Dissertations / Theses on the topic 'Thesis by animation'
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Elyjiw, George. "Master's thesis, Fences /." Online version of thesis, 1995. http://hdl.handle.net/1850/12233.
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Shin, Hyungho. "'Hey, Brother' thesis report / by Hyungho Shin." Online version of thesis, 2009. http://hdl.handle.net/1850/11206.
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Carolus, Adam. "The influence of animation on physical science learning in a grade 10 rural classroom." Diss., Pretoria : [s.n.], 2009. http://upetd.up.ac.za/thesis/available/etd-09112009-170835.
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Villegas, Erce Alvaro Socarrás Gilda. "The effects of animation and cueing in the acquisition of Spanish vocabulary." Auburn, Ala, 2008. http://repo.lib.auburn.edu/EtdRoot/2008/SUMMER/Foreign_Languages_and_Literatures/Thesis/Villegas_Alvaro_9.pdf.
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Gramling, Glen. "MY MIND IS A HOLE IN THE UNIVERSE." Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4062.
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Today, science and creative fiction are closer than ever. The current unified theory of physics is bringing parallel worlds and infinite realities into the light of truth, proving that we have the creative power to build worlds with grandiose landscapes, uncanny characters, and miraculous events that exists throughout the vast plane of reality. My life experiences become a skewed alternate reality absorbing all of my thoughts, fears, and fascinations without control. As I glimpse into my own mind, I record the imagery of my imagined worlds and chronicle its events. I am not conceptualizing; I'm not asking what if. I am giving you a looking glass allowing you to see for yourself.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Strehler, Anne. "The relationship between cognitive load, cognitive style and multimedia learning." Thesis, Pretoria : [s.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-10282008-120644/.
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Walker, Caitlin J. "The Art of the Silent Story." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/353.
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I created a one minute 2D, hand-drawn, frame-by-frame animation with an original music score utilizing Toon Boom to demonstrate my ability to convey an interesting story without the use of any dialogue.I relied instead on pantomime, expressions, and context clues to communicate the story to the viewer.
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Excoffier, Thierry. "Construction géométrique de solides et accélération des algorithmes de lancer de rayons." Lyon 1, 1988. http://www.theses.fr/1988LYO10164.
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Les méthodes d'accélération liées à la technique du lancer de rayons sont étudiées. Présentation d'outils de manipulation d'arbres CSG et d'une expansion des objets pris en compte. Différents modèles géométriques ainsi que les méthodes de visualisation associées sont proposées
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Kalra, Prem Kumar. "An interactive multimodal facial animation system /." [S.l.] : [s.n.], 1993. http://library.epfl.ch/theses/?nr=1183.
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Trout, Terry Thoke. "Design of computer animation languages /." Title page, contents and abstract only, 1990. http://web4.library.adelaide.edu.au/theses/09SM/09smt861.pdf.
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Bissell, Daniel Whinnery. "Winter tears: a study in computer animation." Fogler Library, University of Maine, 2002. http://www.library.umaine.edu/theses/pdf/BissellDW2002.pdf.
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Gascuel, Marie-Paule. "Modèles déformables pour l'animation modélisation, animation et contrôle /." S.l. : Université Grenoble 1, 2008. http://tel.archives-ouvertes.fr/tel-00346054.
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Turner, Russell. "Interactive construction and animation of layered elastic characters /." [S.l.] : [s.n.], 1993. http://library.epfl.ch/theses/?nr=1152.
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Courty, Nicolas Arnaldi Bruno. "Animation référencée vision de la tâche au comportement /." (S.l.) : (s.n.), 2002. ftp://ftp.irisa.fr/techreports/theses/2002/courty.pdf.
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Barker, Dean. "Computer facial animation for sign language visualization." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50300.
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Thesis (MSc)--University of Stellenbosch, 2005.ENGLISH ABSTRACT: Sign Language is a fully-fledged natural language possessing its own syntax and grammar; a fact which implies that the problem of machine translation from a spoken source language to Sign Language is at least as difficult as machine translation between two spoken languages. Sign Language, however, is communicated in a modality fundamentally different from all spoken languages. Machine translation to Sign Language is therefore burdened not only by a mapping from one syntax and grammar to another, but also, by a non-trivial transformation from one communicational modality to another. With regards to the computer visualization of Sign Language; what is required is a three dimensional, temporally accurate, visualization of signs including both the manual and nonmanual components which can be viewed from arbitrary perspectives making accurate understanding and imitation more feasible. Moreover, given that facial expressions and movements represent a fundamental basis for the majority of non-manual signs, any system concerned with the accurate visualization of Sign Language must rely heavily on a facial animation component capable of representing a well-defined set of emotional expressions as well as a set of arbitrary facial movements. This thesis investigates the development of such a computer facial animation system. We address the problem of delivering coordinated, temporally constrained, facial animation sequences in an online environment using VRML. Furthermore, we investigate the animation, using a muscle model process, of arbitrary three-dimensional facial models consisting of multiple aligned NURBS surfaces of varying refinement. Our results showed that this approach is capable of representing and manipulating high fidelity three-dimensional facial models in such a manner that localized distortions of the models result in the recognizable and realistic display of human facial expressions and that these facial expressions can be displayed in a coordinated, synchronous manner.
