Journal articles on the topic 'Traditional animation'
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1
Tao, Yijun, and Weilin He. "Application of Fragmented Narrative in MG Music Animation—Taking Incognito as An Example." Tobacco Regulatory Science 7, no. 5 (September 30, 2021): 3612–20. http://dx.doi.org/10.18001/trs.7.5.1.137.
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Fragmented narrative has the characteristics of postmodernism: no center, no depth, entertaining, and deconstructionist-center. It intersperses with the shots of text and pictures to change from montage to collage, which subverts the traditional audiovisual language with a strong personality. However, although the music animation video has a lot to express, the short length limits the expression’s completeness. Therefore, it is necessary to express the key points through a fragmented narrative, while the combination of fragmented information can engage the audience. Music animation, more conducive to publicity, combines short music videos and animations. It supplements the content that music cannot express with images. Incognito is an MG music animation produced around cyber-violence, which drives the picture narrative fragmentation with that of the music narrative by organizing the pictures around the music. Meanwhile, the animation produced in MG format adopts MG animation’s flexibility, bringing new audiovisual enjoyment to the audience.
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Li, Chenmei. "Influence of Hayao Miyazaki’s Animation on the Cross-Cultural Spread of Japanese Traditional Culture under the Background of 5G and Wireless Communication." Wireless Communications and Mobile Computing 2021 (October 11, 2021): 1–5. http://dx.doi.org/10.1155/2021/1640983.
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The development of 5G technology has brought tremendous changes to all areas of social life, especially in the external communication of culture; the increasing effect of 5G technology has become more obvious. All kinds of new media are constantly emerging, and the expression of cultural products is more diversified, and they also have certain characteristics of their own national cultural symbols. As one of the important representatives of Japanese modern and contemporary culture, animation works have made extremely outstanding contributions in promoting the spread of Japanese culture. Japanese animation is not only second to none in Asia but has also many fans all over the world. This article takes the characteristics of Hayao Miyazaki Animation’s external communication under the background of 5G as the starting point and deeply analyzes the impact of technological background changes on the external communication of Japanese traditional culture. Through data comparison, it is found that with the support of 5G technology, people’s habit of watching videos has changed a lot, from mobile terminals and short videos in the 4G era to large-screen projections and long animations in the 5G era. In a certain sense formed the return of the animation viewing form to the television era at the end of the last century. The number of video clicks on major websites shows that the number of Japanese animation products represented by Hayao Miyazaki Animation has increased significantly. Moreover, the age and occupation coverage of the audience is also very wide. The survey shows that people’s appreciation of Hayao Miyazaki’s animation at this stage is not only the attractiveness of the plot itself, but the deep meaning behind the animation is also the focus of attracting them. This gives Hayao Miyazaki Animation a higher level of appreciation value, that is, guiding countries that have suffered from the side effects of industrial civilization to rethink the relationship between ruleism and development speed. The research results suggest that the development of 5G technology has given traditional Japanese animation new characteristics in the dissemination of it and directly affected the cross-cultural dissemination effect of Japanese traditional culture. Discover the essence of respecting nature and observing rules in Japanese traditional culture to better serve our social development.
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Zhang, Xiao, Jinhua Xu, and Wei Yang. "Application and Practice of 2D Animation in Chinese Traditional Elements Based on Deep Learning Model." Mobile Information Systems 2022 (August 24, 2022): 1–10. http://dx.doi.org/10.1155/2022/6453320.
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With the progress and development of science and technology, the development of the animation industry is also rapidly accelerating. The animation industry has an inseparable relationship with the development of computers. Chinese animation originated in the 1920s. Although after so many years of precipitation, there have been some excellent animation works rich in national characteristics and national culture in China, but Chinese animation still lacks professional talents and has a poor creative environment. The problem cannot leave a deep impact on people. China has a long history. How to perfectly combine traditional Chinese elements with animation production and develop our own national characteristics through animation is a problem we have to consider. The article introduces the background of animation development, describes how to combine traditional Chinese elements with animation production, and solves the problems of rough picture quality and high collision rate in animation production. The research results of the article show the following: (1) the detail roughness of the 7 traditional element animation scenes of the 2D animation system proposed in the article has been kept below 2%, and the image quality clarity is higher than 99%, which is the performance of the 3 systems. The highest one can also show that the system proposed in the article has the best control effect for different animation scene details. The 2D animation system proposed in the article presents a steady trend of fluctuations in the dynamic light and shadow of the scene details of the 7 traditional element animations, with good detail connectivity, and the system proposed in the article occupies the least memory and has the highest stability. (2) The waiting time of the 2D animation system is the lowest among the three systems. Only in a few cases, it needs to wait for 1 s, and the rest of the animation scenes are not delayed. The dynamic animation interaction system and the real-time character animation system have poor real-time operation , and there is a certain delay. The number of collisions of the 2D animation system is the least, almost negligible. Both the dynamic animation interaction system and the real-time character animation system have a certain degree of collision. The distortion rate of the 2D animation system is generally low and will not increase with the number of experiments. However, the other two systems have higher animation distortion rates, which cannot meet the needs of animation production.
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Multimäki, Salla, Andreas Hall, and Paula Ahonen-Rainio. "Comparison of Temporally Classified and Unclassified Map Animations." Cartographic Perspectives, no. 82 (April 29, 2016): 5–14. http://dx.doi.org/10.14714/cp82.1296.
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While animation is a natural and, under certain circumstances, effective way to present spatio-temporal information, it has its limitations. Studying animations of large point datasets can be cognitively very demanding. Aiming to help users to comprehend such data, this study presents a new concept of temporal classification. A phenomenon is classified into periods of increasing, decreasing, and steady intensity, and each is assigned different colours in an animation. This concept was tested with a group of experts in the field of the phenomenon. The results suggest that this kind of classified animation, together with a traditional animation presenting the same dataset, supports users in their analysis process and adds to the impression they get of the phenomenon. It also seems that the viewing order of the animations matters: the full potential of the tested method is reached by viewing the traditional version first and temporally classified version after that.
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Zhao, Yiming, and Dongfang Zheng. "Traditional Chinese Mythology in Animation Art." Highlights in Art and Design 3, no. 3 (July 20, 2023): 61–63. http://dx.doi.org/10.54097/hiaad.v3i3.11220.
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Chinese traditional myths, as an important part of Chinese culture, have been widely applied and expressed in animation art. From the perspective of animation art, this paper will discuss in depth the expression forms and expression methods of traditional Chinese myths in animation art, including the use of myth elements in animation, the creation of myth characters, the way of narrating myth plots, and the expression of myth meanings. Through analyzing and comparing related animation works, this paper will explore the performance characteristics of Chinese traditional myths in animation art and its relationship with contemporary animation art, so as to provide reference for the inheritance and development of Chinese traditional culture.
