In the world of animated film: Estonian animated films and their creators

1989 ◽  
Vol 26 (11) ◽  
pp. 26-6193-26-6193
Author(s):  
Medina Nur Asyifah Purnama

Amid the rapid development of technology and information accelerate the development of changes in society. Constructive change will bring the condition of a civilized nation, but if the change is destructive then this nation will be increasingly destroyed and possibly become a savage nation. One of these changes is happening in our world of education. Therefore, we must be able to put in mind the character values ​​that form good morals for children. The politeness character is one of the characters that needs to be emphasized together. Children today are very brave towards parents and also teachers. Children dare to threaten their parents and teachers, even in cases of persecution to murder. Sad, when the values ​​of decency finally eroded. As a result children are brutal and wild. How will respect arise if parents, teachers are no longer respected by children? Of course this is a big task for us together to reaffirm the planting of truly upload values, etiquette values, and exemplary values ​​in our environment. The aim is that the culture of respect, respect and the value of courtesy towards others remains entrenched as a manifestation of the noble character of our nation. The cultivation of moral education values ​​must be given to children in interesting ways and in accordance with current technological advancements. For example choosing animated films in which there are Islamic values ​​such as the animation film Nussa, therefore here the researcher wants to find the values ​​in it by using qualitative research methods and data collection techniques using documentation. The results of this study are that the film Nussa and Rara is an animated film that is wrapped in a daily story in the world of children with the delivery of language that is easy to understand, fun and exciting as well as there are instilling of moral values ​​and messages that is to ask people who know better, to call with a good name so that children can behave politely and respect others. Thus the presence of the Nussa and Rara films is expected to help in the moral development of Indonesian children as the Nation's Generation.


Jurnal Signal ◽  
2019 ◽  
Vol 7 (1) ◽  
Author(s):  
Ana Lufita Sari ◽  
Hery Nariyah ◽  
Welly Wihayati

ABSTRACT           Upin and Upin animation is an animation aired by MNC TV station and produced by Les't Copaque and began airing in 2007 aimed at welcoming the holy month of Ramadan, which airs at 5.00 pm. This animation carries a story to educate children about the meaning and importance of the holy month of Ramadan. Animation Upin and Ipin tell about the world of children full of fun and diversity, all the stories told in animation Upin and Ipin provide education to children about the life of society, togetherness and mutual respect between each other and against the elderly. This animation teaches children to be a better person and always thinking optimistic for the future. Animation Upin and Ipin have many educational aspects for children. The style of the language and the motivation to learn to achieve these goals are potentially imitated or can shape imitation behavior for the child. The purpose of this study are: (1) To find out how the animated film Upin and Ipin that aired on MNC TV; (2) To know the child's behavior in watching Upin and Ipin Animation Movies on MNC TV; (3) And to know what efforts made by parents to accompany their children in watching Upin and Ipin Animated Movies on MNC TV. The research method used is phenomenology study method. The research concept identifies Upin and Ipin animated films aired on MNC TV, to know the behavior of the kindergarten children of AL-Muhibbin Sources when watching the Animation Upin and Ipin films on MNC TV, and to find out what efforts are made by parents to assist his son in watching Animation Upin and Ipin for child's imitation behavior can be controlled with the guidance and assistance of parents. The conclusion of the research on the Phenomenology of Upin and Ipin Animation films in shaping imitation behavior in children is Upin and Ipin Animation has an interesting storyline, tells about the good life of society and tells about the playground of children full of fun. Involvement on Upin and Ipin animation shows among the Kindergarten children AL-Muhibbin Sumber Cirebon relates to time, duration and presentation. Imitation behavior performed by the child including into positive and negative imitation behavior in children, is said to be negative because of the fear of local language refraction (original) which is replaced with the language used in animation Upin and Ipin (Malay) imitation in terms of language style and said positive because animation Upin and Ipin can motivate children in learning and ideas. Parents' efforts to ensure the child's imitation behavior can be controlled by accompanying and guiding the child while watching the Upin and Ipin Animation films. Keywords: Upin and Ipin Animation Movies, Imitation Behavior Formation.


