Dissertations / Theses on the topic 'Stop-motion animation films'

À travers le long parcours qu'implique la production d'une animation en stop-motion, l'objet animé subit une longue chaîne d'interprétations qui transformeront son identité. L'objet concret, bien que matériellement absent de l'oeuvre animée, aura la capacité de nous référer à sa réalité, même à partir d'un contexte fictif. J'analyse quatre éléments propres à l'animation image par image : objet, image, séquence et animation, depuis le point de vue de chaque participant de la triade spectateur/oeuvre/artiste. À partir des points de rencontre de tous ces éléments, je fais un survol du processus de création d'une oeuvre animée. En traitant différents sujets, j'essaie de comprendre l'évolution d'un objet à partir de sa réalité, suivant par la transformation de son image jusqu'à son assimilation dans une oeuvre d'art. Ce travail de recherche accompagne une production artistique basée dans le concept d'animation. Les idées présentées naissent de mes expérimentations dans le domaine du stop-motion pendant ma maîtrise en arts visuels. Ces oeuvres sont les composantes d'une exposition nommée No Budget Animation.

As a doctoral student, I was asked to teach a course based on emerging technologies and postmodern methods of inquiry in the field of art education. The course was titled Issues and Applications of Technology in Art Education and I developed a method of inquiry called animated autoethnography for pre-service art educators while teaching this course. Through this dissertation, I describe, analyze, interrogate, value, contextualize, reflect on, and artistically react to the autoethnographic animated processes of five pre-service art educators who were enrolled in the course. I interviewed the five participants before and after the creation of their animated autoethnographies and incorporated actor-network theory within the theoretical analysis to study how the insights of my students’ autoethnographies related to my own animations and life narratives. The study also examines animated autoethnography as a method of inquiry that may develop or enhance future teaching practices and encourage empathic connections through researching the self. These selected students created animations that accessed significant life moments, personal struggles, and triumphs, and they exhibited unique representations of self. Pre-service art educators can use self-research to create narrative-based short animations and also use socio-emotional learning to encourage the development of empathy within the classroom. I show diverse student examples, compare them to my own animations, and present a new model of inquiry that encourages the development of self by finding place in chaos, loving the unknown, embracing uncertainty, and turning shame into a celebration of life.

Thesis (MPhil)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: This thesis investigates the significance of stop motion puppetry as an artistic device that enables illustrators to explore the notion of the ‘grotesque’. Mikhail Bakhtin and Wolfgang Kayser’s theorisation of the grotesque provides the foundation for my analysis of the manifestation of the grotesque in the puppets and stop motion techniques utilised in Jan Švankmajer’s Something from Alice (1988) and a selected film from my own work entitled Bad Man He Comin’ (2011). A comparative study of these two films demonstrate that stop motion puppetry is an apt medium for facilitating and exploring forms of the grotesque.
AFRIKAANSE OPSOMMING: Die klem in hierdie tesis val op die belangrikheid van stop-aksie poppespel as ‘n artistieke toestel wat kunstenaars kan gebruik om idees van die groteske weer te gee deur die gebruik van objekte sowel as die destruktiewe aard van die animasie proses. Mikhail Bakthin en Wolfang Kayser se idees rondom the groteske, vestig die grondslag vir die studie, om karaktereienskappe van die groteske te ontbloot in die poppe en metodes wat gebruik is in Jan Švankmajer se film Something from Alice (1988), sowel as ‘n geselekteerde film van my eie werk genaamd Bad Man He Comin’ (2011). ‘n Vergelykende studie, weerspieël dat groteske karakteruitbeelding verkry kan word deur sekere materiale te gebruik om poppe-liggame te skep. Die studie ontul verder dat die groteske geïdentifiseer kan word in die animasie proses waarin die verwronging en afbreking van objekte, tyd, spasie en beweging plaasvind.