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Chen, Chen. "Painterly focused Chinese ink animation: Seeing through the cultural lens of the Xiang system." Animation Practice, Process & Production 8, no. 1 (December 1, 2019): 141–64. http://dx.doi.org/10.1386/ap3_00009_1.
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Chinese ink animation has won worldwide respect for its ethereal and refined approach to ink painting. From the 1950s to 1980s, the Shanghai Animation Film Studio produced a number of award-winning ink animations. These animations share a unique traditional Chinese aesthetic based on Chinese literature and philosophy. However, the complex and long hand-made production process is one of the factors that caused the decline of Chinese ink animation following the 1980s. Since the millennium, three-dimensional ink modelling and digital painting technology have contributed to the revival of Chinese ink animation. This article summarizes the development of the production process of Chinese ink animation, together with its artistic features in both the analogue and digital age. Theoretically, this article focuses on a Chinese poetic framework, ‘the Xiang system’, as both a creative strategy for producing Chinese ink animation and an analytical lens to critique it.
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Hutcheson, Tracy D., Richard F. Dillon, Chris M. Herdman, and Jo Wood. "To Animate or Not to Animate, that is the Question." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 41, no. 1 (October 1997): 345–49. http://dx.doi.org/10.1177/107118139704100177.
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Animation presented together with voice narration in a computer presented tutorial did not facilitate learning when compared with a text and static graphics tutorial. The tutorials were the same except for the addition of simple animations and voice narration. Although there were no statistically significant differences there was a difference of 5 percent correct on quiz questions in favor of the animation group. Beyond statistical significance, is this 5 percent increase good justification for animations in computer-based training? The questions of how, when, and if, we should use animations becomes more important when we consider the resources that go into creating animations vs. traditional graphics. This 5 percent difference may be important when we consider that this difference was realized under a 20 minute computer tutorial There has been a lot of focus on animation in software development and training over the last decade and this study raises more questions for further research about animation in training.
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Jia, Shiyang, Stephanie Wang, Tzu-Mao Li, and Albert Chern. "Physical Cyclic Animations." Proceedings of the ACM on Computer Graphics and Interactive Techniques 6, no. 3 (August 16, 2023): 1–18. http://dx.doi.org/10.1145/3606938.
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We address the problem of synthesizing physical animations that can loop seamlessly. We formulate a variational approach by deriving a physical law in a periodic time domain. The trajectory of the animation is represented as a parametric closed curve, and the physical law corresponds to minimizing the bending energy of the curve. Compared to traditional keyframe animation approaches, our formulation is constraint-free, which allows us to apply a standard Gauss--Newton solver. We further propose a fast projection method to efficiently generate an initial guess close to the desired animation. Our method can handle a variety of physical cyclic animations, including clothes, soft bodies with collisions, and N-body systems.
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Lasseter, John. "Principles of traditional animation applied to 3D computer animation." ACM SIGGRAPH Computer Graphics 21, no. 4 (August 1987): 35–44. http://dx.doi.org/10.1145/37402.37407.
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Shan, Qiaojuan, Yusrita Binti Mohd Yusoff, and Ariffin Bin Abdul Mutalib. "A comparative study of interactive animation and traditional animation." Journal of Computing and Electronic Information Management 12, no. 1 (February 28, 2024): 1–11. http://dx.doi.org/10.54097/mubvx0s0vl.
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The article conducted a comprehensive study on the development trends of animation. Through the collection of relevant literature on the subject, it examined the research's impact in various countries. The study utilized the CiteSpace analysis tool to conduct a detailed quantitative analysis of the evolution of the animation field in recent years, covering literature and academic publications from 1990 to 2022. In terms of analytical methods, the study employed various approaches, including visual network analysis, collaboration network analysis, keyword analysis, co-contribution network analysis, and co-citation network analysis. These methods were applied to detect visual networks within the animation field. Through these analytical techniques, the study showcased research hotspots, collaboration relationships, keyword trends, and academic contribution networks within the animation field. The findings revealed a steady increase in the number of publications and papers in the animation field in recent years, indicating that animation has become a highly researched topic. To delve deeper into the comparison between interactive animation and traditional animation, the study employed CiteSpace bibliometric technology and selected 4567 English-language and 1346 Chinese-language documents from the ScienceNet and China National Knowledge Infrastructure databases. Through a systematic evaluation, the study conducted a thorough analysis of the current status of interactive animation and traditional animation, highlighting their differences and projecting potential future trends for interactive animation. This comprehensive research provides a holistic perspective on academic studies in the animation field, contributing to a better understanding of the evolution and future directions of the animation industry.
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Aroisi, Nawawel Sakti, and Rendya Adi Kurniawan. "Metode Desain Karakter Aaron Blaise dengan Penerapan Antropomorfisme dalam Animasi Lakontara sebagai Upaya Pelestarian Ketoprak." CITRAWIRA : Journal of Advertising and Visual Communication 4, no. 1 (June 17, 2023): 63–78. http://dx.doi.org/10.33153/citrawira.v4i1.5093.
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The Marmalade team with their animation titled "Lakontara" has successfully won a gold medal in the GEMASTIK XV 2022 event. In their animation, Marmalade raises the issue of the low interest of the community in traditional Javanese theater (ketoprak) performances, and how ketoprak can remain relevant and compete with other modern entertainments. In the character design of Lakontara, it can be seen that the characters are predominantly non-human characters given human attributes and behaviors, indicating that the characters are designed using anthropomorphism. This is commonly found in popular animations such as Cars, Toy Story, and SpongeBob SquarePants. Anthropomorphism is claimed to make animations appear funnier and more appealing because it can bring something impossible in the real world into the animation.
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Purwaningsih, Dominika Anggraeni. "PUPPET MOVEMENTS IN STRUCTURE-SPECIFIC TRADITIONAL PAPER CUT OUT ANIMATION PRODUCTION." Ultimart: Jurnal Komunikasi Visual 13, no. 2 (December 22, 2020): 61–68. http://dx.doi.org/10.31937/ultimart.v13i2.1821.
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Physical paper puppets are inanimate objects, but when we’re speaking in terms of the production of traditional paper cut out animation, they become the actors and the souls that drive the movie. When shooting and animating traditional paper cut out animation, the puppets are laid flat on a surface so they can only move in limited directions compared to conventional 2D or 3D animation. As we know, each character in animated movie has its own personality and unique to each other. The challenge lays in bringing out the characteristics and personality of the character through the limited medium of paper puppet. In this qualitative research, puppet movements will be applied to quadruped cat characters in a public service announcement titled “Spay & Neuter”. The puppet along with the visual design, segmentations, and joints were done in previous research. Qualitative observations and audio-visual materials are used to collect the data for references. Literature review will study the characteristics of cats, body language, behaviour, and principles of animation especially timing and exaggeration. Observation is conducted by studying the movements of real cats from online videos and direct observations and also studying how other animators animate cat characters in animated films. In the exploration stage, paper puppets will be animated according to the movement design while experimenting with the timing and frame rate of the stop motion to achieve the final results.
