Dissertations / Theses on the topic 'Contemporary animation'
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Husbands, Lilly Marie. "Animated experientia : aesthetics of contemporary experimental animation." Thesis, King's College London (University of London), 2014. http://kclpure.kcl.ac.uk/portal/en/theses/animated-experientia(85e342f2-7ec9-4c7c-9024-20e2a8931677).html.
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Since the early 20th century, artists have explored the seemingly endless potential inherent in the complex blend of visual art and cinema that is experimental animation. Contemporary artists make use of both traditional and modern techniques to produce works of animated visual art that subvert conventional viewing practices and the normal perception of moving images. Despite an increased output of scholarly studies of animation and avant-garde media over the last twenty years, contemporary works of experimental animation rarely receive the kind of close, in-depth analysis that their formal and conceptual intricacies demand. This research draws from various philosophies of experience (e.g. existential phenomenology, cognitive and gestalt psychology, and empiricist philosophies of science and epistemology) to examine the unconventional aesthetic experiences offered by a diverse range of works by contemporary North American and British artists. These selected artists’ works are materially, formally, and aesthetically heterogeneous, and each of this dissertation’s four chapters explores the particularities of several artists’ works in relation to a common philosophical area of enquiry. Each chapter establishes a wider historical and theoretical context for the selected artists’ works before pursuing a more philosophically focused analysis of individual works. A phenomenological approach to the aesthetics of abstract animation is developed in relation to the works of Steven Woloshen and Bret Battey; works by Frank Mouris, Katy Shepherd and Jeff Scher are investigated regarding issues of personal memory and selfhood; epistemic aestheticism is examined in Stuart Hilton’s and Semiconductor’s nonfiction works; and a hermeneutics and allegoresis of oblique narrative is elaborated for Lewis Klahr’s and Kelly Sears’s collage animations. Rather than attempting to fit these artworks within a broader ontological theory of experimental animation, this dissertation engages in a discussionof spectatorship that investigates the complex and challenging experiences individual artworks invite spectators to actively participate in.
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Crawte, Derrin. "Darkness visible : contemporary stop motion animation and the uncanny." Thesis, Anglia Ruskin University, 2017. http://arro.anglia.ac.uk/702164/.
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This thesis seeks to demonstrate that the uncanny and stop motion animation enjoy a special relationship, one characterised by a sense of darkness becoming visible. A range of scholars, including Barbara Creed, Tom Gunning, and Laura Mulvey, have recognised that film is capable of embodying the dark fears and concerns related to the collapsing of boundaries and merging of oppositions that are characteristic of the uncanny. Stop motion, this research argues, is a form that is written through with uncanniness. Stop motion animation is especially capable of conveying an experience of the uncanny because of the technical processes through which an impression of movement and life is created from stillness, inertia and death. The thesis explores its claims through in-depth investigation of Sigmund Freud’s 1919 essay on the uncanny, and a range of critical and literary texts and intertexts - including the work of Edgar Allan Poe, Stanislaw Lem, John Milton and Georges Bataille - which engage with different aspects of the uncanny, the death drive, and the human psyche. In tandem with these thinkers, the thesis investigates the work of filmmakers who have shown a willingness to fully engage with the darkness inherent in stop motion, and with the phenomenon of the uncanny, including Shinya Tsukamoto, Jan Švankmajer and the Quay Brothers. Collectively, this thesis argues, these writers, thinkers, and visual artists articulate a common interest in the darkness that characterises both the uncanny and stop motion: a predilection for rendering darkness visible.
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daCosta, Charles C. H. "Racial stereotyping and selective positioning in contemporary British animation." Thesis, University of Brighton, 2007. https://research.brighton.ac.uk/en/studentTheses/1dcf3124-b4a3-4c63-9807-c053782bb36c.
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This thesis examines the characterization of blacks in contemporary British-made animated films exploring racial stereotyping and locating significant absences. Recent work produced within Britain has largely been destined for television. This thesis argues that Britain's multiculturality has not been adequately represented in popular modes of television animation. This is particularly evident in the work of Aardman, Britain's premier animation studio.
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Williamson, Naomi, and naomiruthwilliamson@mac com. "The Drawn Subject: Meaning and the Moving Drawing." RMIT University. Art, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080617.142838.
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Using the vehicle of hand drawn animation, this is an ongoing reflection of instances that repeat themselves to a point beyond the humorous and back. The Myth of Sisyphus 'The Gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back on its own weight. They had thought with some reason that there was no more dreadful punishment than futile and hopeless labour.' Albert Camus- The Myth of Sisyphus By observing and illustrating assiduous daily gestures and events our absurd hero is revealed: this protagonist, be it object or human consciously and often unconsciously lives within a relentless finite experience. As the same moment is duplicated, the
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PINNA, DANIEL MOREIRA DE SOUSA. "BRAZILIAN ANIMATED CHARACTERS: THE VISUAL LANGUAGE OF CONTEMPORARY BRAZILIAN ANIMATION CHARACTERS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9582@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROO presente estudo analisa os aspectos comunicativos da visualidade de personagens de curta-metragens de animação contemporâneos brasileiros, empregando recursos oferecidos pela Semiologia. O cinema de animação é uma arte que tomou contornos na virada do século XX. Junto à indústria cultural, consolidou inúmeras personagens na memória de espectadores em todo o mundo. Contudo, os altos custos de produção das obras animadas obrigam muitos artistas a realizarem seus filmes independentes no formato de curtas metragens. Devido à brevidade dos filmes, esses criadores empregam repetidamente tipos e caricaturas como personagens principais, apresentando-os sob a forma de signos de fácil reconhecimento pela maioria dos espectadores. Esta pesquisa parte da hipótese de que a visualidade das personagens de obras cinematográficas de animação breves é um sistema projetado (intencionalmente ou não) para transmitir ao espectador mensagens de compreensão praticamente imediata a respeito da narrativa apresentada e dos conceitos personificados pelas personagens no curto intervalo de tempo em que elas estão em cena. Com base no levantamento de sessenta principais personagens apresentadas nos filmes brasileiros premiados no festival Anima Mundi em suas doze primeiras edições (1993-2004), esta dissertação investigou os estereótipos existentes nas produções recentes do cinema de animação brasileiro. Em seguida, buscou delinear maneiras com que os elementos visuais que os constituem atuam no processo de significação das personagens animadas, articulando-se enquanto uma linguagem visual específica. Para realizar tal investigação, os procedimentos metodológicos adotados tomaram por fundamentos os estudos de Semiologia de Roland Barthes e o conceito de atributos das personagens desenvolvido por Vladimir Propp.