Thesis (MPhil)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: This thesis investigates stop motion animation as a form of socially engaged visual storytelling. It aims to expand commonly held perceptions that associate animation with the mass media and entertainment industries by investigating three non-industry related contexts: the artist studio, the classroom and the community. In each respective context the coauthoring of stop motion animation was employed as a means to promote collaboration between artists, students and members of the public. This was intended to encourage participants to share their stories regardless of language differences, contrasting levels of academic development and diverse socio-cultural backgrounds. Thus, animation making provided a means of promoting inclusivity through active participation and visual communication. This process is perceived as valuable in a South African context where eleven official languages and a diversity of cultures and ethnicities tend to obstruct an integrated society. My fundamental argument is that animation can be used as a tool to facilitate the materialisation, dissemination and archiving of stories whilst promoting the creative agency of the storyteller.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek stop-aksie animasie as ‘n tipe van sosiaal-geaktiveerde visuele vertelkuns. Die studie is daarop gerig om algemene aannames oor animasie – wat animasie assosieer met die massamedia en die vermaaklikheidsindustrie – te verbreed deur drie nienywerheidsverbonde kontekste te ondersoek: die kunstenaar se ateljee, die klaskamer en die gemeenskap. In elk van die onderskeie kontekste word die gesamentlike skepping van die stop-aksie animasie gebruik as ‘n manier om samewerking tussen kunstenaars, studente en die algemene publiek te bevorder. Die doel is om deelnemers aan te moedig om hul stories te deel, ongeag taalverskille, verskillende vlakke van akademiese ontwikkeling, en diverse sosio-kulturele agtergronde. Daarom verskaf die skepping van animasie ‘n geleentheid om samewerking te bevorder deur aktiewe deelname en visuele kommunikasie. Die proses word veral in die Suid Afrikaanse konteks as waardevol beskou, waar elf amptelike tale, asook ‘n diversiteit van kulture en etniese groepe, dikwels die skep van ‘n geïntegreerde samelewing belemmer. My hoofargument is dat animasie met vrug gebruik kan word as ‘n metode om die skepping, disseminasie en argivering van stories te fasiliteer en terselfdertyd ook die kreatiewe rol van die storieverteller aan te moedig.

The Ghost Machine is a practice-based research project that explores the process of embodiment in animated film. It describes the process of transfiguration from the artist’s/auteur’s point of view and not from an outside position. The dissertation follows the embodiment of a dramatic text, the Ghost Sonata by August Strindberg (1907), into an animated film. The starting point is my experience of the drama, at the age of thirteen, when staged by Ingmar Bergman at the Royal Dramatic Theatre. As a teenager, the world of the grown-ups seemed to be corrupt, twisted and ruled by violent power plays and economic sanctions, and this play confirmed my world view. Was I right, as a thirteen-year-old boy? What kind of world emerges in my version of the Ghost Sonata? In this thesis work, the films and the experimental research process meet the practice and art of writing. Using text, not as “theory” separated from “practice” but as a bodily art practice, creates a shifting border between the results and intentions of art and filmmaking, and the results of writing. At the same time a unity emerges where the results of the research process can be seen and experienced in the interaction between the texts and the artwork. The Ghost Machine is a totality where the text, films and artworks included in the project are equally important and must be seen as a unity. The Ghost Machine is a work journey where travelling, animated film practice, networking with colleagues and collecting data are mixed with experiments using methods from contemporary arts practice, performance, reenactment, appropriation and transfiguration, blended with traditional puppet animation in classic Czech style. In collaboration with actors, mime artists, puppet makers, musicians and a minimal film crew, century old stop-motion animation is combined with computer animation.  The textual part of the work falls into two categories: life stories and work stories. The work stories traces the forming of an artwork in all aspects. The life stories are related to the subject of ghosts. Suddenly, dead friends and dear family members claimed their space. The understanding of the Ghost Sonata came to be a process of sorting out and following lines of memory using an inverted version of the Orpheus myth as a guide. Instead of never turning around, when walking the dead out of oblivion, I chose to look back, again and again, until I hit something and could not write anymore.
https://www.uniartsplay.se/slin