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Sun, Zhen Tao. "Animation Type Analysis after Using Computer 3D Animation Technology." Advanced Materials Research 971-973 (June 2014): 1553–56. http://dx.doi.org/10.4028/www.scientific.net/amr.971-973.1553.
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Type of computer animation using 3D technology can be divided under three seeds that mimic 2D animation, imitating traditional 3D animation, imitating real movie. Mimic 2D animation and imitating real movie are infinitely close with 2D animation and real film movie. Imitating traditional 3D animation is completely different from the traditional three-dimensional animation, which won the visual realism. "Visual realism" to get that 3D animation and real film movie stood on the same competition platform.
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Tang, Jun, and Yu Lin Zeng. "Intelligent Traditional Chinese Hairstyle System in Computer Animation." Applied Mechanics and Materials 530-531 (February 2014): 915–18. http://dx.doi.org/10.4028/www.scientific.net/amm.530-531.915.
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Traditional Chinese hairstyle is an important part of the traditional Chinese culture, which provides rich material for computer animation. The creation process of traditional Chinese hairstyle model in computer animation is complex working and time-consuming. This study establishes the traditional Chinese hairstyle database, which covers from Tang Dynasty to Qing Dynasty. According to the characteristics of the traditional Chinese hairstyle, this study develops an Intelligent Traditional Chinese Hairstyle System by MEL, which can display the condition of traditional Chinese hairstyle models in real time and change attributes related with models efficiently. The system is the combination among computer technology, animation art and traditional Chinese culture. It will improve the efficiency and quality in the computer animation creation.
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Elling, Jan Mathis, and Hein De Vries. "Influence of Animation- Versus Text-Based Delivery of a Web-Based Computer-Tailored Smoking Cessation Intervention on User Perceptions." European Journal of Health Communication 2, no. 3 (July 28, 2021): 1–23. http://dx.doi.org/10.47368/ejhc.2021.301.
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Computer-tailored (CT) digital health interventions have shown to be effective in obtaining behaviour change. Yet, user perceptions of these interventions are often unsatisfactory. Traditional CT interventions rely mostly on text-based feedback messages. A way of presenting feedback messages in a more engaging manner may be the use of narrated animations instead of text. The goal of this study was to assess the effect of manipulating the mode of delivery (animation vs. text) in a smoking cessation intervention on user perceptions among smokers and non-smokers. Smokers and non-smokers (N = 181) were randomized into either the animation or text condition. Participants in the animation condition assessed the intervention as more effective (ηp2 = .035), more trustworthy (ηp2 = .048), more enjoyable (ηp2 = .022), more aesthetic (ηp2 = .233), and more engaging (ηp2 = .043) compared to participants in the text condition. Participants that received animations compared to text messages also reported to actively trust the intervention more (ηp2 = .039) and graded the intervention better (ηp2 = .056). These findings suggest that animation-based interventions are superior to text-based interventions with respect to user perceptions.
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Tang, Shirui. "Multidimensional Observation of the Development of Chinese Animation Works and the Spiritual Resonance of Youth." Journal of Education, Humanities and Social Sciences 13 (May 11, 2023): 360–65. http://dx.doi.org/10.54097/ehss.v13i.8177.
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With the continuous development of modern technology and the rise of the digital entertainment industry, the influence of animation works among young people is increasing. Compared to traditional literary works, animation works attract more and more young audiences with their vivid images, unique artistic expressions, and rich worldviews. In this process, the adaptation of novels into animations not only enables the essence of the original works to be inherited but also provides viewers with more emotional resonance through the introduction of new elements and more in-depth character development techniques. Focusing on the emotional experience and educational significance of animation, which has shifted from "static" to "dynamic," it is crucial to explore the new value and path of domestic animation in resonating with the spirit of contemporary youth.
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Liu, Yingjing. "Research on Computer Animation Action and Acceleration Technology based on Composition Editor." Journal of Physics: Conference Series 2023, no. 1 (September 1, 2021): 012026. http://dx.doi.org/10.1088/1742-6596/2023/1/012026.
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Abstract Traditional animation needs complex animation technology, which is mainly operated by hand. Therefore, traditional animation production needs a lot of work, which will lead to a variety of problems, such as long cycle, high rework rate, high cost and so on. With the development of computer technology, great changes have taken place in animation production, including speed, effect, etc., which has created a variety of methods in two-dimensional and three-dimensional animation production. Through computer-aided, the traditional manual animation technology has been gradually replaced by computer, which has become a key issue in animation art production. By combining the advantages of manual animation and computer animation, we can continuously improve the ability of animation industry. Through the synthesis editor, we can improve the animation action and accelerate technology research, which can achieve a new animation world. First of all, this paper analyzes the commonly used 3D animation production software. Then, this paper analyzes the animation action and acceleration technology.
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Greenberg, Raz. "The Animation of Gamers and the Gamers as Animators in Sierra On-Line’s Adventure Games." Animation 16, no. 1-2 (July 2021): 83–95. http://dx.doi.org/10.1177/17468477211025665.
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Produced throughout the 1980s using the company’s Adventure Game Interpreter engine, the digital adventure games created by American software publisher Sierra On-Line played an important and largely overlooked role in the development of animation as an integral part of the digital gaming experience. While the little historical and theoretical discussion of the company’s games of the era focuses on their genre, it ignores these games’ contribution to the relationship between the animated avatars and the gamers that control them – a relationship that, as argued in this article, in essence turns gamers into animators. If we consider Chris Pallant’s (2019) argument in ‘Video games and animation’ that animation is essential to the sense of immersion within a digital game, then the great freedom provided to the gamers in animating their avatars within Sierra On-Line’s adventure games paved the way to the same sense of immersion in digital. And, if we refer to Gonzalo Frasca’s (1999) divide of digital games to narrative-led or free-play (ludus versus paidea) in ‘Ludology meets narratology: Similitude and differences between (video) games and narrative’, then the company’s adventure games served as an important early example of balance between the two elements through the gamers’ ability to animate their avatars. Furthermore, Sierra On-Line’s adventure games have tapped into the traditional tension between the animator and the character it animated, as observed by Scott Bukatman in ‘The poetics of Slumberland: Animated spirits and the animated spirit (2012), when he challenged the traditional divide between animators, the characters they animate and the audience. All these contributions, as this articles aims to demonstrate, continue to influence the role of animation in digital games to this very day.
