated documentary, in terms of the way the animation functions in the texts by asking what the animation does that the live-action alternative could not. Three functions are suggested: mimetic substitution, non-mimetic substitution and evocation. The author suggests that, by thinking about animated documentary in this way, we can see how animation has broadened and deepened documentary’s epistemological project by opening it up to subject matters that previously eluded live-action film.

scholarly journals The Musical Arrangement of a Live-Action Film

2021 ◽  
Vol 4 (2) ◽  
pp. 252-259
Author(s):  
Liliia Yeremenko ◽  
Anna Kichapina
Keyword(s):  
Theoretical Analysis ◽  
Film Music ◽  
Action Film ◽  
Practical Research ◽  
The Moment ◽  
The Impact ◽  
First Time ◽  
Musical Arrangement ◽  
Live Action

The purpose of the study is to analyze the characteristics of a live-action film’s musical arrangement; to identify the impact of musical arrangement on the audience’s perception, on the example of the film composer Eric Serra’s works. The research methodology is to apply the following methods: theoretical – analysis of the music functions in making a film and the implementation of the director’s vision, generalizing the influence of musical arrangement on the viewer. Scientific novelty. The functions of film music that help in creating a live-action film were analyzed for the first time, a detailed analysis of the interdependence of music and visuals was made, by theoretical analysis of music functions; it has been found out how it affects the perception of the audience. Conclusions. In the article, we analyzed the functions of musical arrangement in a live-action film. Through the analysis of the influence of music on the audience’s perception, it has been established how the musical arrangement helps to realize the author’s vision. The role of music in making a live-action film has been researched. Through theoretical and practical research of various cinematography aspects that are relevant at the moment (in particular, the problem of the sound space in a movie), it becomes possible to reach a new aesthetic level of design, creation, perception and understanding of cinematic works.

Ghosts in Their Shells

Persons ◽  
2019 ◽  
pp. 326-333
Author(s):  
Sylvia Shin Huey Chong
Keyword(s):  
Artificial Intelligence ◽  
Science Fiction ◽  
Comic Book ◽  
Historical Background ◽  
Political Rights ◽  
Action Film ◽  
A Site ◽  
Live Action ◽  
Representational Form

Science fiction has often been a site for interrogating the possibilities and limits of the human, through such stock inventions as robots, cyborgs, and artificial intelligence. This reflection focuses on three versions of a single science fiction story, Ghost in the Shell, all involving a different medium of expression: comic book, animation, and live-action film. Not only does this story, about a cyborg military agent battling a disembodied artificial intelligence villain, raise the usual questions about humanness as embodiment, memory, self-consciousness, and political rights, but the three different versions reveal the various ways that representational form also imbues its characters with humanness, through movement, dialogue, psychological depth, historical background, and visual richness.

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