Statkutė, K. Koliažas Stop kadro animacijoje. Darbo vadovas: doc. A. Uogintas; Šiaulių universitetas, Menų fakultetas, Audiovizualinio meno katedra – Šiauliai, 2010. – 28 p. Kūrybinis darbas – Stop kadro animacinis filmas „Kelias tolimas“. Koliažas Stop kadro animacijoje. Šiame bakalauro darbe analizuojami du meninės raiškos būdai ir jų sintezė – koliažas ir sustabdyto kadro animacija. Pateikiamas video darbas emigracijos tema. Rašto darbo teorinėje dalyje nagrinėjamas koliažas, jo atsiradimas, technologijos, bruožai, aprašomi kai kurie animacijos kūrimo būdai ir technologijos. Autorės nuomone, turintys sąsają su jos kurtu video darbu. Plačiau nagrinėjama ir aptariama stop kadro animacija. Socialinis emigracijos aktualumas kūrybiniame darbe virsta meniniu objektu, turinčiu aiškią motyvaciją, priežastis ir tikslus. Lengva parodijos forma ir sarkazmo prieskoniu kurtas filmas pristatomas kaip savotiška šios temos interpretacija.
Statkutė, K. Stop-motion animation collage. Labour leader: associate professor A. Uogintas; Šiaulių University, Faculty of Arts, Multimedia Arts Department - Šiauliai, 2010. - 28 p. Creative work - stop frame animated film „Long way“. Stop-frame animation collage. This bachelor's work analyzes two forms of artistic expression and synthesis - collage and Stop-frame. A video work emigration. Writing in the theoretical work dealt with a collage of his appearance, technology, features, presented in the animation building techniques and technologies. The author with a link to the video work of Kurt. Discusses the wider issue stop-motion animation. The social relevance of the creative work of emigration turns into the artistic object, having a clear motivation for the reasons and goals. Easy to parody in the form of sarcasm and flair for film is presented as a sort of interpretations.

O golem é um ser mítico ligado ao misticismo judaico. O relato mais significativo envolve Judah Loew, rabino de Praga na república Checa no século XVI. O rabino Loew modelou o seu golem com o barro do rio Vltava e lhe deu vida através de um processo mágico. O Golem foi criado para proteger o povo judeu dos crescentes ataques anti-semitas. Nesta animação, feita com a técnica de stop-motion utilizando a argila como meio de expressão, a lenda do golem assume uma abordagem contemporânea. O Golem tem de proteger não só o povo judeu, mas toda a humanidade contra sua maior ameaça. Buscando entender sua tarefa, ele se depara com a contradição que ela representa. Neste filme de animação a argila sublima sua materialidade e liberta-se de seu peso para tornar-se um meio líquido e etéreo. Por este motivo ela foi escolhida como meio de expressão para este projeto.
The golem is a being connected to Jewish mysticism. The most significant narrative involves Judah Loew, the late 16th-century rabbi of Prague, in the Czech Republic. The rabbi modelled the Golem out of clay from the banks of the Vltava river, and brought it to life through a magic process. The Golem was created to defend the Jews from antisemitic attacks. In this short stop-motion animation made with clay, the story of the Golem takes a contemporary approach. The Golem has to defend not the Jews only, but the whole human kind from its greatest threat. Searching for the meaning of its task, the Golem faces the contradiction it represents. In this animation, clay frees itself from its materiality leaving behind its weight to become fluid and ethereal. That is the reason why it was chosen to be used as the means of expression in this project.