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Tang, Jun, and Yan Meng. "Research and Implementation of Intelligent Traditional Chinese Headdress System in Computer Animation." Applied Mechanics and Materials 519-520 (February 2014): 473–76. http://dx.doi.org/10.4028/www.scientific.net/amm.519-520.473.
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Traditional Chinese headdress is an important part of the traditional Chinese culture, which provides rich material for computer animation. The creation process of traditional Chinese headdress model in computer animation is complex working and time-consuming. This study establishes the traditional Chinese headdresses database, which covers from Tang Dynasty to Qing Dynasty. According to the characteristics of the traditional Chinese headdress, this study develops an intelligent Traditional Chinese Headdress system by MEL, which can import models into the scene and change attributes related with models efficiently. The system is the combination among computer technology, animation art and traditional Chinese culture. It will improve the efficiency and quality in the computer animation creation.
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Guangyuan Cao, Guangyuan Cao. "The Development Strategy of Nationalistic Derivatives in the Chinese Animated Film Industry." Northeast Asian Arts and Cultural Management Association 1, no. 1 (June 30, 2024): 59–67. http://dx.doi.org/10.69887/jnaacm.2024.1.1.59.
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Purpose – This study explores the utilization of Chinese traditional culture in animation, with a focus on film derivatives. The study analyzes recent growth and challenges in the Chinese animation industry and aims to effectively utilize Chinese culture in developing animation derivatives. Drawing insights from US and Japanese models, the initiative aims to develop a unique Chinese animation industry, with the goal of improving global competitiveness, cultural impact, and market expansion. Design/Methodology/Approach – This study adopts a research methodology primarily focused on deeply mining the rich resources of Chinese traditional culture, coupled with referencing the mature animation industry chains of the United States and Japan, to develop a more ethnically distinctive animation film industry chain in China. The main research methods involve literature review and case analysis, aiming to explore key issues and solutions in the development of ethnic-oriented animation film derivatives in the Chinese animation film industry. Findings – China’s animation industry is progressing, yet it faces challenges in derivative development, which hinders sustained growth. Leveraging its abundant traditional culture can provide a unique competitive advantage. Integrating insights from established US and Japanese animation industries with Chinese culture is crucial for fostering a more ethnically distinctive animation industry in China, which holds significant promise for future development. Research Implications – The proposal innovatively leverages China’s traditional culture for animation growth, providing insights for sustainable development. It highlights the significance of animation derivatives, guiding commercial exploration. By promoting Chinese culture, it enhances the global competitiveness of animation, facilitating international cultural exchange.
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Zhang, Rong. "Using artificial intelligence assistant technology to develop animation games on IoT." Computer Science and Information Systems, no. 00 (2023): 21. http://dx.doi.org/10.2298/csis220719021z.
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This research proposes an XNA animation game system with AI technology for action animation games in mobile devices, based on an object-oriented modular concept. The animation game function with AI technology is encapsulated into independent objects, through the combination of objects to build repetition. It adds AI technology to the finite state machine, fuzzy state machine and neural network and attempts to combine the traditional rule-base system and learning adaptation system to increase the learning ability of traditional AI roles. The main contributions are compared with traditional methods and the AI animation game system is shown to have more reusability, design flexibility and expansibility of its AI system through the object composition approach. It adds AI technology to combine the traditional rule-base system and learning adaptation system to increase the learning ability of traditional AI roles. Therefore, AI animation game producers can accelerate their processes of developing animation games and reducing costs.
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Li, Xiaoxia, Chen Zhang, and Yonghui Wu. "Deconstruction of Immersive Animation Image Interaction Design under Virtual Reality Technology." Wireless Communications and Mobile Computing 2022 (August 13, 2022): 1–11. http://dx.doi.org/10.1155/2022/2104633.
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With the increasing pressure of social life, people generally have different degrees of psychological problems, which brings serious troubles to people’s life and work. As one of the main forms of art, animation is a good medicine for breaking fantasy and returning to reality. Animation is one of the ways of art therapy, and animation art design is the soul of animation therapy. However, the art design of traditional animation cannot bring a strong sense of resonance and cannot arouse people’s inner emotions. Virtual reality can bring users an immersive experience, so it can really immerse the audience and release psychological pressure. The article firstly reoptimizes animation modeling technology and then combines it with art design, comprehensively uses art design and interactive technology to generate virtual space, and finally puts forward the concept of animation art design based on virtual reality technology. It aims to construct virtual animation from animation art design to help patients relieve psychological barriers. After repeated comparison experiments, it can be found that in the process of watching interactive animations on the virtual reality platform, if the overall style of the animation is more comfortable and warm, the user’s psychological perception will reach 78%, and the emotional fluctuation range will be less than 10%. When the animation style is relatively dark and depressing, the user’s psychological perception is only 45%, and the audience is very likely to think of a bad life experience, and the possibility of causing psychological disorders is 69.1%. This shows that the warm and comfortable animation art design can smooth people’s emotional fluctuations and relieve psychological obstacles.
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Budi, Hutomo Setia, I. Wayan Adnyana, I. Wayan Swandi, and I. Nyoman Suardina. "Presentation of Traditional Folktale Through 3-Dimensional Animation Film in Gromore Studio YouTube Channel, A Study Case." Nirmana 24, no. 1 (January 29, 2024): 41–47. http://dx.doi.org/10.9744/nirmana.24.1.41-47.
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This research aimed to discover audience responses toward animation content that tells about folklore and is uploaded onto the Gromore Studio YouTube platform. It is designed based on interview data as well as observation of the view count, comments, and literature study. This research included cultural studies which studied social culture phenomena by using descriptive quantitative analysis methods with emphasis on discovering the comparison of positive and negative comments, and the comparison between like and dislike counts from the folklore video which was uploaded by Gromore Studio. The results of this research showed that the presentation of legendary folktales received outstanding responses from the audience with Indonesians as the majority. Comments given by the audience mostly showed positive feedback and support toward animation content produced by Gromore Studio which lifted the local cultures and stories, packed into interesting visual media. Through the positive responses in the comments, it can be concluded that the animations by Gromore Studio in traditional folktales became very welcomed by Indonesian audiences.
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Jianchao, Ren. "The influence of traditional culture on the role shaping of Chinese local film and television animation." OOO "Zhurnal "Voprosy Istorii" 2023, no. 8-2 (August 1, 2023): 164–69. http://dx.doi.org/10.31166/voprosyistorii202308statyi36.