AFRIKAANSE OPSOMMING: Gebaretaal is 'n volwaardige natuurlike taal wat oor sy eie sintaks en grammatika beskik. Hierdie feit impliseer dat die probleem rakende masjienvertaling vanuit 'n gesproke taal na Gebaretaal net so moeilik is as masjienvertaling tussen twee gesproke tale. Gebaretaal word egter in 'n modaliteit gekommunikeer wat in wese van alle gesproke tale verskil. Masjienvertaling in Gebaretaal word daarom nie net belas deur 'n afbeelding van een sintaks en grammatika op 'n ander nie, maar ook deur beduidende omvorming van een kommunikasiemodaliteit na 'n ander. Wat die gerekenariseerde visualisering van Gebaretaal betref, vereis dit 'n driedimensionele, tyds-akkurate visualisering van gebare, insluitend komponente wat met en sonder die gebruik van die hande uitgevoer word, en wat vanuit arbitrêre perspektiewe beskou kan word ten einde die uitvoerbaarheid van akkurate begrip en nabootsing te verhoog. Aangesien gesigsuitdrukkings en -bewegings die fundamentele grondslag van die meeste gebare wat nie met die hand gemaak word nie, verteenwoordig, moet enige stelsel wat te make het met die akkurate visualisering van Gebaretaal boonop sterk steun op 'n gesigsanimasiekomponent wat daartoe in staat is om 'n goed gedefinieerde stel emosionele uitdrukkings sowel as 'n stel arbitrre gesigbewegings voor te stel. Hierdie tesis ondersoek die ontwikkeling van so 'n gerekenariseerde gesigsanimasiestelsel. Die probleem rakende die lewering van gekordineerde, tydsbegrensde gesigsanimasiesekwensies in 'n intydse omgewing, wat gebruik maak van VRML, word aangeroer. Voorts word ondersoek ingestel na die animasie (hier word van 'n spiermodelproses gebruik gemaak) van arbitrre driedimensionele gesigsmodelle bestaande uit veelvoudige, opgestelde NURBS-oppervlakke waarvan die verfyning wissel. Die resultate toon dat hierdie benadering daartoe in staat is om hoë kwaliteit driedimensionele gesigsmodelle só voor te stel en te manipuleer dat gelokaliseerde vervormings van die modelle die herkenbare en realistiese tentoonstelling van menslike gesigsuitdrukkings tot gevolg het en dat hierdie gesigsuitdrukkings op 'n gekordineerde, sinchroniese wyse uitgebeeld kan word.
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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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Fourie, Jaco. "The design of a generic signing avatar animation system." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/17353.
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Thesis (MScIng)--University of Stellenbosch, 2006.ENGLISH ABSTRACT: We designed a generic avatar animator for use in sign language related projects. The animator is capable of animating any given avatar that is compliant with the H-Anim standard for humanoid animation. The system was designed with the South African Sign Language Machine Translation (SASL-MT) project in mind, but can easily be adapted to other sign language projects due to its generic design. An avatar that is capable of accurately performing sign language gestures is a special kind of avatar and is referred to as a signing avatar. In this thesis we investigate the special characteristics of signing avatars and address the issue of finding a generic design for the animation of such an avatar.
AFRIKAANSE OPSOMMING: Ons het ’n generiese karakteranimasiestelsel ontwikkel vir gebruik in gebaretaal verwante projekte. Die animasiestelsel het die vermo¨e om enige karaktermodel wat met die H-Anim standaard versoenbaar is, te animeer. Die animasiestelsel is ontwerp met die oog op gebruik in die South African Sign Language Machine Translation (SASL-MT) projek, maar kan maklik aangepas word vir ander gebaretaalprojekte te danke aan die generiese ontwerp. ’n Karaktermodel wat in staat is om gebare akkuraat te maak is ’n spesiale tipe karaktermodel wat bekend staan as ’n gebaretaal avatar (Engels : signing avatar). In hierdie tesis ondersoek ons die spesiale eienskappe van ’n gebaretaal avatar en beskou die soektog na ’n generiese ontwerp vir die animering van so ’n karaktermodel.
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Arjunan, Dorai Raj. "3D Animation: Creating an Experiential Environment." [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-0719104-174201/unrestricted/Arj%20with%20animation%2017KB.pdf.
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Thesis (M.F.A.)--East Tennessee State University, 2004.Title from electronic submission form. ETSU ETD database URN: etd-0719104-174201 Includes bibliographical references. Also available via Internet at the UMI web site.
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Kulpa, Richard James Guy Arnaldi Bruno. "Adaptation interactive et performante des mouvements d'humanoïdes synthétiques :aspects cinématique, cinétique et dynamique." (S.l.) : (s.n.), 2005. ftp://ftp.irisa.fr/techreports/theses/2005/kulpa.pdf.
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Shea, Brian. "Altered in translation how cultural themes are handled when Japanese animation comes to America /." CONNECT TO ELECTRONIC THESIS, 2008. http://hdl.handle.net/1961/6983.
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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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Valente, Stéphane. "Analyse, synthèse et animation de clones dans un contexte de téléréunion virtuelle /." [S.l.] : [s.n.], 1999. http://library.epfl.ch/theses/?nr=2092.
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Crowell, Matt. "THE BEST PLACE FOR CARTOONS: CARTOON NETWORK AND THE SILVER AGE OF AMERICAN ANIMATION." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1601.
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Cartoon Network is identified by animation scholars as a crucial point in the resurgence of animation in the 1990s termed the “Second Golden Age”, or as I term it, the “Silver Age”. The reasoning for this semantic shift is that this new age, as typified by Cartoon Network, draws heavily off of the golden age that preceded it. This, in fact, comprises Cartoon Network's primary mode of address. By creating a timeline of early Cartoon Network, I show that they used animation history to create an audience that was activated both nostalgically, through animation they saw as a child, and critically, by having that animation curated for them in carefully planned ways. This engaged the audience, not just as a passive viewing group, but as a critically active one. This audience was then used by the network to screen their original programming through The What-A-Cartoon! Show, a collection of shorts that the network was considering for turning into full 30-minute shows. This exchange between creator and audience mirrors modern digital content creation and distribution. Seibert is still engaged in creation in this new environment, and his model has changed to also include the audience in the funding of animation through crowdfunding sites, bypassing the network entirely. By tracking early Cartoon Network through this modern crowd-supported animation model, we can see that Cartoon Network, and animation and business practices to arise from it, are responsible for a large portion of what makes the Silver Age of American Animation so vibrant and interesting.