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This work consists of a research on the use of puppets in many audiovisual productions, and also at analyzing the various types of puppets that are made for this type of application. After this analysis, map production system of this type of character by means of an inventory of the main characteristics that involve the proABSTRACT duction, use and animation of this type of character. Finally, propose the production of a short film made with various puppets that exemplifies the data obtained during the bibliographical research, this step presents the production processes of each type of puppet and the animation process thereof.
Este trabalho consiste em uma pesquisa sobre o uso de bonecos em produções audiovisuais diversas, bem como, analisar, os diversos tipos de bonecos que são produzidos para este tipo de aplica- ção. Após esta análise, mapear o sistema de produção deste tipo de personagem por meio de um levantamento das principais características que envolvem a proRESUMO dução, uso e animação de personagens deste tipo. Por fim, propor a produção de um curta metragem feito com bonecos diversos que exemplifique os dados obtidos durante a pesquisa bibliográfica, nesta etapa, são apresentados os processos de produção de cada tipo de boneco bem como o processo de animação dos mesmos.

Czech animated allegories of the period of 1946 to 2012 encode their political ideas in objects and things, rather than through conventional narrative techniques such as voice-over or dialogue. The existence of these objects in cinematic time and space is integral to this process of political encoding, which is achieved through the selection of objects, cinematography and editing. In some of these films, time and space themselves are politically encoded. Materialist critical approaches to the film texts can help illuminate these latent political meanings. 'Thing theory', which puts a critical emphasis upon reading objects and things, exposes the politically resistant role of simple, domestic objects in the films of Jiří Trnka and Hermína Týrlová. Trnka's cinema in particular defends traditional, pastoral modes of being in which the individual is rooted within their environment. 'Actor-network-theory', a means of interrogating the relationship between actors in networks, resonates with the political ideas present in the cinema of Surrealist artist Jan Švankmajer. Švankmajer's central political project is an interrogation of anthropocentrism and attempts by humans to exert systems of control and order upon non-human actors. Rather than celebrating functional, domestic objects like Trnka or Týrlová, Švankmajer's cinema is radically anti-utilitarian. Objects are depicted as things that resist categorisation. 'Rhythmanalysis' – a mode of poetic-scientific investigation developed by philosopher Henri Lefebvre – can be used to unpick the rhythms in the animations of Jirí Barta. Barta's films critique rational clock time and the design of urban spaces through the use of editing patterns and repetition. Finally, all three materialist approaches in combination help illustrate the political content of animated films (and live-action films with significant passages of animation) produced in the wake of the Velvet Revolution. Such films often question the relationship between the individual Czech citizen and the Czech capital city of Prague. The animated films of the aforementioned directors and historical periods, tend to give precedence to the material world of objects over the semiotic world of humans, though these two realms are often shown to be inter-dependent. To this end, the political messages of the films are conveyed not through language, but through images and things.

Det finns mer än ett sätt att skapa musik. Vissa sätt är dock mer okonventionella än andra. En särskild metod behöver inga professionella inspelningsmjukvaror eller digitala musikinstrument kompatibla för sammankoppling med datorer. Istället behövs, förutom ett musikinstrument, enbart videoinspelningsutrustning och videoredigeringsmjukvara. Syftet med denna rapport är att undersöka hur väl personer kan -med en instruktionsvideo innehållande tal, grafik och realtidsinstruktioner- lära sig att skapa egen musik. En inledande, mindre studie genomfördes för att finna personer (utan tidigare erfarenhet av musikskapande) villiga att göra ett användartest under uppsikt. Det tänkta antalet testpersoner hölls lågt till följd av den rådande covid-19-pandemin, samt det sista användartestets natur. Samtliga tillfrågade var entusiastiska till att genomföra testet att av instruktionsvideon och dess innehåll. För att besvara syftet utformades, genom en iterativ design- och redigeringsprocess, en instruktionsvideo. Denna instruktionsvideo visades för samtliga testpersoner varpå de instruerades att redigera samman egna, förutbestämda, korta musikstycken. Resultatet av de kvalitativa testerna visar att man kan lära sig denna typ av musikskapande förutsatt att vägledningen är pedagogisk, tydlig och tidseffektiv.
There are several ways to create music. Some ways are more unconventional than others, however. One particular method does not require professional audio editing softwares or digital music instruments compatible with computers. Instead, the only thing required, apart from a music instrument, is video recording equipment and video editing software. The purpose of this study is to examine how well people can –using a video tutorial containing speech, graphical elements and real time instructions- learn how to create their own music. A small-scale, initial study was conducted to find people (without any past experience of music creation) willing to take part in a supervised user test. The supposed amount of test subjects was kept at a minimum due to a current covid19-pandemic, as well as the nature of the test itself. Every respondent was enthusiastic about testing the tutorial and its content. Through an iterative design and editing process, a video tutorial was created with the intent to answer the purpose of this study. The video tutorial was shown to every test subject, whereupon they were instructed to edit their own, predetermined, short musical pieces. The results of the quality-based tests show that musical content creation can be taught, given that the tutorial is clear, pedagogical and efficient.