This paper analyses the communicative aspects of the look of contemporary Brazilian animation short movie´s characters, using resources from Semiology. Animation cinema became an art at the beginning of the 20th century. With the cultural industry, it has cemented lots of characters in spectator´s memories around the world. However, the high expenses of animated movies´ production force many artists to produce their authorial animations as short movies. Due to the brevity of these movies, their creators repeatedly use types and caricatures as main characters, presented morphologically as signs that can easily be recognized by most of the audiences. This research considers the hypothesis that the look of characters from animated short movies is a system designed (intentionally or not) to communicate to the spectator messages of prompt comprehension concerned to the narrative shown and to the concepts personified by the characters in the short period of time in which they are acting. Based on the survey of sixty main characters from Brazilian awarded movies at the twelve first editions of Anima Mundi festival (1993- 2004), this dissertation investigated the existing stereotypes in recent Brazilian animation short movies. Then, it tried to outline ways in which the visual elements that constitute these stereotypes act in the signifying process of the animated characters, working together as a specific visual language. In order to carry out such investigation, the adopted methodological procedures were based on Roland Barthes´ Semiology and Vladimir Propp´s concept of characters´ attributes.
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Ehrlich, Nea E. "Animated realities : from animated documentaries to documentary animation." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/25699.
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My thesis on contemporary animated documentaries links new media aesthetics with the documentary turn in contemporary visual culture. Drawing from the fields of Contemporary Art, Animation, Film Studies and Gaming Theory, my aim has been to explore the development of animated documentaries in the context of animation's intersection with other visual fields in a very specific technological moment of the past two decades in order to broaden the scope within which animation is analysed and understood. The starting point of my research was the widely accepted divide assumed to exist between animation and documentary. I, however, claim that the supposedly contradictory nature of animated documentaries can no longer be considered a given. Despite the potentially challenging reception of animated documentaries, it is important to identify what it is that the animated image contributes to documentary, which is the visualisation of what is otherwise un-representable. My thesis investigates a new area of the intangible, focusing on the virtualisation of culture rather than on subjective or imaginary aspects of documentary works and visual interpretations. This cultural shift consequently requires new aesthetics of documentation that exceed the capacities of the photographic. My main argument is that due to contemporary technological changes, animation has permeated real contexts of daily life to the extent that it has become disassociated from the realm of fiction. Rather, in altering the way viewers are becoming accustomed to observing, learning about and connecting with reality, animation has brought about a constitutive change in ways of seeing one's world. This change can be described as animation’s impact on the relation between visual signification and believability. It is this which necessitates a reconsideration of what shapes a sense of realism in documentaries today. My research therefore culminates with new conceptualisations concerning the cultural role of animation, introducing what I argue is the formation of the "animated document" and "documentary animation". In these contexts, animation is no longer an interpretive visualisation substituting for photography but a direct capturing of animated realities. Animation thus expands what is considered to constitute reality and, as a result, also destabilises assumptions about the perceived conflict between animation and documentary, widening the sphere of documentary aesthetics.
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Silva, Michelle Ramona. "Digital alchemy matter and metamorphosis in contemporary digital animation and interface design /." online access from Digital Dissertation Consortium, 2005. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3224047.
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潘文慧 and Man-wai Poon. "Cultural globalization?: the contemporary influence of Japanese animation on Hong Kong teenagers." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31226620.
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Poon, Man-wai. "Cultural globalization? : the contemporary influence of Japanese animation on Hong Kong teenagers /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B24872970.
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Papp, Zilia English Media & Performing Arts Faculty of Arts & Social Sciences UNSW. "Investigating the influence of Edo and Meiji period monster art on contemporary Japanese visual media." Publisher:University of New South Wales. English, Media, & Performing Arts, 2008. http://handle.unsw.edu.au/1959.4/41276.
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Abstract Japanese anime being an important part of modern and contemporary popular visual culture, its aesthetic merits, its roots in Japanese visual arts as well as its rich symbology derived from Japanese folkloristic, literary and religious themes are worth investigating. This research aims to track the visual links between Edo and Meiji period monster art (y??kai-ga) paintings and modern day anime by concentrating on the works of Edo and Meiji period painters and the post-war period animation and manga series Gegegeno Kitaro, created by Mizuki Shigeru. Some of the Japanese origins of anime and manga imagery can be traced back to the early 12th century Ch??j?? Giga animal scrolls, where comic art and narrative pictures first appear. However, more recent sources are found in woodblock prints of the late Edo period. These prints are the forerunners of manga in that dialogues appear with the image, generally no anatomical details are given nor are they in perspective, but often a mood is expressed in a cartoon-like manner. The visual rendering of y??kai (monsters) is a Japanese cultural phenomenon: y??kai paintings originate in the Muromachi period, and take up part of the visual arts of that era. The distinct monster (y??kai) imagery emerging in the late Edo to early Meiji periods is the focus of this research. Investigating the Gegegeno Kitaro series, the study pinpoints the visual roots of the animation characters in the context of y??kai folklore and Edo and Meiji period monster painting traditions. Being a very popular series consisting of numerous episodes broadcast from the 1960s to the present time, by analyzing the changing images related to the representation of monsters in the series the study documents the changes in the perception of monsters in this time period, while it reflects on the importance of Mizuki??s work in keeping visual traditions alive and educating new audiences about folklore by recasting y??kai imagery in modern day settings in an innovative way. Additionally, by analyzing and comparing character, set, costume and mask design, plot and storyline of y??kai-themed films, the study attempts to shed light on the roles the representations of y??kai have been assigned in post-war Japanese cinema.