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Slaven, Amber N. "The Japanimated Folktale: Analysis Concerning the Use and Adaptation of Folktale Characteristics in Anime." TopSCHOLAR®, 2012. http://digitalcommons.wku.edu/theses/1198.
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In this thesis, I examine the relationship between folk tales and Japanese animation, or anime. In spite of the popular association between animation and adolescence, animated television series and films have a dynamic and compelling relationship with various age groups and nationalities. Additionally, anime and animation draw liberally from a number of folk tale traditions. Consequently, in this essay, anime is understood as a global phenomenon that draws on international cultural elements and is consumed in several international markets.
Before entering an analysis of the use of folk tales in anime, a history of animation and the place of anime within a Japanese and global matrix is provided. This history not only looks at the development of anime, its connection to Western cinema and animation studios, but also its connection to other Japanese artistic genres, such as manga. Once this foundation is established, it is possible to connect anime with folk tale scholarship in chapter two. This chapter explores this connection in three ways, namely similar content, structure and function.
Chapter three builds on the analysis in the preceding chapter and examines the ways anime, as a visual, televised, episodic series, builds on and alters the folk tale tradition. This is primarily explored through the use of visual storytelling techniques and the proliferation of advanced technology. Additionally, this chapter addresses a major point made against the use of folk tales in mass media, specifically the loss of variation. The final chapter concludes and summarizes the ideas, and analysis throughout the thesis. It is in this final chapter that suggestions for further research can be found.
This thesis looks not only at the use of folk tales and folk tale characteristics in new media, such as anime, but how these new media contribute to and help to pass on folk tale traditions. Ultimately, this paper suggests anime is an example of a contemporary form of tale telling, which draws on traditional elements as well as catering to a contemporary audience.
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Martinez, Estefania. "The Old, The New and The Animated Discourse." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/theses/628.
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Emerald is a short animated film that merges three techniques within its narrative: 3D computer animation, 2D hand-drawn animation and live-action HD video. Additionally, the beginning and end credits include two more: 2-D computer animation in Flash and 16mm film cut-out animation shot on an Oxberry stand. Each of the three main techniques is personified by a character in the narrative and represents a particular space with different connotations about new and old media.
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Johnson, Joseph A. "A Survey of Computer Graphics Facial Animation Methods: Comparing Traditional Approaches to Machine Learning Methods." DigitalCommons@CalPoly, 2021. https://digitalcommons.calpoly.edu/theses/2315.
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Human communications rely on facial expression to denote mood, sentiment, and intent. Realistic facial animation of computer graphic models of human faces can be difficult to achieve as a result of the many details that must be approximated in generating believable facial expressions. Many theoretical approaches have been researched and implemented to create more and more accurate animations that can effectively portray human emotions. Even though many of these approaches are able to generate realistic looking expressions, they typically require a lot of artistic intervention to achieve a believable result. To reduce the intervention needed to create realistic facial animation, new approaches that utilize machine learning are being researched to reduce the amount of effort needed to generate believable facial animations. This survey paper summarizes over 20 research papers related to facial animation and compares the traditional animation approaches to newer machine learning methods as well as highlights the strengths, weaknesses, and use cases of each different approach.
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Schoolcraft, Ashley Nicole. "DREAMING REALITY." OpenSIUC, 2019. https://opensiuc.lib.siu.edu/theses/2628.
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My work has always been about subjects I am very passionate about and I use them in a way to relate to others by creating a message. For my thesis, I delve deeper into my own life experience to create a piece more personal to me yet relatable to all. I am using creative storytelling and symbolism to create a narrative using not only the lens of a camera but also 3-D animation. “Dreaming Reality” is a statement of female empowerment and independence. Through this story, I hope to bring to light that young women can overcome their insecurities and become independent, driven, successful, and confident. Through the use of the dream process to overview life experiences, all audience members, not only women, can enjoy and connect with the story, as well as feel empowered to create their own life story through their creative lens.
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Roberts, Willie K. "Dolo: Journey of the Lost Tapes." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/theses/629.
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A group of war orphans entered my life in 2007 when I was in Liberia working as the sound recordist for a documentary crew. I spent five months with them at their home, a rural Liberian orphanage named Rainbow Town. The boys at the orphanage often told me stories. During free time, we sat under the canopy outside their dorm and talked. The stories, which ranged from horrific accounts of war to playful tales of spiders and goats, fascinated me. With each story the boys narrated, a new illustration formed in my imagination. By the time I left Liberia, I had a pocketbook full of magical characters and events (See Appendix A). The boys' stories, which blend nonfiction with fantasy and folklore, are the inspiration for my 3D animation short, Dolo: Journey of the Lost Tapes. In this paper, I tell the stories behind the creation of the animation, share personal production experiences, and discuss the theoretical and historical influences that shaped my work. I conclude by discussing Dolo's significance and the work that I plan to do on the piece in the future.
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Edgren, Justin. "ANIMATING DYSTOPIA: AN ANALYSIS OF MY ANIMATED FILM, P19." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/theses/1099.
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In this paper, I discuss the modern socio-technological state of global social control and its representation in my stop motion animated film P19. I will compare the ways in which social control has changed and remained the same from September 11, 2001 to the present. I will discuss the surveillance and control grids permeating all communication networks and how humans are interacting with them. I will conclude with an analysis of some of my techniques and processes in stop motion animation.
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Norris, Van. "'Drawing comic traditions' : British television animation from 1997 to 2010." Thesis, University of Portsmouth, 2012. https://researchportal.port.ac.uk/portal/en/theses/drawing-comic-traditions(f3e59083-7442-4c7a-8ae6-f323fcc08fb1).html.
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This thesis examines the shifts within mainstream British television animation between 1997 and 2010 and it discusses how British animation’s close relationship with live-action television comedy reveals a map of contemporary attitudes and tastes. The British animated texts in this period reacted to their shifting industrial and broadcasting landscape. The historical moment of the late 1990s was determined by the successes of the American animated sitcom The Simpsons, which profoundly affected the way British practitioners conceived of the medium’s capabilities within a mainstream television environment.