Adaptation of personal experiences to a screen is no new concept, in fact it is the driving force to media content creation. All storylines and narratives are related to personal experience whether literally or metaphorically. These experiences are externalized in media by many forms, ranging from the visible and audible. Mainstream media is tied to an entertainment purpose, regardless of themes and topics presented. Therefore, it is important to understand that some of the depictions presented in media are linked to stigma or misrepresentation. This is particularly true for portrayals of mental illness and experiences of trauma. I plan on exploring how media, specifically animation, can communicate subjective experiences of mental illness and trauma. In my exploration I will also speak about the role of abstract and experimental animation in this endeavor. While live action contains an element of reality in contextualizing events or experiences, animation allows one to take full control of the visual representation of a subject and agency over constructing a narrative. Animation is a means of inquiry that exemplifies an art form and a journey of self-discovery. I created a short experimental film reconstructing my subjective experience with childhood sexual trauma. I will embrace visually stimulating abstract animation and stop motion to create an evocative visualization of my personal experience. This means of visual production takes the process of subjective experience a step further and literally becomes a process of laborious and tedious composition, culminating with a personal narrative piece.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This dissertation investigates the use of graphic elements in the cinema, with the purpose of understanding how the design can collaborate to the construction of the audiovisual message and to identify the potentialities that the movement can add to the graphic compositions in open titles film. The project started with the realization that more and more graphic designers have the need to incorporate time and movement into their multiplatform projects, which in turn raises a number of theoretical and practical reflections. Thus, within the delimited theoretical scope, subjects related to moving image, principles of animation, digital graphic design, motion graphics and the graphic design in the cinema and open titles films were approached through authors like Arlindo Machado ( (2005 and 2010), Gilles Deleuze (1985 and 1990), Paul Wells (1998 and 2008), Donis Dondis (2007), Ellen Lupton (2013 and 2015), Matt Woolman (2004), Lev Manovich 2007, 2008 and 2012) and Gemma Soloma and Antonio Boneu (2007), among others. Finally, as a case study, a brief contextualization is presented, followed by the analyzes of the opening credits of the films: “Até que a sorte nos separe 2” (2013, direction: Roberto Santucci) and “Meu passado me condena: o filme”(2013, directed by: Julia Rezende). The proposal to choose these films was to provide a look at the contemporary production of Brazilian audiovisual graphic design, as well as to enable a study on open titles national films - not identified in the literature of the area consulted in this research
Essa dissertação investiga o uso de elementos gráficos no cinema, com o objetivo de entender como o design pode colaborar para a construção da mensagem audiovisual e identificar as potencialidades que o movimento pode acrescentar às composições gráficas em créditos de aberturas de filmes. O projeto partiu da constatação de que cada vez mais os designers gráficos tem a necessidade de incorporar o tempo e o movimento em seus projetos multiplataformas, o que suscita, por sua vez, diversas reflexões de ordem teórica e prática. Assim sendo, dentro do escopo teórico delimitado, foram abordados assuntos referentes à imagem em movimento, princípios da animação, design gráfico digital, motion graphics e o design gráfico no cinema e em créditos de abertura de filmes, por meio de autores como Arlindo Machado (1997, 2005 e 2010), Gilles Deleuze (1985 e 1990), Paul Wells (1998 e 2008), Donis Dondis (2007), Ellen Lupton (2013 e 2015), Matt Woolman (2004), Lev Manovich (2005, 2006, 2007, 2008 e 2012) e Gemma Soloma e Antonio Boneu (2007), entre outros. Por fim, é apresentado, como estudo de caso, uma breve contextualização seguida das análises dos créditos de abertura dos filmes: "Até que a sorte nos separe 2" (2013, direção: Roberto Santucci) e "Meu passado me condena: o filme" (2013, direção: Julia Rezende). A proposta de escolher esses filmes foi a de propiciar um olhar sobre a produção contemporânea do design gráfico audiovisual brasileiro, além de possibilitar um estudo sobre créditos de abertura de filmes nacionais – não identificado na literatura da área consultada nesta pesquisa.