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Garrett, Thomas Butler. "The puppet, the cinematic and contemporary visual theatre : principles, practices, logos." Thesis, University of Brighton, 2009. https://research.brighton.ac.uk/en/studentTheses/6390bb62-a47d-4547-b6ee-af1375ec9473.
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This thesis finds inspiration in practitioner academics such as Craig and Meyerhold, and is conceived as a practice-informed research degree, consisting of a written element and a practical element that draw on and inspire each other. That there is value in both practising and analysing an art form is argued, and ‘case studies’ are made of practitioner/theorists at either end of the genealogy traced in the research: both those at the beginning of the 20th century and those at the beginning of the 21st. A case is made for judging the work of artists such as Robert Lepage, Robert Wilson, Complicité, and Faulty Optic as exemplars of contemporary Visual Theatre practice, combining and being inspired by the twin modes of puppetness and the cinematic. Alongside case studies of these practitioners sits analysis of the practical element of the thesis: a work-inprogress piece of auteur-led Visual Theatre practice that questions and illuminates the written component of the thesis.
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Cervelli, Filippo. "Ima deshō : the vacuum of immediacy in contemporary Japanese literature and popular culture." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:521d5f5e-d34d-454a-b622-a0454783cf80.
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The value of literature in the contemporary age is a controversial issue. The challenge posed by the interpretation of this era is expressed by the provocative remarks of critics such as Karatani Kōjin and Suzuki Sadami maintaining that after the 80s modern "pure" literature died (History and Repetition, 2012; The Concept of "Literature" in Japan, 2006). Reading Karatani and Suzuki's comments as merely provocative, signifying that a form of literature has died, this study enquires into how literature (and the arts) have changed and found new ways of expression after the historical break of 1989. The dissertation offers immediacy as a possible answer. Immediacy is a theme, a literary device stressing the present moment submerging clear notions of past and present. The precondition for immediacy is an ideological vacuum, experienced by characters across age groups and genders, where they do not share social ideologies or collective purposes. In this isolation, they concentrate only on their local realities, on what they perceive directly (physically and emotionally), acting quickly and repeatedly in the absence of critical thought. The constant action is often carried out in response to corporeal stimuli, specifically violence and sex, that grant immediate gratification in the vacuum. However, at the core characters indulging in immediacy long for inter-personal connections. Building a community based on critical thought and mutual understanding is the solution to escape from immediacy. The dissertation explores manifestations of immediacy in contemporary Japanese literature and popular culture (manga and anime) published or broadcast between 1995 and 2011. Through the analyses of cultural theories, literature by Takahashi Genichirō, Taguchi Randy and Hirano Keiichirō, and influential works in manga and anime (Neon Genesis Evangelion, Psycho-Pass and Shingeki no kyojin), it shows the theme's relevance and discusses how it contributes to the broader fields of contemporary Japanese literature and popular culture. By doing so, the dissertation also provides a study of the current artistic panorama in Japan, one that is often neglected critically, but that speaks of its culture with great force and imagination.
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Kovacic, Mateja. "Technologies and paradigms of vision: from the scientific revolution of the Edo period to contemporary Japanese animation." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/317.
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This thesis is mainly concerned with uncovering the meanings and associations embedded in the field of popular culture production in Japanese and European sociocultural contexts, using a comparative approach to unearth the effects, materials, and paradigms of the technological and scientific discourses during the Scientific Revolution. Linking the fields of the anthropology of technology and science, popular culture, and material culture studies, the thesis offers a historical overview of the development of machines and visual technologies in the Edo period, arguing that visuality is the key to delayering the cultural history of technology and science in Japanese popular culture, animation in particular. The objective of this work, therefore, is to look at the assemblage of the scientific, technological, and philosophical discourses to unveil the cultural processes between optical regimes, scientific practices, and popular culture. In its emphasis on the interconnectedness of visual technologies and the field of popular culture production, the thesis asserts that scientific development, particularly under the influence of the Scientific Revolution and Japanese Rangaku scholarship, is closely tied with the function of entertainment in Japanese society. With the understanding of technology as a total social phenomenon that interlocks the material and the symbolic in a complex network, which produces meanings and associations, the thesis further stresses the view that intellectual history cannot be separated from material culture studies; it also grapples with a number of existing scholarships on the history of science, particularly their inattentiveness to cultural histories in their historical surveys of scientific development. Finally, this work closely examines Oshii Mamoru's Ghost in the Shell and its sequels and the anime TV series Psycho-Pass to explore the tangled responses to the ideologies of the Euro-American mode of modernity.
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Lan, Kuo-Wei. "Technofetishism of posthuman bodies : representations of cyborgs, ghosts, and monsters in contemporary Japanese science fiction film and animation." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/40524/.
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The thesis uses a feminist approach to explore the representation of the cyborg in Japanese film and animation in relation to gender, the body, and national identity. Whereas the figure of the cyborg is predominantly pervasive in cinematic science fiction, the Japanese popular imagination of cyborgs not only crosses cinematic genre boundaries between monster, disaster, horror, science fiction, and fantasy but also crosses over to the medium of animation. In regard to the academic research on Japanese cinema and animation, there is a serious gap in articulating concepts such as live-action film, animation, gender, and the cyborg. This thesis, therefore, intends to fill the gap by investigating the gendered cyborg through a feminist lens to understand the interplay between gender, the body and the cyborg within historical-social contexts. Consequently, the questions proposed below are the starting point to reassess the relationship between Japanese cinema, animation, and the cyborg. How has Japanese popular culture been obsessed with the figure of the cyborg? What is the relationship between Japanese live-action film and Japanese animation in terms of the popular imagination of the cyborg? In particular, how might we discuss the representation of the cyborg in relation to the concept of national identity and the associated ideology of “Japaneseness”, within the framework of Donna Haraway's influential cyborg theory and feminist theory? The questions are addressed in the four sections of the thesis to explore the representation of the gendered cyborg. First, I outline the concept of the cyborg as it has been developed in relation to notions of gender and the ‘cyborg' in Western theory. Secondly, I explore the issues in theorising the science fiction genre in Japanese cinema and animation and then address the problem of defining science fiction in relation to the phenomenon of the cyborg's genre-crossing. Finally, I provide a contextualising discussion of gender politics and gender roles in Japan in order to justify my use of Western feminist theory as well as discuss the strengths and limitations of such an approach before moving, in the remainder of the thesis, to an examination of a number of case studies drawn from Japanese cinema and animation.