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Jayaraman, Arun. "Use of simulation-animation techniques in the design of an automated guided vehicle system." Master's thesis, This resource online, 1993. http://scholar.lib.vt.edu/theses/available/etd-04272010-020111/.
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Elliott, Jason Lynn. "AquaMOOSE 3D a constructionist approach to math learning movitved by artistic expression /." Available online, Georgia Institute of Technology, 2005, 2005. http://etd.gatech.edu/theses/available/etd-08232005-133845/.
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Thesis (Ph. D.)--Computing, Georgia Institute of Technology, 2006.Elizabeth Mynatt, Committee Member ; Janet Kolodner, Committee Member ; Amy Bruckman, Committee Chair ; Michael Eisenberg, Committee Member ; Mark Guzdial, Committee Member. Vita. Includes bibliographical references.
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Childress, Marcus D. "Effects of three multimedia instructional presentation formats containing animation and narration on recall and problem-solving performance." Diss., This resource online, 1995. http://scholar.lib.vt.edu/theses/available/etd-06062008-162235/.
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Blizard, Katherine S. "Shark Sim: A Procedural Method of Animating Leopard Sharks Based on Raw Location Data." DigitalCommons@CalPoly, 2013. https://digitalcommons.calpoly.edu/theses/938.
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Fish such as the Leopard Shark (Triakis semifasciata) can be tagged on their fin, released back into the wild, and their location tracked though technologies such as autonomous robots. Timestamped location data about their target is stored. We present a way to procedurally generate an animated simulation of T. semifasciata using only these timestamped location points.
This simulation utilizes several components. Input timestamps dictate a monotonic time-space curve mapping the simulation clock to the space curve. The space curve connects all the location points as a spline without any sharp folds that are too implausible for shark traversal. We create a model leopard shark that has convincing kinematics that respond to the space curve. This is achieved through acquiring a skinned model and applying T. semifasciata motion kinematics that respond to velocity and turn commands. These kinematics affect the spine and all fins that control locomotion and direction. Kinematic- based procedural keyframes added onto a queue interpolate while the shark model traverses the path.
This simulation tool generates animation sequences that can be viewed in real-time. A user study of 27 individuals was deployed to measure the perceived realism of the sequences as judged by the user by contrasting 5 different film sequences. Results of the study show that on average, viewers perceive our simulation as more realistic than not.
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Léon, Pierre-François. "Animation et contrôle de structures topologiques : application à la simulation d'évolution en couches géologiques 2D." Poitiers, 2009. http://theses.edel.univ-poitiers.fr/theses/2009/Leon-Pierre-Francois/2009-Leon-Pierre-Francois-These.pdf.
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Cette thèse présente une nouvelle méthode d'animation basée sur la topologie. Elle consiste à animer une partition de l'espace et en assurer sa cohérence. Le système d'animation s’appuie sur un mécanisme événementiel qui détecte les incohérences topologiques. L'animation est générée à partir du traitement séquentiel de tous les événements. Lors du mouvement des entités, l'instant des collisions est calculé et des événements sont générés. Pour prendre en charge ces collisions, ces événements sont traités par rapport à leurs contextes locaux (géométrique, sémantique). Un traitement engendre des changements géométriques et topologiques et assure la cohérence entre le modèle géométrique et le modèle topologique. Cette thèse présente également une application en géologie permettant de générer l'animation de l'évolution du sous-sol à partir de phénomènes naturels décrits dans un scénario. Dans ce cadre, un scénario est composé d'une suite de phénomènes géologiques (sédimentation, érosion, création de failles et glissement) analysée par le système d’animation 2D. Un phénomène est traduit en un ensemble d’événements initiaux. Une fois l'animation générée, le géologue peut l'analyser et la valider grâce aux informations sémantiques et historiques fournies par le modèleThis thesis presents a new animation method based on topology. It consists in animating a space partition while ensuring its consistency. The scenes are described from a high-level language depending on the application. The animation system relies on an event approach which detects topological events. The animation is generated from the sequential processing of all events. During the motion of entities, the date of collisions is computed and events are generated. For processing those collisions, events are handled with respect to their local contexts (both geometrical and semantical). This thesis also presents an application in geology which allows the user to generate a subsoil evolution from some natural phenomena described by a scenario. A scenario is made of a sequence of geological phenomena (sedimentation, erosion, fault creation and sliding) analyzed by the animation system. A phenomenon is therefore translated into a set of initial events. After the animation has been generated, the geologist can analyze and validate it with the semantical and historical information given by the model
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Ramesh, Krishnaswamy. "Advanced analysis of rotor-bearing systems for stability and response." Diss., This resource online, 1996. http://scholar.lib.vt.edu/theses/available/etd-06062008-151708/.
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Qiao, Si. "The relationship between three dimensional human cephalic animation, audiences perception and emotional response." Thesis, University of Portsmouth, 2016. https://researchportal.port.ac.uk/portal/en/theses/the-relationship-between-three-dimensional-human-cephalic-animation-audiences-perception-and-emotional-response(bf3afa91-2d05-4db0-a64b-9b48c1e2a104).html.