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This article mainly summarizes the role building of Chinese local film and television animation, analyzes the influence of traditional culture on the role building of Chinese local film and television animation, and introduces in detail the application of traditional culture such as paper cutting art, ink painting art, costume art and opera art in the role building of film and television animation.
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Tan, Shuqing. "Animation Image Art Design Mode Using 3D Modeling Technology." Wireless Communications and Mobile Computing 2022 (March 3, 2022): 1–9. http://dx.doi.org/10.1155/2022/6577461.
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This paper starts with the external visual performance of animation characters, discusses the design style of three-dimensional animation characters, and integrates with traditional art, and makes a new research and attempt from the combination of art and technology, so that nonprofessionals can easily design three-dimensional animation characters. Aiming at the problem of low recognition level of behavior control data points in traditional 3D virtual animation model method, a method of role modeling and behavior control in 3D virtual animation design is designed. Based on the physical engine, a dynamic model of the character skeleton is established, and the joint motion trajectory is simulated to complete the real-time rendering of the effect. Combined with the case analysis, it is discussed from the aspects of animation character modeling, user experience, and so on. Experimental results show that, compared with traditional methods, the data points collected by the proposed method in the process of character behavior control are more dense, the animation effect is more realistic, and it is highly effective and superior.
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Qin, Pei Yu, Li Guo, and Zhi Li Hu. "Physically Based Animation of Fluid Movement in a Periodic Domain." Applied Mechanics and Materials 373-375 (August 2013): 395–99. http://dx.doi.org/10.4028/www.scientific.net/amm.373-375.395.
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A physically based approach for simulating fluid movement is proposed. Realistic animation and real time simulation are two objectives. Traditional animation technique can obtain virtual movement, but it has difficulty for realistic movement. Compared with the traditional animation technique, physically based animation can represent realistic movement better. The incompressible Navier-Stokes equations are used in our model, and the operator splitting method including semi-Lagrangian scheme and fast Fourier transform is employed to split the model into external force term, advection term, diffusion term and projection term. Every step is stable , so the whole process is also stable. Thus, the big time step can be taken to ensure real time simulation. Compared with the traditional technique, this method can be taken for realistic animation and real time simulation of fluid movement in computer graphics applications.
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Feng, Zhongqiang, and Yi Zhang. "The Teaching Mode Design and Effect Evaluation Method of Animation Course From the Perspective of Big Data." International Journal of Web-Based Learning and Teaching Technologies 19, no. 1 (May 16, 2024): 1–20. http://dx.doi.org/10.4018/ijwltt.343522.
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OBE concept is a new teaching mode which emphasizes the improvement of students' subjective initiative and professional practice ability. The teaching of animation course is based on drawing and computer, which requires teachers to understand the OBE mode of animation course, carry out targeted teaching innovation of animation course, and adjust the traditional teaching methods, teaching contents and teaching assessment methods. Based on the MOOC platform from the perspective of big data, this paper analyzes the teaching status and innovation process of animation course, and puts forward a hybrid animation course teaching method. Through the research of 686 primary and secondary school teachers, the results show that the hybrid animation course teaching based on OBE and MOOC from the perspective of big data has a better effect than the traditional teaching method, which improves students' initiative in learning animation courses and greatly enhances students' acceptability in learning animation courses.
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Rashid, Nida, Nadira Khanum, and Fazil Rahim Khan. "The Effect of Animation as a Teaching Tool on Students’ Learning – an Experimental Study." Media Literacy and Academic Research 7, no. 1 (2024): 129–44. http://dx.doi.org/10.34135/10.34135/mlar-24-01-07.
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This study aims to explore the effect of animation on students’ learning process and compare the learning outcomes between animation-based and traditional teaching methods. The research questions hypothesize that animation enhances the learning process, attention, retention, reproduction and motivation in students. This study employed quantitative methodology by using an experiment involving two separate groups: the experimental group, which received instruction with animated videos, and the control group, which received a traditional teaching method. The sample size consisted of 170 students, with an equal distribution of male and female participants from grade levels 3 to 6, with 85 students in each group. The analysis of the data reveals that animation has a significant effect on the learning process. Students exposed to animation-based teaching methods exhibit higher levels of attention retention, better reproduction of learned material, and increased motivation compared to those following traditional teaching methods. These findings support the created research questions that animation positively influences students’ learning outcomes.
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Peng, Baoyi. "Ancient for the Present: Analyzing Traditional Cultural Elements and Unique Modernity in Contemporary Animation Films." Highlights in Art and Design 3, no. 3 (July 20, 2023): 32–37. http://dx.doi.org/10.54097/hiaad.v3i3.11184.
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Entering the 21st century, as global cultures entered a new stage of intermingling, Chinese animation also rode the fast train of the times into a new stage of development, in which Chinese animation pushed the boundaries, from characterization to the cultural core of the story background, Chinese animation emerged as modernity culture wrapped in traditional Chinese culture, the two complement each other and together contribute to the narrative of storytelling expression. This paper takes a typical Chinese animated film between 2016-2023 as the object of study, and conducts theoretical research on Chinese traditional culture and the unique culture of modernity in animation narrative.
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Alfatra, Febri Faizin, Mahendradewa Suminto, and Pandan Pareanom Purwacandra. "Penciptaan Film Animasi “Chase!” Dengan Teknik “Digital Drawing”." Journal of Animation and Games Studies 5, no. 1 (July 23, 2019): 033–56. http://dx.doi.org/10.24821/jags.v5i1.2799.
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A short animation that combines several personal experiences and surroundings into a simple yet entertaining story. Although the story is presented simply, visualization is made unique and flexible with digital two-dimensional animation techniques. This animated film is titled “CHASE!” Which means chasing, taken from the core of the film which tells the story of a young man who chases a mysterious woman who turns out to be a transvestite.The animated film “CHASE!” Lenght 3 minutes 45 seconds, make the story made shorter and directly to the point at the core of what will be delivered. The number of shots reached 45 shots with a total of 5400 frames of HDTV 1920 x 1080 px 24 fps (frames per second). In the process of making this film also applied 12 principles of animation. Making an animated film “CHASE!” uses a digital process in it. For animating, 2D drawing frame by frame technique are used digitally by using computers, background images are also digitally created without leaving the artistic value of traditional drawing techniques using hands.Keywords: Film, 2D Animation, Personal Experience, Digital
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Limano, Ferric. "Barong Bali Performing Arts: A Study Case of Dance Motion Pattern." Humaniora 13, no. 1 (February 15, 2022): 1–7. http://dx.doi.org/10.21512/humaniora.v13i1.7344.