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Ferrell, Susanna S. "Pattern and Disorder: Anxiety and the Art of Yayoi Kusama." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/554.
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Yayoi Kusama is undoubtedly one of the most esteemed artists today, and yet she is continually written off as "crazy." Kusama's work draws not from insanity, but from her experiences with Obsessive Compulsive Disorder, and acts as a tool to both process and temper her obsessions and compulsions. In my own work, I reflect on the necessarily obsessive faculty of hand-drawn animation, in an effort to communicate the feeling of OCD.
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Lesourd, Sibylle. "L'enfant protagoniste : Naissance, mouvances et paradoxes d’une figure clé du théâtre contemporain pour la jeunesse en France et en Italie (1959-2015)." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040013.
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Le théâtre pour la jeunesse est un théâtre de recherche où se redéfinissent à chaque fois le désir et les modalités d’une rencontre entre des créateurs et un public spécifique. Notre thèse met en lumière la construction historique de ce théâtre en France et en Italie et donne à comprendre les expérimentations menées par les pionniers du domaine. Elle se concentre sur l’apparition d’un nouveau protagoniste du champ théâtral, l’enfant, et cherche à savoir si celui-ci se situe bien au cœur des processus de création. Dans une première partie, nous soulignons le rôle déterminant qu’a joué l’animation théâtrale au tournant des années 1960-1970. De la France à l’Italie, on voit se transmettre l’idée d’une transition naturelle entre expérience artistique avec les jeunes et œuvre dramatique à leur intention ; en identifiant l’enfant comme partenaire possible de la création, l’animation préfigure la naissance de formes esthétiques nouvelles adressées aux jeunes spectateurs. Dans une deuxième partie, nous montrons comment, des années 1980 à nos jours, la recherche artistique s’est cristallisée sur l’enfant spectateur, cible spécifique des metteurs en scène et des dramaturges. Tout en réfléchissant aux conditions de son émancipation, les artistes s’approprient des matériaux textuels parfois inattendus ; un chemin peut se dessiner de l’adaptation à la création. En France, on assiste à l’émergence d’un répertoire dramatique qui appartient aujourd’hui de plein droit à la littérature de jeunesse, tandis que, dans les deux pays, l’enfant personnage conquiert sa place dans les textes et sur les scènes. Une relation spéculaire peut ainsi s’instaurer entre l’enfant spectateur et son doubleTheatre for young people is experimental—the desire for and the modalities of an encounter between creators and a specific audience undergo redefinition with each performance. This PhD thesis sheds light on how theatre for young people came to be in France and Italy throughout history, as well as on the experiments carried out by the pioneers in the field. The focus is on the emergence of the child as a new protagonist within the theatrical field and on attempting to determine whether he indeed lies at the core of the creative process. In the first part, the emphasis is on the significance of the role of theatrical animation at the turn of the 1960s. The idea of a natural transition from artistic experiences involving young people to theatrical works designed for them was passed on from France to Italy ; by identifying the child as a potential partner in the creative process, theatrical animation prefigured the onset of new aesthetic forms directed to young audiences. In the second part, the aim is to show how artistic research has been crystallizing on the child as a spectator, who has become a specific target for stage directors and playwrights from the 1980s onwards. While reflecting on how to emancipate him, artists have taken ownership of various textual materials—some of which unexpected—and a path can therefore be traced from adaptation to creation. In France, a theatrical repertoire which belongs to youth literature in its own right has been emerging. At the same time, in both countries, the child as a character has been earning his way in play scripts and on stages. Thus, a specular relationship can be established between the child as a spectator and his double
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Dombrowski, Matthew. "PERCEPTIONS OF REALITY." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4161.
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My thesis explores the relationship between the human psyche and the perception of reality through the use of computer generated media. In a society in which we are bombarded with multimedia technology, we must look inside our selves for a true understanding of our past and memories. Rather than it acting as an escape from reality, my art becomes an opening for truth in reality.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Castro, Kely Elias de. "O ator no teatro de animação contemporâneo: trajetórias rumo à criação da cena." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-19112010-090333/.
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Partindo do caráter híbrido do Teatro de Animação, o presente estudo analisa aspectos de procedimentos criativos que se apresentam como especificidades na trajetória do ator rumo à criação da cena nesta linguagem. Para tanto, vale-se de pesquisa de campo realizada nos seguintes grupos teatrais dedicados ao Teatro de Animação e atuantes na cidade de São Paulo: Cia. Truks, Sobrevento, Morpheus Teatro e Seres de Luz Teatro. Neles foram observados processos de criação de espetáculos, bem como procedimentos em treinamentos e oficinas. O estudo ampara-se ainda em pesquisa de escopo teórico referente às relações estabelecidas entre artes plásticas e cênicas no Teatro de Animação contemporâneo e aos métodos de trabalho e preparação do ator, bem como aspectos concernentes a sua atuação com objetos, bonecos, máscaras e outros materiais. O resultado revela uma reflexão verticalizada em direção às particularidades que se apresentam nos procedimentos de criação da cena pelo ator-manipulador.Considering the hybrid nature of the Theater of Animation , this present work analyzes the scene conception through specific creative procedures usually performed by the actor of this kind of language. In order to achieve this aim, it presents a field survey accomplished at the following Theater of Animation companies of São Paulo: Cia. Truks, Sobrevento, Morpheus Teatro e Seres de Luz Teatro. In these companies processes of scene conception were registered, as well as procedures applied in trainings and workshops. This study is based in theoretical research about the relationship between visual arts and theater art in the contemporary Theater of Animation and the working method of the actor. It also investigates his relationship with objects, puppets, masks and other materials. The result reveals a deep reflection about the peculiarities of scene creation procedures performed by the puppeteer actor.