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The creation of realistic and believable Three-Dimensional (3D) human characters continues to be an important goal for many modern 3D animators. However, the relationship between quality of 3D human animation and the way in which the audience responds is not yet understood. Since the audience's subjective judgement has implications for their perception and emotional response, it is important to find ways to address whether these are reported similarly by audiences. Moreover, the Uncanny Valley model, which describes a drop in believability as human-like characters become more realistic, assumes that the audience's perception would be affected by their emotional response. Therefore many 3D animators try to improve realism and believability so their 3D human animations cross over the Uncanny Valley. This thesis explore a number of components of 3D human characters and proposes a new model. for better understanding the interplay between 3D human animation and the audience. A review of the literature established that the audience's subjective feeling and emotional response are different aspects of audience perception, although both relate to their prior experience. This new model establishes that 3D human character's Appearance and Movement properties could influence the audience's perception of visual realism, but they also interact with the Contextual properties, which may not match the audience's expectations. These Contextual properties, including emotional expressions, are becoming increasingly important, especially when the 3D human characters are performing in a realistic context. Therefore this thesis investigated a number of factors influencing cephalic animation and perception of cephalic animation in 3D human characters. Empirical studies demonstrated that a dynamic displayed 3D human cephalic animation with speech can significantly affect the audience's subjective judgement, in terms of Eeriness, Believability and Actual Visual Realism. Further investigation demonstrated that there is a range of subcomponents of movements, which affect the audience's subjective judgement.Neck auxiliary, gaze behaviour and eye region all contributed to the audience perception and emotional response in different ways. This thesis adds to this understanding and will facilitate 3D animators to create 3D human characters which can better influence the audience's subjective judgement. Moreover, this thesis suggests that there is more to understanding animated display than simply the display itself or the sum of its component parts.
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Ahmad, Alexandre. "Animation de structures déformables et modélisation des interactions avec un fluide basées sur des modèles physiques." Limoges, 2007. https://aurore.unilim.fr/theses/nxfile/default/4f73d6f8-b8f0-4794-924b-8f827db44689/blobholder:0/2007LIMO4046.pdf.
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Je présente dans cette thèse des travaux concernant la simulation d'interactions entre un fluide et des membranes déformables. Ce sujet ne manque pas d'applications puisque l'interaction d'un fluide avec des feuilles, des tissus ou même des nageoires de poisson est un scénario courant. Pourtant, peu de travaux en synthèse d'images se sont intéressés à reproduire ce phénomène. Pour ce faire, je propose un algorithme de réaction de contacts entre un fluide Lagrangien et une membrane déformable qui est indépendant du pas d'intégration temporelle. Afin de pallier les artefacts visuels dus à des triangles, issus du processus d'extraction de surface du fluide, qui passent au travers de la membrane lors d'interactions, je présente une technique qui projette la portion de volume erronée le long de la membrane. De plus, une paramétrisation intuitive de coefficients hétérogènes de friction sur une surface est exposée. Je présente également deux modèles d'optimisation. Le premier modèle propose de filtrer les vitesses de particules calculées par une méthode explicite afin de réduire la forte contrainte sur le pas d'intégration temporelle. Des analyses fréquentielles permettent de quantifier cette réduction. Le deuxième modèle est une structure de subdivision spatiale dynamique qui détermine efficacement le voisinage d'un point et d'un triangle. Cette structure a pour but de réduire les temps de calculs des processus de détermination du voisinage pour les fluides Lagrangiens, mais aussi ceux de la détection de collisions et enfin ceux de l'extraction de surfaceThe presented works' main focus is the interaction of liquids and thin shells, such as sheets of paper, fish fins and even clothes. Even though such interactions is an every day scenario, few research work in the computer graphics community have investigated this phenomenon. Thereby, I propose an algorithm which resolves contacts between Lagrangian fluids and deformable thin shells. Visual artefacts may appear during the surface extraction procedure due to the proximity of the fluids and the shells. Thus, to avoid such artefacts, I propose a visibility algorithm which projects the undesired overlapping volume of liquid onto the thin shells' surface. In addition, an intuitive parametrisation model for the definition of heterogeneous friction coefficients on a surface is presented. I also propose two optimisation methods. The first one reduces the well-known dependency of numerical stability and the timestep when using explicit schemes by filtering particles' velocities. This reduction is quantified with the use of frequency analysis. The second optimisation method is a unified dynamic spatial acceleration model, composed of a hierarchical hash table data structure, that speeds up the particle neighbourhood query and the collision broad phase. The proposed unified model is besides used to efficiently prune unnecessary computations during the surface extraction procedure
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Jacobs, Daneille. "Entering the grotto of the biomechanical puppeteer : exploring the grotesque in stop motion puppetry." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/96010.
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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.
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Tolmie, Julie, and julie tolmie@techbc ca. "Visualisation, navigation and mathematical perception: a visual notation for rational numbers mod1." The Australian National University. School of Mathematical Sciences, 2000. http://thesis.anu.edu.au./public/adt-ANU20020313.101505.
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There are three main results in this dissertation.
The first result is the construction of an abstract visual space for rational
numbers mod1, based on the visual primitives, colour, and rational radial
direction. Mathematics is performed in this visual notation by defining
increasingly refined visual objects from these primitives. In particular,
the existence of the Farey tree enumeration of rational numbers mod1
is identified in the texture of a two-dimensional animation.
¶
The second result is a new enumeration of the rational numbers mod1,
obtained, and expressed, in abstract visual space, as the visual object
coset waves of coset fans on the torus. Its geometry is shown to encode
a countably infinite tree structure, whose branches are cosets, nZ+m,
where n, m (and k) are integers. These cosets are in geometrical 1-1
correspondence with sequences kn+m, (of denominators) of rational
numbers, and with visual subobjects of the torus called coset fans.
¶
The third result is an enumeration in time of the visual hierarchy of the
discrete buds of the Mandelbrot boundary by coset waves of coset fans.
It is constructed by embedding the circular Farey tree geometrically into
the empty internal region of the Mandelbrot set. In particular, coset fans
attached to points of the (internal) binary tree index countably infinite
sequences of buds on the (external) Mandelbrot boundary.
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Young, Tamlyn. "Animated storytelling as collaborative practice : an exploratory study in the studio, the classroom and the community." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95797.
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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.
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Delport, Magdil. "Morphing in two dimensions : image morphing." Thesis, Link to the online version, 2007. http://hdl.handle.net/10019/602.
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Monks, Jacqueline. "The transience of the interior self: Exploring the lost Real within a creative visual praxis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/575.
