The Computer-Animated Film

2018 ◽  
Author(s):  
Christopher Holliday
Keyword(s):  
New Media ◽  
Film Industry ◽  
Genre Theory ◽  
Film Genre ◽  
Popular Cinema ◽  
Animated Films ◽  
Animated Film ◽  
The Status ◽  
Computer Generated Imagery ◽  
Film Style

The Computer-Animated Film: Industry, Style and Genre is the first academic work to examine the genre identity of the computer-animated film, a global phenomenon of popular cinema that first emerged in the mid-1990s at the intersection of feature-length animated cinema and Computer-Generated Imagery (CGI). Widely credited for the revival of feature-length animated filmmaking within contemporary Hollywood, computer-animated films are today produced within a variety of national contexts and traditions. Covering thirty years of computer-animated film history, and analysing over 200 different examples, The Computer-Animated Film: Industry, Style and Genre argues that this international body of work constitutes a unique genre of mainstream cinema. It applies, for the very first time, genre theory to the landscape of contemporary digital animation, and identifies how computer-animated films can be distinguished in generic terms. This book therefore asks fundamental questions about the evolution of film genre theory within both animation and new media contexts. Informed by wider technological discourses and the status of animation as an industrial art form, The Computer-Animated Film: Industry, Style and Genre not only theorises computer-animated films through their formal properties, but connects elements of film style to animation practice and the computer-animated film’s unique production contexts.

Falling with Style? The Computer-Animated Film and Genre

2018 ◽  
pp. 24-40
Author(s):  
Christopher Holliday
Keyword(s):  
Genre Theory ◽  
Specific Context ◽  
Film Genre ◽  
Digital Animation ◽  
Software Packages ◽  
Internal Structures ◽  
Animated Films ◽  
Animated Film ◽  
Action Cinema ◽  
Live Action

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.

Introduction

2018 ◽  
pp. 1-23
Author(s):  
Christopher Holliday
Keyword(s):  
Genre Theory ◽  
Popular Media ◽  
Market Response ◽  
Main Body ◽  
Film Genre ◽  
Global Circulation ◽  
Animated Films ◽  
Animated Film ◽  
Central Argument ◽  
Media Form

The introduction argues for the significance of the computer-animated film by placing this popular media form within its historical, cultural and critical contexts. It charts the rejuvenation of U.S. animation during the 1990s and the broader market response to Toy Story (1995), as well as identifying the global circulation of computer-animated films by establishing the expansion of the international computer graphics community and rise in CG facilities, divisions and subsidiaries beyond Hollywood. The introduction also unfolds its central argument regarding film genre, expounding the evaluative possibilities made available by genre theory to the close examination of the computer-animated film. The main body of writing surveys the critical contexts that have accounted for the computer-animated film’s scholarly place across a multitude of disciplines. Genre is then innovatively positioned as an enabling tool that brings into relief the terms under which computer-animated films can be held distinct from other forms and styles of animation.

Pixar, Performance and Puppets

2018 ◽  
pp. 127-143
Author(s):  
Christopher Holliday
Keyword(s):  
Dominant Mode ◽  
Skeletal Structure ◽  
Live Performance ◽  
Film Genre ◽  
Counter Narrative ◽  
Animated Films ◽  
Animated Film ◽  
Sliding Scale ◽  
Performance Setting ◽  
Opening Up

As a way of remedying the wider absence of computer-animated film acting within scholarship on film and animated performance, this chapter makes a significant assertion that, in its production, the computer-animated film genre actually cross-pollinates stop-frame techniques with those associated with marionette theatre as part of its style of performance. In the workable geometry of its virtual bodies (skeletal structure, anatomical coherency, joint segmentation and armature), computer-animated films evoke the wealth of string marionettes (as well as rod or hand puppets) moved within a live performance setting. Such puppet-like forms of acting holds the computer-animated film distinct from performances in popular Hollywood cinema achieved through stop-motion frame-by-frame techniques and traditional hand-drawn methods. However, this analysis not only supports the central concept that puppetry has become a more significant concern of the computer-animated film than in other animated media, but also provides a counter-narrative to scholarship that affords generality to motion-capture as the dominant mode of cyber or virtual puppetry. Puppetry can be understood, I argue, as an altogether more inclusive category, and this chapter promotes puppetry as opening up performance in computer-animated films and revealing the sliding scale of puppet processes involved in its creation of acting.

scholarly journals The Hero’s Journey: 12 Stages in The Narrative of Animation Boboiboy Movie 2

2021 ◽  
Vol 36 (3) ◽  
pp. 316-325
Author(s):  
Oscar Gordon Wong ◽  
Imelda Ann Achin
Keyword(s):  
Research Method ◽  
Film Industry ◽  
Narrative Structure ◽  
Hero's Journey ◽  
The Other ◽  
International Level ◽  
Animated Films ◽  
Animated Film ◽  
Picture Analysis ◽  
And Function