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Silva, Clayton Antonio Santos da. "A complexa trama da pixar: cinema e condição humana." Pontifícia Universidade Católica de São Paulo, 2013. http://tede2.pucsp.br/handle/handle/2434.
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The present doctoral thesis, entitled The Complex Plot of Pixar: Cinema and the Human Condition, aims to make reflections on the films produced by Pixar Animation Studios in the period between 1995 and 2011. In total, 12 films are analyzed: Toy Story, 1995; A Bug s Life, 1998; Toy Story 2, 1999; Monsters, Inc., 2001; Finding Nemo, 2003; The Incredibles, 2004; Cars, 2006; Ratatouille, 2007; Wall-E, 2008; Up, 2009; Toy Story 3, 2010 and Cars 2, 2011. The basis and methodological and theoretical orientation guide of the analyses and reflections is the Complex Thought, as formulated by Edgar Morin. The study aims to expand the understanding on these films, which began to be produced in large scale from 1995, introducing them as vehicles of narratives that help in building the imaginary of the contemporary man, taking into consideration the potential of onirism, duplication, projection-identification and mental trade that the cinema presents. The analyses and reflections contained in this thesis are based on thinkers from several fields of knowledge in a transdisciplinary perspective. After an introduction entitled Onirisms, the thesis unfolds in three analytical blocks: in Bravery, we discourse about the brave or heroic acts in Toy Story, A Bug s Life, The Incredibles and Cars. In Knowledge, we will discourse about the visions of knowledge, memory or technoscience of Toy Story 2, Monsters, Inc., Wall-E and Cars 2. In Paroxysms, we approach the existing apex moments in films such as Finding Nemo, Up, Toy Story 3 and Ratatouille. Finally, we present the final considerations and, as an annex, the production credits of the films studied herein
Esta tese de doutorado, intitulada A Complexa Trama da Pixar: Cinema e Condição Humana, procura fazer reflexões sobre os filmes produzidos pelo Pixar Animation Studios no período situado entre 1995 e 2011. Ao todo são analisados 12 filmes, a saber: Toy Story (Toy Story, 1995); Vida de Inseto (A Bug s Life, 1998); Toy Story 2 (Toy Story 2, 1999); Monstros S.A (Monsters, Inc., 2001); Procurando Nemo (Finding Nemo, 2003); Os Incríveis (The Incredibles, 2004); Carros (Cars, 2006); Ratatouille (Ratatouille, 2007); Wall-E (Wall-E, 2008); Up Altas Aventuras (Up, 2009); Toy Story 3 (Toy Story 3, 2010) e Carros 2 (Cars 2, 2011). As análises e as reflexões feitas têm como base e guia de orientação teórica e metodológica o Pensamento Complexo, tal qual como formulado por Edgar Morin. O objetivo do estudo é ampliar a compreensão sobre estes filmes, que começaram a ser produzidos em longa escala a partir de 1995, apresentando-os como veículos de narrativas que ajudam a construir o imaginário do homem contemporâneo, levando-se em consideração o potencial de onirismo, duplicação, projeção-identificação e comércio mental que o cinema possui. As análises e reflexões contidas nesta tese são feitas com base em pensadores de diversos campos do conhecimento, em uma perspectiva transdisciplinar. Após uma introdução intitulada Onirismos, a tese se desdobra em três blocos analíticos: em Bravuras, discorremos sobre os atos bravos ou heroicos de Toy Story, Vida de Inseto, Os Incríveis e Carros. Em Saberes, dissertaremos sobre visões do conhecimento, memória ou da tecnociência de Toy Story 2, Monstros S.A., Wall-E e Carros 2. Já em Paroxismos abordamos os momentos de ápice existentes em filmes como Procurando Nemo, Up Altas Aventuras, Toy Story 3 e Ratatouille. Por fim, são apresentadas considerações finais e, como anexo, ficha técnica dos filmes aqui estudados
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Borges, Paulo César Balardim. "Desdobramentos do ator, do objeto e do espaço." Universidade do Estado de Santa Catarina, 2013. http://tede.udesc.br/handle/handle/655.
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Previous issue date: 2013-09-05Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
O objetivo desta tese se instaura no aprofundamento das questões relativas às variadas relações que se estabelecem entre o ator, o objeto e o espaço. Para isso, são consideradas as evoluções teatrais contemporâneas e a perspectiva de constituição do sujeito cênico através de processos de acoplamento e disjunção que envolvem o corpo humano e o objeto inanimado. Permeando o assunto proposto, elencam-se o entendimento da animação como ferramenta teatral para construção de sentidos e produção de presenças ficcionais, a possibilidade de desvios de função nos elementos constituintes da cena como recurso expressivo e a construção de sistemas míticos através da elaboração de imagens metafóricas dinâmicas. Como material de reflexão sobre as temáticas abordadas, foram utilizados quatro espetáculos teatrais brasileiros - que ainda continuam em circulação no repertório das companhias - que se valem da animação e que foram produzidos e encenados no primeiro decênio do ano 2000. O estudo aponta as possibilidades do trabalho do ator integrado com a expressividade dos objetos e do espaço, convergindo num produto híbrido de nova significação.
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Žilinský, Michal. "Aula." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2018. http://www.nusl.cz/ntk/nusl-377170.
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Using slow camera movement in 20 minutes in five video scenes of completely CGI-rendered environment called Area of Universal Latency, I am mapping space-time of the zone which is located in the north-western Slovakia. Minimalistic narration of the autonomous single-channel video projection is confronting subjectivism with universality of the Anthropocene, vanitas and spirituality with the belief of consumerism in infinite accumulation and simulacra of virtuality with the absolute truth. The story of this video-poem is communicated through virtual environment, composed sounds and natural noises. This thesis is presenting a fragment of my attempt to record the morphology of the specific place through which, as the title of the video states, I am indicating the state of reality and its consequences yet not describing it explicitly.