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This research investigates psychological ideas of the interior self as transient and its relationship to the Real within a creative practice that includes video, projection and animation. The significance of the research is in the critical development of my creative practice and its creative outcome as a means of visually manifesting ideas of the interior self as explored by the theorist Slavoj Zizek. Theoretically, the notion of the interior self is defined as a transient state of co-existing contradictions. Its definition is located in Zizek’s reading of Jacques Lacan’ s triad of orders that comprise the thinking self (Zizek, 2007a, p. 8). In Zizek, the interior self is positioned at the interstice between the Real and the Symbolic orders (Myers, 2003), hovering between life and death, absence and presence, here and not here, interior and exterior, real and not real.
In positioning the self in this manner, the inter-relationship of the Symbolic order and the order of the Real (Zizek, 1989, p. 191-192) is discussed with reference to the uncanny, extimacy and the gaze, and thus situate my creative work. Using the film theory of Kate Mondloch (2007; 2010) and with reference to Todd McGowan (2007) and Patrick Fuery (2000), I investigate the immersive or experiential possibilities of creative work in generating an inter-relationship between the work and the viewer, and thereby reveal the notion of the interior self as transient. It is within the reflexive praxis model (Crouch, 2007; 2012) that the critical examination unfolds. The investigation of works by artists who influence my practice, such as Anna Gaskell, Bill Viola, Mike Parr and Robbie Cooper are essential in further developing this approach and provide examples for this analysis. My creative work is reflexively examined in relation to various exhibitions held throughout my candidature. Ultimately, this research examines the notion of the interior self and the lost Real that defines it as transient, through a reflexive creative praxis, both in the content of the work, the medium of video, animation and projection, and in its relationship to viewer.
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Thurnauer, Mark H. "Lightscape as a Design Tool for Thematic Daylighting Design." Miami University / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=miami988735302.
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D'Onofrio, Alexandra. "Reaching horizons : exploring past, present and future existential possibilities of migration and movement through creative practice." Thesis, University of Manchester, 2017. https://www.research.manchester.ac.uk/portal/en/theses/reaching-horizons-exploring-past-present-and-future-existential-possibilities-of-migration-and-movement-through-creative-practice(3c74de7b-f1f9-4fb8-a01d-929c8986e54a).html.
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Migration has become a topical theme both in academia and in public discourses across the media which have contributed to create a highly political and visual 'migrant subject'. However, the highly mediatized figure of the migrant has left crucial aspects of migration underrepresented and unrecognised. What is normally concealed and left to the margins of public debate is the individual experience of the protagonists, their imaginative lifeworlds and the complexity of their stories. This practice-based research has centred its inquiry on the relationship between the lived experiences and the imagination of past, present and future existential possibilities, by engaging three Egyptian migrants through the creative processes of theatre improvisations, storytelling practices, participatory photography, collaborative filmmaking and animation. It recognizes the fundamental role that imagination and future existential possibilities play in peopleâs perceptions of reality, in their decisions and actions, and finally in the way they narrate their experiences. In order to better understand how individuals make their choices, interact with each other, understand themselves and the world around them, I have argued that we need to take into account their biographies and imaginative inner lives as the ways people retell their stories allow space for contradiction, feelings of ambivalence and uncertainty, unlaced and unfinished thoughts and existential dilemmas. Imaginative realms of existence are ever-changing and ungraspable, posing a challenge to conventional methodologies in the social sciences which rely heavily on observation, interviews and text. The thesis is divided into two parts. By using the ethnographic material that emerged during fieldwork and from the creative processes, in the first part I look at the role imagination and the future play in Aliâs, Mohamedâs and Mahmoudâs relationships to their origins, and to their decisions and experiences of illegally crossing the Mediterranean Sea in order to reach Milan (Italy). The second part describes and reflects upon the performative and audio-visual collaborative practices that involved my participants in producing their own narrations and theoretical reflections on their experiences, aspirations and memories. It is thanks to the âsubjunctive possibilitiesâ enabled by performative improvisations, creative storytelling and the animation that my participants and I could explore their mnemonic and imaginative processes. Finally, the thesis concludes by arguing for social research to engage participants in more collaborative and creative practices in the study of migration, as a necessary way of involving the protagonists in producing the questions and counter-narratives that reclaim their acts of struggle and their creative imaginative abilities to contrast objectifying political discourses and exclusionary legal and bureaucratic procedures.
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Rousseau, Pierre. "Simulation réaliste de pluie en temps-réel." Limoges, 2007. https://aurore.unilim.fr/theses/nxfile/default/3f454603-f27d-4f2f-bf00-b6f2b7e7d51e/blobholder:0/2007LIMO4019.pdf.