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The research aimed to save the traditional Balinese Barong dance motion patterns and convert them into digital animation. Using the mask was a uniqueness and as one of the characteristics of the traditional dance. Some problems arose in today's global situation: the challenge of eroding local society cultures to be replaced by global cultures. Another factor was the new generation, who loved technology and digitization. The research showed how to make traditional art that had recommendations in new digital media 3D animation. This was necessary to increase interest for the new generation about traditional culture and the creation of digital archives that were easily accessible to learn and develop in this traditional culture. The method was applied qualitatively through approach practice-led research by making experimental data on the dance motion pattern of the head of Barong Bali. Then observations were made and described in animation science, resulting in an academic understanding of motion and 3D digital media production. The results of the research consist of Barong Bali motion pattern in 3D, descriptive explanation of movement patterns, and the process of creating 3D animation digital archives. All of this is expected as recommendations for ways to produce digital archives 3D Animation of another Indonesian traditional culture.
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Wang, Shuang, Jing Sui, and Xiaoshi Li. "Research on the design of animation design System based on visual communication." Advances in Engineering Technology Research 1, no. 3 (February 9, 2023): 1031. http://dx.doi.org/10.56028/aetr.3.1.1031.
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In order to scientifically solve the problems existing in the application of traditional advertising animation design, researchers put forward to optimize the advertising animation design system with visual communication as the core in their research, which can not only solve the problems existing in the traditional visual communication design, but also provide multiple application functions for the system users. In this paper, on the basis of understanding the visual communication technology and the research status of the animation design system, using IE8-Chromel mainstream controller, image encoder, processing chip, etc., to optimize the hardware structure of the advertising animation design system configuration, gradually improve the advertising animation remote design processing port, to ensure the stability and effectiveness of the system operation. At the same time, according to the principle of visual communication, the steps of advertising animation design are simplified, the three-dimensional coordinates of advertising animation are accurately calculated, and the advertising animation is effectively designed. The final results show that the advertising animation design system with visual communication as the core has a high smoothness, which meets the needs of practical research.
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Wang, Chenyi. "Analysis of the Chinese-style elements in the Chinese animation “Five Elements of Misty Mountains”." Highlights in Art and Design 2, no. 2 (March 20, 2023): 1–3. http://dx.doi.org/10.54097/hiaad.v2i2.6146.
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"Five Elements of Misty Mountain" is a domestic anime to be released on the Internet in the summer of 2020, with the cooperation of the production team led by Lin Hun. The work is to explore the Chinese elements of "Five Elements of Misty Mountain" and their significance to the future development and innovation of Chinese animation. The work conducts a specific study on the Chinese elements of "Five Elements of Misty Mountain", analyzing and extracting the details of Chinese martial arts and fighting in the battle scenes, analyzing the ink and wash style of painting in the animation, and discovering Chinese elements in the character settings of the animation. Finally, the work argues that the animation film "Five Elements of Misty Mountains" shows that implementing the connotation of Chinese traditional culture, driving the development of Chinese excellent traditional culture, constantly updating the technology and style of Chinese animation, bringing contemporary expressions, leading the public to aggravate the deep understanding of Chinese traditional culture by enjoying Chinese animation, and thinking deeply about how to meet the spiritual needs and social demands of the current audience in order to achieve a breakthrough and make Chinese animation truly go to the field of the world.
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Sun, Hanqiu. "Hand interface in traditional modeling and animation tasks." Journal of Computer Science and Technology 11, no. 3 (May 1996): 286–95. http://dx.doi.org/10.1007/bf02943135.
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Iwasa, Janet. "Crafting a career in molecular animation." Molecular Biology of the Cell 25, no. 19 (October 2014): 2891–93. http://dx.doi.org/10.1091/mbc.e14-01-0699.
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When I first set out on a path to becoming a cell biologist, I would have never imagined that it would lead to a career in molecular animation. I had always thought I would follow a more traditional route. What happened? In this essay, I will describe the experiences that led to my decision to forge a career as an academic molecular animator, and how my work has evolved over the years. I will also provide some resources and advice for those who may be considering following a similar route.
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Sajaniemi, Jorma, and Marja Kuittinen. "Visualizing Roles of Variables in Program Animation." Information Visualization 3, no. 3 (June 3, 2004): 137–53. http://dx.doi.org/10.1057/palgrave.ivs.9500075.
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Visualizations may be used to assist in learning elementary computer programming - a skill that is hard to acquire by many students. This article presents a program animation system, PlanAni, that is based on the concept of the roles of variables. Roles represent schematic uses of variables that occur in programs over and over again, and a set of nine roles covers practically all variables in novice-level programs. PlanAni has been evaluated in a classroom experiment comparing traditional teaching with role-based teaching and animation. The results suggest that the introduction of roles provides students with a new conceptual framework that enables them to mentally process program information in a way similar to that of good code comprehenders. The use of role-based animation seems to assist in the adoption of role knowledge and expert-like programming strategies. A semi-structured interview with the teacher indicates that students like to work with the animator and that the system clarifies many concepts in programming.
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Tengku Mohd Ali, Tengku Intan Marlina, Hashim Awang, Madiawati Mamat @ Mustaffa, and Nur Hamizah Hashim. "From Text to Animation: Adaptation of Bawang Putih Bawang Merah." Malay Literature 27, no. 2 (December 1, 2014): 310–31. http://dx.doi.org/10.37052/ml.27(2)no6.
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The adaptation of literary texts into drama, film and animation is increasingly popular in today’s era of advances in science and technology. Bawang Putih Bawang Merah (Garlic and Shallot) is one of the works which has been adapted into the form of film and animation. One of the animations adapted from text to film that received overwhelming response from the audience in 2001 was Putih directed by Rashid Sibir, produced by Fine Animation Sdn. Bhd. In animation, several changes are made, including changes to the title, characters and characters, setting and events to suit the target audience, and the times. In relation to this, the objective of this article is to analyse the adaptation from different Bawang Putih Bawang Merah texts into the animated form to ascertain the modifications made when certain works are converted into animation, and to investigate how far literary values are adapted into multimedia forms. This study will use the work of Rubaidin Siwar published by Dewan Bahasa dan Pustaka (1990) because it is a more complete text as compared to others. In discussing adaptations, Engelstad (2009) explains how there are four stages involved in the process of adaptation, the first being the narrative, the second the transformation of the verbal to visual, with the third stage being “enunciation”, and the fourth being the comprehensive stage. All four stages are applied in the analysis of BPBM in its adaptation from text to animation. The adaptation process involved in converting the BPBM texts into the multimedia form retains the literary elements through the use of various story-telling techniques, to produce a captivating animated film. Although BPBM is a traditional Malay tale, the story is adapted with various interesting elements befitting the needs of today’s generation. Keywords: animation, Bawang Putih Bawang Merah, adaptation, text, multimedia
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Xinyi, Huang. "The Influence of the Color and Composition in Chinese Painting on the Animation"Cowboy's Flute"." International Journal of Religion 5, no. 1 (February 1, 2024): 606–15. http://dx.doi.org/10.61707/c7ehjj47.