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Suzuki, Ayumi. "Animating the chaos : contemporary Japanese anime, cinema, and postmodernity /." Available to subscribers only, 2008. http://proquest.umi.com/pqdweb?did=1559858781&sid=9&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Nagtegaal, Jennifer. "(Re)animating history : animated documentaries in contemporary Hispanic cinema." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/60174.
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Animation for adult audiences is a booming sector in Hispanic cinema in both fiction and non-fiction films alike. This is particularly true of the documentary genre, in which Spanish and Latin American filmmakers are employing various animation techniques to essentially (re)animate particularly traumatic periods of history. That is to say, they do the work of reconstructing or re-creating history through the cinematic practice of animation. Jairo Carrillo and Oscar Andrade’s Pequeñas voces (Colombia, 2010), María Seaone’s Eva de la Argentina (Argentina, 2011), and Manuel H. Martín’s 30 años de oscuridad (Spain, 2012) do this work of reconstructing periods of political unrest through a blending of animation and archival materials. The recent turn to animation in recounting historical narratives leads us to contemplate the purpose and effect of veering away from conventional live-action portrayals in documentary history. Accordingly, our first research question asks why and how animation is effective as a representational strategy in the re-telling of the historical moments and subjects that the films in our corpus depict. To answer this first research question, we consider the three functions of animation proposed by leading animated documentary scholar Annabelle Honess Roe (2013): non-mimetic substitution, mimetic substitution, and evocation. Beyond being linked by their exemplification of Roe’s three functions of animation, the films in our corpus all have a relationship to the uncanny that arises directly from the juxtaposition of the animated and the audiovisual archival elements. Animated film scholarship has begun to draw connections between Sigmund Freud’s (1919) notion of the ‘uncanny’ and films that combine animation and the archival. Accordingly, our second research question asks: in what ways does the ‘uncanny’ animated aesthetic in these three films manifest itself, and to what end?Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
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Joubert-Laurencin, Hervé. "Différence singulière et répétition communautaire dans le cinéma d'animation contemporain." Paris 3, 1992. http://www.theses.fr/1992PA030117.
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Merijeau, Lucie. "Le cinéma d'animation et son image. Étude des pratiques industrielles et spectatorielles du cinéma d'animation américain contemporain. Le cas prototype de Pixar (1995-2010)." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030137.
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Parce qu’ils sont les premiers à avoir réalisé un long métrage en images de synthèse, Toy Story, dont le succès artistique et populaire – qui ne se dément pas - a été le déclencheur d’un nouveau cycle de films d’animation, les studios d’animation Pixar occupent une place importante dans le paysage culturel actuel, et représentent une bonne opportunité d’étudier la manière dont les objets des industries culturelles sont créés et consommés. Au travers d’une étude du dessin animé américain, abordé du point de vue historique et esthétique, il s’agit tout d’abord de déterminer l’évolution du système de production et des techniques, qui sont en lien avec les évolutions stylistiques, pour comprendre dans quel système émergent puis s’établissent les films d’animation Pixar. Alors que la manière dont les films sont faits et dont ils sont vus a changé à la fin du XXe siècle, la trilogie Toy Story sera l’objet privilégié d’une étude des mutations du cinéma, et des usages qui en sont faits. Par le statut culturel élevé spécifique à Pixar, par l’ambiguïté textuelle qui les caractérisent et qui sont l’occasion d’interprétation très variées, ou grâce aux nouveaux modèles de féminité et de masculinité qu’ils proposent, les films d’animation tendent à devenir des films "comme les autres", laissant aux spectateurs la possibilité de les appréhender comme ils le veulentAs the first studio to have created a CGI animated feature film, Toy Story, whose success initiated a new era in animation production, Pixar Animation Studios occupy a significant position in the actual cultural landscape, and present a great opportunity to study the ways in which objects from cultural industries are produced and consumed. By examining the animated cartoon, from historic and aesthetic perspectives, I intend to determine the evolution of the production system and of the technics, which are related to stylistic changes as well. This study will help us understand the studio system in which Pixar’s movies have taken place. While the ways films are made and seen changed at the end of the last century, Toy Story’s films are the privileged object for an analysis of the transformations of cinema and its uses. By Pixar’s high cultural status, by the textual ambiguity that characterized them or the new representations of masculinity and femininity that they share, animated feature films tend to become "ordinary films", letting viewers grasp them as they want
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Makwela, Mashaole Jacob. "Critical skills of entry level animators in the contemporary South African computer animation industry." Thesis, 2012. http://hdl.handle.net/10352/233.
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M. Tech. (Multimedia, Department of Visual Arts and Design), Vaal University of TechnologyThis study investigates the views and opinions of computer animation practitioners about the critical skills required for entry level animators in computer-generated or digital animation design in South Africa. The literature review chapters of the study clarify the terms animation and creativity, examine the changes taking place in the animation discipline, and discuss the relative roles of technical and creative skills in computer animation productions, primarily based on Amabile’s componential model of creativity. The chapters that deal with the fieldwork describe the sequential mixed-methods design which was followed in this study to gather data in two phases, namely a survey with questionnaires (n = 16), and interviews (n = 7) at thirteen South African companies, six in Johannesburg and seven in Cape Town. The main aim of the first phase was to determine (a) which skills are considered more important for entry level animators, (b) whether technical skills or creative skills are considered more important in the selection process for new animators, and (c) whether institutions teaching computer animation should focus on technical skills or creative skills. The main aim of the second phase was to augment the questionnaire results with more detailed explanations. The results of the first phase indicate that according to the respondents computer animation education should focus primarily on creative skills. The results of the second phase confirm that creative skills are regarded as more important, and also elaborate on a number of factors, including job level, the nature of the company, and company size, which the respondents considered important during the first phase of data collection. The information gathered in the course of this study can be used directly by entry level practitioners, experienced animators and design students. The results can also guide the development of the South African animation industry and the revision of multimedia curricula.
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Barrett, Dean Anthony. "Television animation: an exploration of the contemporary, adult-oriented animation series with a specific study of Drawn Together." Thesis, 2012. http://hdl.handle.net/10539/11839.