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La simulation de phénomènes naturels occupe une place importante en synthèse d'images. Elle permet d'améliorer le réalisme des scènes représentées, en rappelant à l'observateur des éléments de son environnement quotidien. Parmi ces phénomènes, la pluie est l'un des plus courant dans la nature ; peu d'études y avaient pourtant été consacrées avant une époque récente. Dans cette thèse, nous étudions à la fois le rendu des gouttes d'eau, et leur animation. Nous proposons des modèles adaptés aux problématiques des jeux vidéos et des simulateurs de conduite, permettant une simulation visuellement réaliste de la pluie en temps-réel. Nous présentons dans un premier temps les travaux existants en synthèse d'images, portant sur le rendu des gouttes d'eau et sur l'animation de particules sur carte graphique. Dans le second chapitre, nous présentons les propriétés physiques des gouttes d'eau, sur lesquelles nous avons basé nos travaux. Le troisième chapitre introduit le modèle de rendu des gouttes que nous avons proposé, permettant une simulation réaliste du phénomène de réfraction observable au travers des gouttes d'eau. Des extensions à ce modèle, permettant de simuler l'impression visuelle liée au phénomène de persistance rétinienne, et le changement d'apparence des gouttes de pluie en présence de sources de lumière, sont également présentées. Le quatrième chapitre introduit le modèle de simulation de la dynamique des gouttes que nous avons développé. Les particules, animées par une approche GPGPU, rebondissent en cas de collision avec un objet présent dans la scène observée. Grâce à une interface spécifique, l'utilisateur a la possibilité de modéliser intuitivement un vent pouvant modifier les trajectoires suivies par les particules. Les résultats que nous avons obtenus sont présentés dans le cinquième chapitreNatural phenomena simulation is an important topic in computer graphics. It helps improving realism of displayed scenes, reminding the observer of elements from his daily environment. Amongst these phenomena, rain is one of the most frequent ; few studies had nevertheless been led upon it until recently. In this thesis, we study water-drops rendering, as well as their animation. We propose models enabling visually realistic real-time simulation of rainfalls, which are adapted to the needs of video-games and driving simulators. We first describe the previous works in computer graphics dealing with water-drop rendering, and GPU-based particle animation. In the second chapter, we present the physical properties of raindrops, upon which we built our models. The third chapter introduces the raindrop rendering model we proposed for realistic simulation of the refraction phenomenon which can be observed in raindrops. Extensions to this model are then presented, to simulate the visual phenomenon of retinal persistance, and the change in raindrops' appearance due to illumination from light sources. The fourth chapter introduces the dynamics simulation model we developped. Particles are animated through a GPGPU approach, and bounce when they collide with objects in the scene. Using a dedicated interface, the user can intuitively design wind which alters particles' motion. The results we obtained are presented in the fifth chapter
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Shah, Sabina. "The portrayal of the historical Muslim female on screen." Thesis, University of Manchester, 2017. https://www.research.manchester.ac.uk/portal/en/theses/the-portrayal-of-the-historical-muslim-female-on-screen(d6251b5e-5cff-44fb-abf0-48cb964b70ad).html.
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Representations of the Muslim female are value-laden synonymous with the act of veiling. Veiling has fuelled political, social and academic debates and this study contributes to the ongoing conversation alongside identity formation by examining the image of the Muslim female on-screen with due attention given to animation. The image of the Muslim female is drawn in all manner of directions from that of the belly-dancing beauty to the 'bundle in black', the latter often associated with terrorism, particularly post-9/11 and the consequent 'War on Terror'. There is another direction that proffers an idealised image of the good daughter and dutiful wife against that of the fallen woman. Such constructs I argue tend to rid the Muslim female of her agency. This thesis examines how and why various representations of the Muslim female have emerged and changed, whilst some aspects have remained stagnant over time, thus positioning on-screen representations within their historical context. This project goes beyond traditional academic methods of critical analysis in reading film. The hybridised role of the researcher-animator enables the study to offer a critique from that of the spectator, but with the added vantage point of the practitioner with a set focus on the making of meaning. The interdisciplinary approach incorporates film theory, specifically concerned with representations of race and gender. The work of Muslim women scholar-activists informs and inspires the practice in reclaiming the status of the Muslim woman. Their approach lies within three trajectories being gender-sensitive interpretations of the Qur'an, a recovery of Muslim women's history and a critique on representation. Their approaches fall in line with the aim of this project to reclaim the historical Muslim figure on screen, whereas animation provides an attractive yet versatile mode of production to carry out such a task. Key questions guiding this study are: why are current and existing portrayals of the historical Muslim female problematic? Why do these portrayals need to be addressed? Why does an alternative approach to the portrayal of the historical Muslim female need to be devised and put into practice? Finding the answers to these questions lie in the undertaking of the practice. The practice consists of the first two episodes of a five-part series titled 'Sultan Razia', and as the title suggests the animation is based upon a legendary historical Muslim female figure, who ruled the Sultanate of Delhi between 634-638 Hejira/1236-1240CE. This project is an example of how theory works in practice and vice-versa to determine an audio-visual practice that re-inserts the Muslim female into a history that breaks away from established cliches.
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Deena, Salil Prashant. "Visual speech synthesis by learning joint probabilistic models of audio and video." Thesis, University of Manchester, 2012. https://www.research.manchester.ac.uk/portal/en/theses/visual-speech-synthesis-by-learning-joint-probabilistic-models-of-audio-and-video(bdd1a78b-4957-469e-8be4-34e83e676c79).html.
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Visual speech synthesis deals with synthesising facial animation from an audio representation of speech. In the last decade or so, data-driven approaches have gained prominence with the development of Machine Learning techniques that can learn an audio-visual mapping. Many of these Machine Learning approaches learn a generative model of speech production using the framework of probabilistic graphical models, through which efficient inference algorithms can be developed for synthesis. In this work, the audio and visual parameters are assumed to be generated from an underlying latent space that captures the shared information between the two modalities. These latent points evolve through time according to a dynamical mapping and there are mappings from the latent points to the audio and visual spaces respectively. The mappings are modelled using Gaussian processes, which are non-parametric models that can represent a distribution over non-linear functions. The result is a non-linear state-space model. It turns out that the state-space model is not a very accurate generative model of speech production because it assumes a single dynamical model, whereas it is well known that speech involves multiple dynamics (for e.g. different syllables) that are generally non-linear. In order to cater for this, the state-space model can be augmented with switching states to represent the multiple dynamics, thus giving a switching state-space model. A key problem is how to infer the switching states so as to model the multiple non-linear dynamics of speech, which we address by learning a variable-order Markov model on a discrete representation of audio speech. Various synthesis methods for predicting visual from audio speech are proposed for both the state-space and switching state-space models. Quantitative evaluation, involving the use of error and correlation metrics between ground truth and synthetic features, is used to evaluate our proposed method in comparison to other probabilistic models previously applied to the problem. Furthermore, qualitative evaluation with human participants has been conducted to evaluate the realism, perceptual characteristics and intelligibility of the synthesised animations. The results are encouraging and demonstrate that by having a joint probabilistic model of audio and visual speech that caters for the non-linearities in audio-visual mapping, realistic visual speech can be synthesised from audio speech.