Peu satisfaite des concepts généralement mentionnés lorsqu’il s’agit d’écrire sur les films réalisés en stop-motion, je propose d’analyser un corpus de quatre films réalisés par un duo estonien peu connu, les réalisatrices Jelena Girlin et Mari-Liis Bassovskaja, en ancrant mon discours dans une recherche plus large sur l’intimité et la sensorialité en art. J’effleure, par l’entremise d’une revue de littérature, le paradoxe d’animer l’inanimé et l’idée du umheimlich freudien, prégnants dans les écrits substantiels autour du cinéma d’animation en volume. Après avoir démontré que l’œuvre de Girlin Bassovskaja s’incrit dans le domaine de l’intime, j’approfondis l’analyse en m’appuyant sur les théories de la visualité haptique appliquée aux films. Je découvre le corpus à la lumière de ces théories, et évoque l’idée du regard caressant du spectateur vers le film, mais aussi de sa réversibilité. De plus, en tant que réalisatrice-animatrice de court-métrages d’animation, les théories susmentionnées outillent ma pensée afin de décrire ma volonté quasi obsessionnelle de rendre l’intimité tangible par une animation sensuelle en pâte à modeler sur verre.
Not satisfied with regular concepts usually used when one speaks about stop-motion animation, I suggest another way to discuss about animation films while analyzing four short films made by estonian directors Jelena Girlin and Mari-Liis Bassovskaja, based on a wider research on intimacy and sensory perception in art. I first explore, through a review of literature, the paradox of animating the inanimate and the Freudian umheimlich, substantially recurring in writings about stop motion films. Having demonstrated that the work of Girlin Bassovskaja be seen against the domain of intimacy, I deepen my analysis of the films by relying on theories of haptic visuality. I discover the body of works in the light of these theories, and evoke the idea of a caressing gaze from the viewer to the film, but also its reversibility. In addition, as a filmmaker creator of short animated films, the above theories are feeding my reflexions and serve to describe my almost obsessive desire to make tangible intimacy with sensual animated plasticine on glass.

and keywords Žaloudková, R.: Animated movie on primary school. [Thesis] Prague 2012 - Charles University, Faculty of Education, Department of Fine Arts, 124 s (Attachments: DVD with animated movies by pupils of elementary school, photo documentation) This thesis deals with creating animated films with pupils of primary school and it has the character of a survey. The survey is carried out a questionnaire. Art lessons are subsequently prepared on the basic of thesurvey results. The preparations are implemented, reflected and documented. The result and the benefits of the thesis are a) didactic material facilitating the creation of animated films in teaching b) children's animated films, which confirm connections between artistic creation and film/audiovisual education. KEY WORDS: Animated film, the first primary school, stop-motion animation, animation technology, art and culture, film / audiovisual education, ideas, preparing to lessons of arts, didactics, creation