Author(s):  
Ф. Мир-Багирзаде

При помощи сравнительно-исторического анализа автор исследует азербайджанские мультипликационные фильмы, экранизирующие произведения как отечественной, так и зарубежной литературы. В процессе создания каждого рисованного мультфильма советской эпохи принимали участие профессиональные режиссеры, сценаристы, художники-постановщики, снимавшие анимационные фильмы по произведениям азербайджанских писателей-классиков, среди которых – Низами Гянджеви, Мухаммед Физули, Сеид Азим Ширвани, Мирза Алекпер Сабир, Джалил Мамедкулизаде, Абдулла Шаиг, Сулейман Сами Ахундов, Али Керим, Расул Рза. К числу азербайджанских мультфильмов, снятых по произведениям зарубежной литературы, относится экранизация «Звездных дневников Ийона Тихого» и анимационный фильм по мотивам японских хайку. Азербайджанские мультфильмы по мотивам литературных произведений, вошедшие в золотой фонд киноискусства Азербайджана, отличаются специфическим творческим методом. Using a comparative historical analysis, the author explores Azerbaijani cartoon films that screen works of both domestic and foreign literature. In the process of creating each Soviet-era drawn cartoon, professional directors, screenwriters, and production designers took part in making animated films based on the works of Azerbaijani classic writers, such as Nizami Ganjavi, Mohammad Fuzuli, Seyid Azim Shirvani, Mirza Alakbar Sabir, Jalil Mammadguluzadeh, Abdulla Shaig, Suleyman Sani Akhundov, Ali Kerim, Rasul Rza. Azerbaijani cartoons based on works of foreign literature include the adaptation of «Ijon Tichy’s Star Diaries» and an animated film based on Japanese haiku. Azerbaijani cartoons based on literary works included in the Golden Fund of cinema art of Azerbaijan are distinguished by a specific creative method.


2021 ◽  
Vol 2 (1) ◽  
pp. 42
Author(s):  
Rudy Rudy ◽  
Sridinda Sarah Swati Hutabarat ◽  
Dewi Paskaria Silitonga ◽  
Desy Manullang ◽  
Yesika Saragih

There is no doubt that having good characters is essential to everyone in society. Character is even a major consideration in the world of education. For this reason, character building is considered important to be explored. By using entertainment media such as movie, this library research concentrates on the character building symbolized through the American animation films Frozen (2013) and Frozen II (2019). Besides the main data from the films, reference sources in the form of books and journals were also used for analysis. Hall’s theory of representation was applied to analyze the data gathered for this study such as dialogs and the description of scenes from the films to identify how the character building is represented through the films as well as to understand the essence of character building. The result showed that the animation films observed in this study can represent good characters through seven values such as bravery, politeness, sacrifice, empathy, curiosity, confidence, and caring. Additionally, this study also reveals that the concept of character is associated with life values, morality and attitude and therefore, character building is significant to shape people with quality in order to create peace and harmony in society. Through this study, it expected that the findings can contribute to the development of the theory in humanities and education and it can provide better understanding to people about character building through American animated films.


Author(s):  
Christopher Holliday

The conclusion reflects on the meaningfulness of genre analysis as paving the way for more rigorously formalist approaches to computer-animated films, but also as a way of positioning industry, technology and textuality in relation to each other. The conclusion also argues that the features of the computer-animated film identified in the book engage with discourses of juvenile behaviour to stretch the terms of the adult/child distinction, with many computer-animated films demonstrating a notable fascination with the vicissitudes and values of the childhood experience. The narratives of computer-animated films invite a specific consideration of what it means to be a child within contemporary culture. I challenge directly Judith Halberstam’s notion that certain children’s films appeal to the “disorderly child” and instead look to the fuzzy distinction between adolescents and adults engendered in portmanteau terms pertaining to cultural categories such as “kidult,” “manchild” and “adultescents.” The child/adult distinction is thus not fixed or ‘frozen,’ but flowing, and the conclusion identifies how computer-animated films offer future opportunity to examine how, as a genre, they mobilise questions about the cultural experience and significance of childhood, at the same time as their narratives redefine adulthood.