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M.A. University of the Witwatersrand, Faculty of Humanities (Digital Arts), 2012This research report aims to identify and explore the various aesthetic, narrative and ideological techniques employed by a specific style of contemporary television animation series, through a close case study of the series Drawn Together. I shall define this animation as the contemporary adult-oriented style, one which has found particular favour with a young, media savvy adult audience and enjoys a mostly cult success in many parts of the world. This style is one which works just as much as a social commentary on various contemporary issues as it does a comedic animated show. The report will provide a historical exploration of this specific style of television animation series by looking at specific other examples, including The Simpsons, Beavis and Butthead and South Park,to create a basis of understanding through which to explore the formulation of Drawn Together. In discussing Drawn Together, the report will also provide a history of Drawn Together’s broadcast channel, Comedy Central, in order to understand the show’s entry into commercial markets and the mass media at large.
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Huang, Shih-Hsin, and 黃士欣. "To investigate the expression of contemporary political thinking in animation with “The Fisherman's Diary”." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/01798034604048160993.
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碩士國立臺南藝術大學
動畫藝術與影像美學研究所
103
Animation has always been one of the media, which can express political thinking sufficiently. This thesis mainly represents not only the situation of contemporary polity through the main character of “The Fisherman's Diary”, whose thoughts and reactions in nowadays society, but also the analyses and comparisons from Socialist Realism to political animation. The first chapter introduces personal creative process of animation, creative motivation of “The Fisherman's Diary”, and purpose of this study. The second chapter gets straight to the point of the introduction of political animation under the different environment, culture and society, moreover, the analyses of relations between animation and polity, the comparisons between similarities and differences of purposes of political animation, and expressions through the perspective of Socialist Realism. Chapter three is personal creation discourse, which can mainly be divided into connotation and expression parts. The link of contents and techniques, meaning of the story, and the application of symbol will be investigated in the connotation part, followed by the use of political animations in both obscure and straight side. And the art style, techniques of performances, action designs, and the atmosphere with dialogues of “The Fisherman's Diary” will be present in the expression part. Chapter four is research experience and concluded that investigate and compare handmade animations with digital ones during the production of “The Fisherman's Diary” , furthermore, make an expectation about the imagines it will convey, then dates back to political metamorphic by “The Fisherman's Diary”, makes an animation record for the future history of the Socialist Realism application. In the end, exploring the animation to reproduce the importance of contemporary social status as a summary.
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Wu, Ying-Hui, and 吳垠慧. "The Comic／Animation Images In the Contemporary Art of Taiwan：Mao-Lin Yang and Tung-Lu Hung." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/55196237869939201689.
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碩士國立台北師範學院
藝術與藝術教育研究所
92
In the 1960s, the artists of Pop Art, by bringing amount of comic images into art works, blurred the boundary between high art and popular culture. After the 1980s, Post-pop artists took the techniques of comics and commercial strategies into art creation. In the 1990s, Japanese contemporary artists tried to combine Japanese popular culture and art creation in their works, and tried to theorize them. In the mid 1980s, some Taiwanese artists began to bring techniques or take ready-made images of comic/animation into art works, especially those came from the United States of America and Japan. Why were these images used most by Taiwanese artists from other countries？How did the historical background influence this kind of phenomenon？In these art works, what kind of special meanings have these comic/animation images？The present study starts from these questions. The present research introduces firstly of the development of the comic/animation culture in Taiwan. Mao-Lin Yang and Tung-Lu Hung’s works are taken then as examples for the analysis the medium vocabularies, symbolism, collage modes and cultural meanings of these images integrated in the contemporary art. The political and economical context which determines their development is also put into consideration. Finally, an analysis of the contents of these comic/animation images reveals the cultural meaning of their works.
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Kunkel, Earl Monroe III Pettegrew John Keetley Dawn. "Why ARE people laughing at rape? American adult animation and Adult Swim: Aqua Teen Hunger Force as contemporary humor." 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1469568.
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Chen, Chang-Chen, and 陳昶辰. "A Research for Fan Culture on Contemporary Animation and Comic Industry - the Virtual Idol "Hatsune Miku" as an Example." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/20190722711574047312.
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碩士東方設計學院
文化創意設計研究所
99
The substance of this paper is researching into the “Fan”, which not only owns particular ideas of community but abundant culture, through the development of a Japanese virtual idol—Hatsune Miku (初音ミク)—in ACG (Animations, Comics, Games) industry and business presently. As Japanese ACG has become globalized, the position of fans is also getting important because of their great enthusiasm for ACG, which has a noticeable effect on growth of related industry. Moreover, they formed the “Fan Culture” and gave ACG more cultural meanings. Using the interactive process between Hatsune Miku and the fans, this paper will argue that how has Fan Culture become influencial on ACG industry, fan’s position in this business, and the interaction between fans and the industry; Further, discover the content of Fan Culture. The concept of Fan Culture will be figured out by Literature Review in the first place, which would help comprehending Fan Culture and doing fan’s behavior research. Secondly, Content Analysis will be used to present the ways how fans adoring Hatsune Miku, for example, “Doujin creative work”and “cosplay”. Besides, fans’ behavior and practical works, which generally from the affection for text, are described through Interview Method. Based on the information collected form interviews, fans’ opinions about Hatsune Miku will be discovered, as well as increase the reliability of literature review and content analysis in this paper. It is found out that fans have been at a crucial place during the evolution of Japanese ACG industry—also known as Otaku industry—that is, fans have played a role of promoting ACG culture to the world and increase both of business and cultural value of this industry. It has formed a circle of fans, culture, and related industry. According to content analysis, the virtual idol Hatsune Miku nearly became life on account of fans’ works, which are music, chant, composition, drawing, comic, instruments playing and so forth. By all kinds of performances, even the fans in different fields have come together and teamed up with each other. More over, Hatsune Miku has been given to more meanings while the symbols and values about her are created continuously. As the interaction and information sharing among fans are getting strengthened day by day, certainly this Fan Power of urging ACG industry has already come into being.