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This journal article examines the animation "Cowboy's Flute" produced in 1963 at the animation studio in Shanghai, focusing on its use of coloring and composition influenced by traditional Chinese watercolor and ink painting. By analyzing specific elements within the animation, such as the overall composition, depiction of nature, and the portrayal of a shepherd boy riding a buffalo, this article explores how the film embodies authentic Chinese aesthetics. Drawing upon the symbolism and cultural significance associated with these artistic elements, this article sheds light on the theme and artistic choices made in "Cowboy's Flute." The findings reveal the strong influence of traditional Chinese painting on the animation and its contribution to the portrayal of Chinese cultural values and aesthetics.
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QIN, Zhenyan, and Zonghua TAO. "A Low Memory 3D Animation Technology for "Animation Design" Course." International Journal of Emerging Technologies in Learning (iJET) 11, no. 05 (May 23, 2016): 68. http://dx.doi.org/10.3991/ijet.v11i05.5697.
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This paper introduces a “low memory” 3D animation design technology teaching system, and fully describes the design requirements, design thought, and main modules of the system. On this basis, an analysis of the teaching process of applying the system in animation design curriculum in universities is made with the method of contrastive teaching experiment. Results show: comparing with traditional multimedia teaching method, the application of “low memory” 3D animation design technology significantly improves the effectiveness of animation design teaching. This teaching method is of prominent innovative value, and worth to be further popularized and applied in teaching.
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Zhang, Wen, and Ji Cheng Xie. "Brief Discussion on Manufacture and Application Value of Modern Paper-Cut Animation." Advanced Materials Research 706-708 (June 2013): 2075–78. http://dx.doi.org/10.4028/www.scientific.net/amr.706-708.2075.
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Paper-cut animation is rooted in Chinese folk culture, which is an important constituent part of Chinese animation. This article has analyzed the own artistic charm of paper-cut animation, from the early traditional manufacturing method and its insufficiencies as well as the questions we faced, to details of the new manufacturing method after the application of modern computer technology to the paper-cut animation. Also the article emphasizes the introduction of manufacturing advantages after the computer technology applied to the paper-cut animation, as well as discussions on application value of paper-cut animation in business and service domains, etc.
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Fitria, Tira Nur. "Culture-based Animation: Inserting Indonesian Local Culture in Animation Series ‘Si AA’." Journal of Language and Literature 22, no. 2 (September 26, 2022): 362–74. http://dx.doi.org/10.24071/joll.v22i2.3942.
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Indonesia offers many opportunities to use local culture’s potential in producing Indonesian animation. The greatest idea is to make an animation that is based on the characteristics of traditional or local arts from each region. This research analyzes the Indonesian local cultures inserted in the animation series Si Aa’ created by RANS Animation Studio. This research uses descriptive qualitative research. The documents are taken from 9 videos of the animation series “Si Aa” released in 2020 and 2021. The result analysis shows that there are 12 examples of Indonesian local culture in ‘Si Aa” animation series such as 1) Inserting a local language “Sundanese”, 2) Inserting local story (folklore) of Timun Emas, 3) Inserting regional Dance “Jaipong”, 4) Inserting regional musical instruments “Angklung”. 5) Inserting regional music instrument “Gamelan”. 6) Telling an Indonesian national hero “Kapitan Pattimura”. 7) Showing a palace building “Keraton”. 8) Inserting regional performing arts “Wayang Suket”. 9) Inserting regional Performing Arts “Ondel-ondel”. 10) Inserting traditional game “Gangsing”, 11) Inserting local handicraft “Tenun”, 12) Showing tourism place destination in Maluku, 13) Inserting local custom “Tandur”. Through animation, the creator conveys the local culture by recognizing and appreciating an Indonesian identity in their work. Initially, culture-based animation served simply as a means of Indonesian cultural preservation.
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Ahmad Fadzil, Juaina, and Sanghamitra Dalal. "Re-inscribing Budi in Contemporary 3D Malaysian Animation Characters in Geng; The Adventure Begins (2009) and BoBoiBoy: The Movie (2016)." Malaysian Journal of Social Sciences and Humanities (MJSSH) 5, no. 2 (February 22, 2020): 87–95. http://dx.doi.org/10.47405/mjssh.v5i2.368.
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The success of Malaysian 3D animation films, Geng; The Adventure Begins (2009) and BoBoiBoy: The Movie (2016) in attracting local reception is partly due to their portrayal of the diversity of Malaysian ethnicity, traditions and moral values which the local audience may find relatable. Although these films portray modernity, the values represented are based on the traditional Malay concept of Budi re-inscribed in the characters’ personalities. The concept of Budi in this paper employs the academic study of Lim Kim Hui (2003a) and it includes my attempt to argue that this traditional asset can be re-imagined in the contemporary digital form which can be analysed through the main characters’ personalities in the selected films. Personality is one of the key principles of animation introduced by Lasseter (1987) for the 3D animation format and with it, helps shape characters to be unique and recognizable as depicted in their behaviours, habits as well as interaction with other characters. In addition, I employ Smith’s “structure of sympathy” to explain the spectator’s engagement with the fictional personalities portrayed on screen. The concept of Budi re-inscribed in characters of contemporary 3D Malaysian animation films proves that traditional values are not lost in modern times. Animation films are mostly watched by younger audiences, therefore Budi as a traditional moral concept can be sustained and disseminated to the younger generation in digital form.
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Ma, Ben. "Animation Production Teaching Model based on Design-Oriented Learning." International Journal of Emerging Technologies in Learning (iJET) 13, no. 08 (August 30, 2018): 172. http://dx.doi.org/10.3991/ijet.v13i08.9049.
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The course of two-dimensional animation production focuses on practice. In teaching, more attention should be paid to cultivation of students’ innovation ability, team cooperation ability and similar prior education goals. With the promotion of paperless animation design courses, the animation production process should include the knowledge points in teaching. With this regard, taking the advantages of Flash software, an animation teaching model based on design-oriented learning was constructed in this study relying on design-oriented learning theory in animation production teaching, and taking project-oriented learning and empirical learning theory as guidelines. Meanwhile, comparison was made with the traditional teaching methods that only emphasize the presentation and transmission of knowledge. The research results show that using Flash software with design-oriented animation production teaching model makes it easier for students to accept knowledge when compared with the traditional PPT teaching model. It cannot only fully mobilize the learners’ enthusiasm, initiative and independent innovation, but also promote the students’ ability to study independently and constantly throughout their life. The Flash teaching platform adopted in the teaching process facilitates teacher-student interaction, team communication, and resource sharing, and is an effective assistant in the multimedia teaching process.