Author(s):  
Christopher Holliday

This chapter proposes that the ascription of star speech (as a dynamic sound form) to the computer-animated film’s puppet performers contributes to the effect and impact of their many screen performances. This chapter takes the star voice to be a unique instrument of performance that lies at the cornerstone of computer-animated film acting, and begins by implicating the potency of the star voice within wider industrial discourses. These include local dubbing practices, sound technology, and the multiplication of star sound across a range of consumer and multi-media products. The formal and structural importance of the star voice to computer-animated film performance is illustrated through the work of prominent film sound theorist Michel Chion and his work on synchresis, a neologism produced out of the combination of “synchronism” and “synthesis”. By extending Chion’s account, this chapter uses descriptors derived from synchresis to outline three prominent synchretic unions operating at the level of character design. A significant innovation here is the development of a taxonomy of the star voice as it is inscribed formally into computer-animated films—anthropomorphic, autobiographic and acousmatic synchresis—which give new precision to the analysis of star voices in animation.


Author(s):  
Christopher Holliday

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.


2020 ◽  
Vol 5 (3) ◽  
pp. 164
Author(s):  
Kurniyatul Ainiyah ◽  
Nurul Hidayah ◽  
Faradilah Putri Damayanti ◽  
Indana Nuril Hidayah ◽  
Juniardi Nur Fadila ◽  
...  

Indonesian people's knowledge about the history of kingdoms in Indonesia was decreased. Now the existence of history books was shifted by the rapid development of technology. Realized this, many educational institutions were involved in technology to their learning media. To support that, the writer will use technology to create a learning media, named 3D short animated films. This kind of film turned out to attract the publics' attention, ranging from children to adolescents. The animated film will be designed with the theme of the first Islamic kingdom in Indonesia, named the Samudra Pasai kingdom with a duration of approximately 3 minutes. this animated film was made by Blender software version 2.79. The design of this animation aims to increase knowledge as well as learning media for students about the history of the Indonesian people, especially the history of Samudra Pasai kingdom.


2021 ◽  
Vol 36 (3) ◽  
pp. 316-325
Author(s):  
Oscar Gordon Wong ◽  
Imelda Ann Achin

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.


1969 ◽  
pp. 183-220
Author(s):  
彬貢 薄葉

Entertainment from Japan such as anime (Japanese animated film) and manga (Japanese comic books) are popular around the world. As an example of that, not only are several manga published in Brazil, but since last ycar, the leading website for paid streaming of anime over the Internet, “Crunchroll” expanded their services to Brazil, to cater to the Brazilian anime fans. Also, famous anime song singers have been invited to anime and manga related events and conventions in Brazil; this shows a clear and active interest in Japanese entertainment media. However, despite tms rising popularity,several tactors are still unknown,for example, what titles are most popular,and how exactly the consumption is being done (activities, acquisition methods etc). In order to shine some light on this subject,I distributed a questionnaire about anime consumption to 139 students studying Japanese or Japanese culture at the Sao Paolo University. The questionnaire was mainly about anime watching, manga reading, and participation in events/ acquisition methods. The results showed that most anime was not watched via TV,but via the Internet, either streaming video or downloaded video nles. Anime was mainly watched with Japanese sound and Portuguese subtitles, and the primary information source seemed to be mends and acquaintances. To the question of what was their the favorites anime they were currently watching,the majority replied titles that was airing in Japan at the time of the questionnaire (October 2012); it was clear that the supply of anime did not differ much from that in Japan. Similarly,amajorityrepliedthattheymainlyreadmanganot in bought orborrowed books,but directly oncomputer screens. Again, their primary information source for what manga to read was mends and acquaintances. The replies to questions on convention participation and buying possibilities, most replied that they were content with their current supply of anime and manga related items, that the primary place for purchase was not shops but conventions,and it was made clear that creative fandom (drawing own comics, making own animation) was next to non-existent. The survey did spread a lot of light over the Brazilian anime and manga consumption scene; specifically noteworthy was that the information on anime watching and convention participation differed from the results of the similar surveys that I performed in Europe in 2010.


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