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Goncalves, Raymond Carlos McClure. "Pausing dramatic tension within contemporary action cinema: the relationship between time slicing/slow motion and suspenseful situations in action feature films through praxis lead research." Thesis, 2016. http://hdl.handle.net/10539/22226.
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Thesis (M.A. (Digital Animation))--University of the Witwatersrand, Faculty of Humanities, 2016Time slicing is a film-based visual effect that refers to an enhanced simulation of time at variable speeds by creating the illusion of frozen or slowly progressing motion in time; it is most commonly digitally manipulated. This report will research and analyse how it can be utilized to amplify dramatic tension, or suspenseful situations in contemporary action films through theories, technology and various filming techniques. The theoretical methodology in this report is a historical account of the technology and process in the evolution of time manipulation within photography and film leading up to time slicing. Some Film theory is included in this report in a more conceptual manner as to why time slicing or slow motion is used in suspenseful situations, particularly in the action film genre. The report also demonstrates how the high standards of time slicing in feature films can be similarly achieved on a budget which will be demonstrated through a practical component that will compare a real time versus a time sliced scenario. While it would be preferable to use a full 360-degree array of cameras, the technology involved in time slicing has not yet reached a point where it is economically accessible to a student film maker and most local industries, which is why the focus of the research paper analyses a shorter array of cameras that is just enough to capture a time slice effect. The results will then be assessed based on dramatic tension/suspense to see if they equate to the theories of montage and mise en scène discussed in the research report. As a case study, the report will then compare a scene from The Matrix to that of a scene produced as part of the practical component in order to draw conclusions on quality and the possibilities of a lower budget set-up.
MT2017
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Lavallée, Pascal-Anne. "De l'animation des images fixes dans "Me and You and Everyone we Know" : photographie, vidéo, cinéma." Thèse, 2010. http://hdl.handle.net/1866/5157.
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Ce mémoire de maîtrise porte sur l’animation des images fixes dans le film Me and You and Everyone we Know réalisé en 2005 par Miranda July, et tout particulièrement sur les pratiques artistiques de la protagoniste Christine Jeperson, qui est artiste vidéaste. L’objet de cette étude se fonde sur les matériaux utilisés par l’artiste-protagoniste elle-même, et vise en premier la photographie, puisqu’elle travaille toujours à partir de photos amateur, de clichés, d’images banales, qu’elle tente d’animer par le biais de la vidéo et de leur mise en récit. Ces deux dispositifs d’animation, qui à leur façon redonnent du temps et du mouvement aux images, réalisent un déplacement de valeur en en faisant de l’art et déploient du même coup un espace propre à une certaine expérience esthétique du spectateur, car c’est dans son imaginaire que peut véritablement se produire l’animation de ces images. Ainsi, dans ce mémoire, je tenterai tout à la fois de me concentrer sur ce détail du film que sont les œuvres de Christine, mais en cherchant à les mettre en relation avec d’autres moments du film, avec ce qui semble être les motifs privilégiés de la pratique de Miranda July, de même qu’avec d’autres moments de l’histoire de l’art, afin d’en historiciser la démarche. Ce travail servira donc à éclairer une pratique d’images contemporaine singulière, à la croisée entre photographie, vidéo et film.This Master’s thesis deals with the animation of still images in Miranda July’s 2005 film, Me and You and Everyone we Know. More specifically, it analyses the artistic practices of Christine Jeperson, a video artist who is the main character of the film. This study focuses on the materials utilized by the artist-protagonist and looks at her particular use of photography: her video works all revolve around amateur photographs, clichés, banal images, that she animates via the remediation of video and "narrativization" ("mise en récit"). These two principles of animation, that give time and motion to the still images she uses, also produce a displacement of value by turning these images into art and, by the same token, open a specific space i.e. the aesthetic experience of the spectator, for it is in his or her imaginary, in the end, that this animation is produced. Thus, in this study, I wish to look at these “details” within the films — the video works of Christine — whilst seeking to show the relations they entertain with other elements of the film, with Miranda July’s body of works, as well as with other moments in art history that relate to this animation apparatus, in order to historicize the practices of Christine / July. This Master’s Thesis wishes to illuminate a specific kind of contemporary visual practice, at the intersection of photography, video and film.
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"Animating Inari: Visions of Contemporary Shintō in Inari, Konkon, Koi Iroha いなり、こんこん、恋いろは." Thesis, 2015. http://hdl.handle.net/10388/ETD-2015-11-2316.
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As the deities known as Inari, foxes are vital to the religious and cultural landscape of Japan. Inari are given little consideration in the academic study of Japanese religions in English, despite their overwhelming presence and popularity in Japan. This is, in large part, due to the privileging of a Protestant definition of religion in the academic study of religion. Animating Inari addresses this lack of consideration by seeking to better understand Inari in Japan, particularly through the contexts of contemporary Shintō and popular worship (which are also severely underrepresented in scholarship). In order to explore Inari on the ground, this project is situated in the context of Fushimi Inari Taisha, the headquarters of Inari worship located in Kyoto. This project investigates the anime (animated television series), Inari, Konkon, Koi Iroha (or Inakon), which depicts Fushimi Inari Taisha through the life of a young girl, named Inari, and her relationship with the deity, known as Uka. In conjunction with my own experience at this shrine, I use Inakon as a tool with which to consider the popular aspects of Shintō, particularly as visible through Inari worship.
By examining Inari worship, the characters and themes of Inakon, and the presence of fox characters in other Japanese popular media, it is apparent that Inari’s popularity is in large part due to the warm relationships they have with Japanese people and how they respond to their everyday concerns. This is in direct contrast to the more nationalistic leanings of the Jinja Honchō (National Association of Shintō Shrines), which is too often privileged in the academic study of Shintō at the expense of popular worship. Inari reflect the more popular concerns of contemporary Shintō: the connections and intimate bonds that exist between people, as well as the deities. By highlighting the functions of and attitudes towards Inari, especially in contrast to Jinja Honchō, it becomes clear that Inari resonate with Japanese on a profound level.