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Lan, Chong, Yongsheng Wang, Chengze Wang, Shirong Song, and Zheng Gong. "Application of ChatGPT-Based Digital Human in Animation Creation." Future Internet 15, no. 9 (September 2, 2023): 300. http://dx.doi.org/10.3390/fi15090300.
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Traditional 3D animation creation involves a process of motion acquisition, dubbing, and mouth movement data binding for each character. To streamline animation creation, we propose combining artificial intelligence (AI) with a motion capture system. This integration aims to reduce the time, workload, and cost associated with animation creation. By utilizing AI and natural language processing, the characters can engage in independent learning, generating their own responses and interactions, thus moving away from the traditional method of creating digital characters with pre-defined behaviors. In this paper, we present an approach that employs a digital person’s animation environment. We utilized Unity plug-ins to drive the character’s mouth Blendshape, synchronize the character’s voice and mouth movements in Unity, and connect the digital person to an AI system. This integration enables AI-driven language interactions within animation production. Through experimentation, we evaluated the correctness of the natural language interaction of the digital human in the animated scene, the real-time synchronization of mouth movements, the potential for singularity in guiding users during digital human animation creation, and its ability to guide user interactions through its own thought process.
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Wan, Yue. "Narrative Innovation in Chinese Mythological Animation within the Context of Traditional Culture." International Journal of Arts and Humanities Studies 4, no. 1 (January 20, 2024): 14–18. http://dx.doi.org/10.32996/ijahs.2024.4.1.3.
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The research aims to provide a comprehensive analysis of the narrative expression of Chinese mythological themes in animated films from the perspective of traditional Chinese culture, integrating insights from film narrative studies and traditional Chinese philosophical texts. The past decade has been a booming period for mythological-themed animation films in China, during which a multitude of outstanding works emerged. Creators have drawn inspiration from traditional Chinese culture, creating uniquely Eastern mythologies. Innovation can be felt in the portrayal of narrative characters, the configuration of temporal and spatial structures, or the use of traditional thinking to tell stories. This has revitalized Chinese animation, instilling it with cultural confidence, and has also poured new energy into traditional Chinese culture.
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Yuan, Yang, and Jingqi Qiu. "Tibetan in Painting: The Embodiment of the Idea of Impermanence in the Animation "The Return of the Great Sage"." Arts Studies and Criticism 5, no. 1 (April 24, 2024): 4. http://dx.doi.org/10.32629/asc.v5i1.1853.
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The connotation of domestic animation is becoming more and more mature, and at the same time, it is integrated into the characteristics of the times, so that domestic animation gradually presents the aesthetic characteristics of nationality and era. Based on the aesthetic theory of Zen Buddhism's idea of impermanence, this paper takes "Journey to the West: The Return of the Great Sage" as a case study, and takes the life wisdom of the heart triggered by the Chinese thought of impermanence as the starting point. Seeking the combination of traditional culture and animation provides ideas for the inheritance and development of traditional cultural aesthetics to a certain extent.
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Zhao, Zhuo. "Research on the Application of Traditional Chinese Artistic Modeling Elements in Animated Character Design." Transactions on Social Science, Education and Humanities Research 3 (December 28, 2023): 28–31. http://dx.doi.org/10.62051/m815g498.
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The traditional artistic modeling elements of China are rich and colorful. Their application in animated character design not only highlights the distinctive features of traditional artistic modeling elements but also promotes China's excellent traditional culture. This paper mainly discusses in detail the measures of applying traditional Chinese artistic modeling elements to animated character design. Animation character designers can pay attention to the reasonable application of traditional Chinese artistic modeling elements against the background of new media, highlighting traditional literature, fine arts, and philosophy in the design process. Only by doing this can diverse artistic forms be reflected through animated characters, making the design more valuable and promoting sustainable development of China's traditional animation industry.
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Meng, Qingbo. "Intelligent Animation Creation Method Based on Spatial Separation Perception Algorithm." Computational Intelligence and Neuroscience 2022 (September 19, 2022): 1–10. http://dx.doi.org/10.1155/2022/4999478.
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In the computer group animation creation technology, the artificial life method of computer animation overcomes the defects of traditional animation creation technology and greatly improves the animation creation efficiency. However, due to the increasing complexity of the animation character modeling technology used in this method, the coupling degree between the models of the animation system is also increasing, which makes the animation creation increasingly difficult. Especially, when the number of characters’ increases, the computation will increase rapidly in a nonlinear way, which greatly affects the real-time animation creation and limits the wide application of this method. In this paper, we have conducted an in-depth study and implementation of the design of the animation character model and its implementation technology, analyzed and designed the group animation character model, and designed the space separation perception algorithm to effectively reduce the design difficulty of the character biomechanical model, reduce the amount of computation, and further ensure the real time of large-scale group animation creation. Therefore, the research reduces the coupling between animation system models without reducing the animation effect and real-time performance. It reduces the amount of computer operation, meets the real-time requirements of large-scale group animation creation, and has important significance and value.
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Haswell, Helen. "To infinity and back again." Alphaville: Journal of Film and Screen Media, no. 8 (February 9, 2015): 24–40. http://dx.doi.org/10.33178/alpha.8.02.
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In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation. La Luna (Enrico Casarosa) marks a pivotal shift in Pixar's short film canon by displaying hand-drawn artwork and man-made textures. Widely considered the innovators of computer-generated animation, Pixar is now experimenting with 2D animation techniques and with textures that oppose the clean and polished look of mainstream American animation. This article aims to outline the significant technological developments that have facilitated an organic aesthetic by suggesting that nostalgia dictates a preference for a more traditional look. It will also argue that this process pioneered by Pixar has in turn influenced the most recent short films of Walt Disney Animation Studios.
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Wang, Shen. "Motions Blur Effects in the Process of Three-Dimensional Animation Technology Research." Applied Mechanics and Materials 687-691 (November 2014): 1170–73. http://dx.doi.org/10.4028/www.scientific.net/amm.687-691.1170.
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Three-dimensional animation is an emerging technology and animation technology with the development of computer hardware and software generated. Compared to traditional 2D animation is concerned, 3D animation has more fluid camera movement, mice richer, more delicate visual style, more stunning visual effects. Attributed to computer software to simulate the real effects in terms of the characteristics of three-dimensional animation has the advantage of a great extent, and one of the important effects that simulate real motion blur effect. According to the technical differences between the three-dimensional animation of the various stages of the process, implementation and effects of different motion blur effects are not the same. Based on the study of the basic principles of motion blur effects of the above, and analysis focuses on the different stages of its technology in animation and in effect differences.