2019 is a phenomenal year for the development of the Malaysian animated film industry as it has successfully produced two superheroes animated films in total. However, the animated film industry in Malaysia is still not competitive at the international level. This can be seen from the 17 animated films that have been produced from 1998 to 2019, only two superheroes animated films managed to get the attention of the audience. This is due to the lack of knowledge of the concept and function of the hero character in animated films. Therefore, the main objective of this paper aims to demonstrate how the Hero’s Journey narrative structure can be applied in BoBoiBoy Movie 2 (2019). This research method involves the use of video analysis tools namely Kinovea and Motion Picture Analysis Worksheet to explain on how the Hero’s Journey of this film conveys the storytelling. The results of this study found that each semicircle Hero’s narrative structure has an important meaning across from one half-circle to the other half-circle. As a result, it explains the concept of peace and chaos as well as stasis and changes in the narrative structure of superhero animated films. This paper will provide information to researchers on the importance and use of the Hero’s Journey approach to analyze superhero animated films.

PREDICTING ANIMATED FILM OF BOX-OFFICE SUCCESS WITH NEURAL NETWORKS

2015 ◽  
Vol 77 (23) ◽  
Author(s):  
Riwinoto, M.T. ◽  
Selly Artaty Zega ◽  
Gia Irlanda
Keyword(s):  
Neural Networks ◽  
Financial Performance ◽  
Production Process ◽  
Film Industry ◽  
Class Label ◽  
Special Effects ◽  
Animation Industry ◽  
Box Office ◽  
Animated Films ◽  
Animated Film

Animation industry involves huge funds in production process and its success will give  great income. Predicting the box-office of animated film has become an interesting topic to be discussed, because past studies are shown to be contradictory. Sharda and Delen conducted a similar study that used seven parameters, i.e. MPAA rating, competition, star value, genre, special effects, sequel and number of screens; and generated pinpoint accuracy (i.e. Bingo) with 36.9% and within one category (1-Away) with 75.2%. The authors proposed new and simple parameters that can be used to predict the success of animated films, i.e. the actors/actress, animation studio, genre, MPAA rating and the sequel of the film. These five parameters are relatively simple because it can be easily collected. In this study, the use of neural networks in predicting the financial performance of 120 animated films from 1995 until 2013 was explored. There are three categories of financial performance that become the class label of this study, they are: low, medium and high. Our prediction result in bingo is 58% and 1-away is 89,7%. By using the simple parameters, this study can reach a better accuracy. It is expected that this prediction can help animation film industry to predict the expected revenue range before its theatrical release.  

Yamanaka, Sadao (1909–1938)

2018 ◽  
Author(s):  
Aaron Gerow
Keyword(s):  
Everyday Life ◽  
Film Industry ◽  
Film Genre ◽  
Japanese Film ◽  
Material Conditions ◽  
Film Style ◽  
Humanistic Concern

Sadao Yamanaka was a Japanese film director known for bringing a modern, critical touch to period films in the 1930s. Born in Kyoto, he entered the film industry in 1927 and directed his first film at age 22. He soon became known for his deviations from the period film genre, presenting samurai who avoided violence or, when he transitioned to sound, dialogue in modern Japanese. His stories could vary from the parodic (Tange Sazen yowa: Hyakumanryo no tsubo [The Million Ryo Pot, 1935]) to the tragic (Machi no irezumimono [The Town’s Tattooed Man, 1935]), but his film style, while drawing much from Hollywood continuity editing, developed a poetic and humanistic concern for the material conditions of everyday life.

scholarly journals THE CURRENT SITUATION AND DEVELOPMENT OF CHINESE MYTHOLOGICAL ANIMATED FILMS IN THE CONTEXT OF NATIONAL CULTURAL REVIVAL

2021 ◽  
Author(s):  
XIN XU
Keyword(s):  
Current Situation ◽  
Cultural Revival ◽  
Animated Films ◽  
Foreign Influence ◽  
Animated Film ◽  
The Status ◽  
Monkey King

Abstract. In the context of national cultural confidence mythological animated films have become an important issue in animated film types. Put the three films “Monkey King Hero is Back”, “White Snake”, and “Ne Zha: I am destiny “into the status and development of domestic animated mythology films. It is necessary to deal with IP images in artistic films, innovative mythological subjects, constructing new stories, and audiences of all ages. Therefore, we must start with tell good stories, enlightening values, expanding overseas communication, and so on, so as to improve animation creation and domestic and foreign influence.

scholarly journals Character Archetypes: Aesthetic Values in Character Design in Malaysia `s Animated Films

2019 ◽  
Vol 8 (11S2) ◽  
pp. 242-245
Keyword(s):  
Inanimate Object ◽  
Aesthetic Value ◽  
Animated Films ◽  
Animated Film ◽  
Character Design ◽  
The Difference ◽  
Computer Generated Imagery ◽  
Colour Patterns ◽  
The Aesthetic ◽  
Aesthetic Values

Animation defined as a process which giving inanimate object or images appear to be moved. Today, the technology has advanced to another level which animators using computer-generated imagery (CGI) to animate. The aim of this research is to introduce to people about the aesthetics value in character design. In animated film, it must be a character to roll as something that can successfully give the message, feeling, and mood in a situation. So, the character must have the aesthetic value through strong physical appearance based on his or her colour patterns, body language, and shapes to express them. For example, in Malaysia we have many iconic characters in animated series that succeed in portraying the aesthetics value based on what they wanted to deliver like Upin Ipin, Boboi Boi, Keluang Man and Anak-anak sidek. However, not all viewers see the difference. Thus, by making this research, it will guide them to be more intuitive and can differentiate among characters in any movies.