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Alsabaan, Majed Soliman K. "Pronunciation support for Arabic learners." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/pronunciation-support-for-arabic-learners(3db28816-90ed-4e8b-b64c-4bbd35f98be7).html.
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The aim of the thesis is to find out whether providing feedback to Arabic language learners will help them improve their pronunciation, particularly of words involving sounds that are not distinguished in their native languages. In addition, it aims to find out, if possible, what type of feedback will be most helpful. In order to achieve this aim, we developed a computational tool with a number of component sub tools. These tools involve the implementation of several substantial pieces of software. The first task was to ensure the system we were building could distinguish between the more challenging sounds when they were produced by a native speaker, since without that it will not be possible to classify learners’ attempts at these sounds. To this end, a number of experiments were carried out with the hidden Markov model toolkit (the HTK), a well known speech recognition toolkit, in order to ensure that it can distinguish between the confusable sounds, i.e. the ones that people have difficulty with. The developed computational tool analyses the differences between the user’s pronunciation and that of a native speaker by using grammar of minimal pairs, where each utterance is treated as coming from a family of similar words. This provides the ability to categorise learners’ errors - if someone is trying to say cat and the recogniser thinks they have said cad then it is likely that they are voicing the final consonant when it should be unvoiced. Extensive testing shows that the system can reliably distinguish such minimal pairs when they are produced by a native speaker, and that this approach does provide effective diagnostic information about errors. The tool provides feedback in three different sub-tools: as an animation of the vocal tract, as a synthesised version of the target utterance, and as a set of written instructions. The tool was evaluated by placing it in a classroom setting and asking 50 Arabic students to use the different versions of the tool. Each student had a thirty minute session with the tool, working their way through a set of pronunciation exercises at their own pace. The results of this group showed that their pronunciation does improve over the course of the session, though it was not possible to determine whether the improvement is sustained over an extended period. The evaluation was done from three points of view: quantitative analysis, qualitative analysis, and using a questionnaire. Firstly, the quantitative analysis gives raw numbers telling whether a learner had improved their pronunciation or not. Secondly, the qualitative analysis shows a behaviour pattern of what a learner did and how they used the tool. Thirdly, the questionnaire gives feedback from learners and their comments about the tool. We found that providing feedback does appear to help Arabic language learners, but we did not have enough data to see which form of feedback is most helpful. However, we provided an informative analysis of behaviour patterns to see how Arabic students used the tool and interacted with it, which could be useful for more data analysis.
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Le, Roux Stéphane. "Scénographie et cinématographie du dessin animé : de T̄oei à Ghibli (1968-1988), le parti du réalisme de Isao Takahata et Hayao Miyazaki." Rennes 2, 2007. http://www.bu.univ-rennes2.fr/system/files/theses/theseleroux.pdf.
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Lsao Takahata et Hayao Miyazaki se sont rendus célèbres pour leurs dessins animés, alliant une haute qualité formelle à une approche singulière du genre. À destination prioritairement enfantine, le dessin animé de long métrage, dont Walt Disney a posé les bases dès les années 30, se consacre au conte et au merveilleux, assume d'emblée une forme d'irréalité. La question du réalisme, incongrue au demeurant, est l'un des principaux enjeux esthétiques développés par les deux cinéastes japonais, plus proches de Paul Grimault que du modèle classique américain. La recherche d'une expression réaliste de l'espace et du temps, en animation, a nourri leur travail depuis leur rencontre à Tōei dans les années 60, jusqu'à la fondation de Ghibli dans les années 80. Définir et défendre la valeur du réalisme en dessin animé est l'ambition de cette thèse. Hals, prince du soleil de Takahata constitue l'avènement d'une forme de modernité en dessin animé. L'espace filmique paraît exister pour lui-même, indépendamment de faire l'objet d'un spectacle. Tout ne s'offre pas idéalement en direction du spectateur, pour son meilleur confort de vision, comme il en va du modèle classique. Derrière l'apparence d'un retour à l'évasion et à l'aventure, Miyazaki insère une part de matérialité, de temporalité quotidienne, contrastant avec des contextes imaginaires ou enchanteurs. Mon voisin Toloro, construit sur l'irruption d'un certain "naturel dans le merveilleux", est l'aboutissement d'une poésie de l'insolite - originalité fondamentale de son cinéma. Ces deux artistes démontrent que, paradoxalement, le dessin animé a besoin d'un rapport étroit au réel pour exprimer pleinement ses potentialitésIsao Takahata and Hayao Miyazaki achieved fame with their cartoon films by combining high formal quality with an uncommon approach to the genre. Intended mainly for children, the full length cartoon film, for which Walt Disney established the basis as far back as the 1930's, is dedicated to story tale and wonder and naturally takes on a form of unreality. The question of realism, although incongruous, is one of the principal aesthetic concerns developed by the two japanese film-makers, who are closer to Paul Grimault than to the classic american model. The pursuit of a realistic expression of space and time in animation has nourished their work, since their encounter at Toei during the 1960's and until the founding of Ghibli during the 1980's. The aime of this thesis is to define and defend the value of realism in cartoon films. Hols, sun prince (Little Norse prince valiant) of Takahata represents the succession of a modern form of cartoon film. The cinematic space seems to exist for itself, irrespective of being part of a show, everything is not aimed in the spectators direction, ideally offering the greatest comfort for vision, as with the classical model. Behind the facade of an escapism and adventure comeback, Miyazaki introduces an element of materiality and of everyday temporality which contrasts with the enchanting or imaginary context. My neighbour Totoror, built on the irruption of a certain "real life in a fantastic element", is the outcome of a poetic strangeness - the fundamental originality of his cinema. The two artists show us that, paradoxically, the cartoon film needs a close link with reality to express its potential to the full