scholarly journals Deshonra (Daniel Tinayre, 1952)

2017 ◽  
Vol 22 ◽  
pp. 113-120
Author(s):  
Pablo Rubio Gijón
Keyword(s):  
Film Industry ◽  
Status Quo ◽  
The State ◽  
Visual Features ◽  
Dominant Ideology ◽  
Film Genre ◽  
Crime Films ◽  
Crime Film ◽  
The Status

Within the context of the film industry of the first peronist period (1946-1955) crime films established themselves as a means to disseminate the dominant ideology. Some of the characteristics of this genre were used to leave proof of the pre-eminence of the State as a safeguard of the status quo. However, Deshonra (1952) resorts in its structure to visual features that could be interpreted as a veiled criticism to the very ideology it aims to divulge. The crime film genre, from its constitutive proposals and its supposed ideological rigidity in a political framework such as Peronism, may grant some areas of ambiguity.

scholarly journals ARKA WATAK ADIWIRA BOBOIBOY: FASA PERUBAHAN DALAM MODEL NARATIF CHRISTOPHER VOGLER

2021 ◽  
Author(s):  
Oscar Gordon Wong ◽  
Imelda Ann Achin
Keyword(s):  
Film Industry ◽  
Descriptive Analysis ◽  
Internal Conflict ◽  
The Public ◽  
Animated Films ◽  
Animated Film ◽  
Character Design ◽  
Public Imagination ◽  
Character Growth

Tahun 2019 meletakkan Malaysia dalam kegemilangan filem bergenre adiwira. Dua penerbit besar, iaitu Animonsta Studio menghasilkan BoBoiboy Movie 2 dan WAU Animation Studio menghasilkan Ejen Ali The Movie, masing-masing menghasilkan keunikan watak adiwira dan kuasa mereka tersendiri. Namun begitu, industri filem animasi daripada genre adiwira masih berada di tahap yang tidak mampu berdaya saing. Hal ini dapat dilihat daripada 17 buah filem animasi yang dihasilkan daripada tahun 1998 tahun sehingga tahun 2019, hanya empat sahaja filem adiwira berjaya mendapat perhatian penonton. Animasi merupakan medium emosi, namun pemfokusan ke arah visual dalam reka bentuk watak dan naratif penceritaan sahaja tidak memadai. Sebaliknya, sebuah penceritaan mengajak audiens untuk masuk ke dalam posisi adiwira dan melihat dunia mereka melalui visual penonton. Oleh itu, objektif utama penulisan ini bertujuan menganalisis fasa perubahan arka watak adiwira Boboiboy dalam filem animasi BoBoiBoy Movie 2 (2019). Reka bentuk kajian ini merupakan kualitatif berbentuk analisis deskriptif dan menggunakan model The Character Arc yang diperkenalkan oleh Vogler (2007) menerusi bukunya bertajuk, The Writer's Journey. Kajian ini mendapati fasa perubahan watak adiwira Boboiboy dapat dilihat menerusi tindakan dan penampilannya. Perubahan ini dipengaruhi daripada dua dunia yang berbeza, iaitu dunia biasa dan dunia khas. Boboiboy menjalani 12 fasa konflik dalaman yang berbeza sehingga mencapai kejayaan dan memperoleh kuasa luar biasa untuk dikongsi sebagai rahmat bersama. Diharapkan dapatan analisis ini dapat dijadikan kayu ukur dalam aspek perkembangan watak dan perwatakan, sekali gus memberangsangkan lagi minat audiens.   The year 2019 marks the heyday of superhero films in Malaysia. BoBoiboy Movie 2 was produced by Animonsta studio, and Agent Ali The Movie was produced by WAU Animation studio, with each producing their own unique superhero characters and powers. Nonetheless, the animated film industry in the superhero genre remains uncompetitive. As shown by the 17 animated films made between 1998 and 2019, only four superhero films captured the public imagination. Although animation is an emotional medium, focusing solely on the visuals in character design and storytelling narrative is insufficient. Instead, a narrative invites the audience to put themselves in the place of superheroes and experience their world through the audience’s eyes. As a result, the main objective of this article is to examine the arc of the superhero character Boboiboy in the animated film BoBoiBoiBoy Movie 2 (2019). This study’s design is qualitative in the form of descriptive analysis, and it employs the model of The Character Arc introduced by Christopher Vogler (2007) in his book The Writer’s Journey. This research shows that the character of the superhero Boboiboy’s phase of change can be seen through his actions and appearance. These transitions are shaped by two distinct worlds, the ordinary and the extraordinary. Boboiboy goes through 12 stages of internal conflict before achieving success and gaining extraordinary powers to share as a collective privilege. It is hoped that the results of this study will be used as a benchmark for character growth and characterization while also stimulating the audience’s interest.

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