The Effect of Japanese Animation Series on Informal Third Language Acquisition Among Arabic Native Speakers
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The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Jobs and Education
Vol. 3 Issue 3 JuneJune1998 1998 J OBS AND E DUCATION ¥ Animation on the Internet ¥ Glenn VilppuÕs Life Drawing ¥ CanadaÕs Golden Age? ¥ Below the Radar WHO IS JARED? Plus: Jerry BeckÕs Essential Library, ASIFA and Festivals TABLE OF CONTENTS JUNE 1998 VOL.3 NO.3 4 Editor’s Notebook It’s the drawing stupid! 6 Letters: [email protected] 7 Dig This! 1001 Nights: An Animation Symphony EDUCATION & TRAINING 8 The Essential Animation Reference Library Animation historian Jerry Beck describes the ideal library of “essential” books on animation. 10 Whose Golden Age?: Canadian Animation In The 1990s Art vs. industry and the future of the independent filmmaker: Chris Robinson investigates this tricky bal- ance in the current Canadian animation climate. 15 Here’s A How de do Diary: March The first installment of Barry Purves’ production diary as he chronicles producing a series of animated shorts for Channel 4. An Animation World Magazine exclusive. 20 Survey: It Takes Three to Tango Through a series of pointed questions we take a look at the relationship between educators, industry representatives and students. School profiles are included. 1998 33 What’s In Your LunchBox? Kellie-Bea Rainey tests out Animation Toolworks’ Video LunchBox, an innovative frame-grabbing tool for animators, students, seven year-olds and potato farmers alike! INTERNETINTERNET ANIMATIONANIMATION 38 Who The Heck is Jared? Well, do you know? Wendy Jackson introduces us to this very funny little yellow fellow. 39 Below The Digital Radar Kit Laybourne muses about the evolution of independent animation and looks “below the radar” for the growth of new emerging domains of digital animation. -
Creating New Animated TV Series for Girls Aged 6-12 in Britain
Creating New Animated TV Series for Girls Aged 6-12 in Britain Lindsay Watson This article focuses on the development and marketing of animated female lead charac- ters on television for an audience of girls aged 6-12 in Britain. Using strategic marketing theory it asks the questions: “What do girls want (to see on screen)?” “How do they get it?” and “How do we (the animation industry) sell it?” The paper reviews 87 starring fe- male lead characters worldwide and finds that most are: 2D in design, feature characters with American accents, have a cast of either group or independent characters and are of either a ‘dramatic’ or ‘dramatic/comedic’ genre. The article concludes that the types of television shows girls are watching could be improved to better meet their needs. It encourages content creators to be brave and test new ideas and offers practical tips to executives, producers and commissioners on development and positioning of new ani- mated television series that will engage their audiences. Personal Preface As an animation producer, academic, and campaigner for indie animation and women’s rights I decided in 2013 that I wanted to answer the question: Why aren’t there more animated female characters on British children’s TV? That year also happened to be the year I launched Animated Women UK – since then a lot has changed! The 1980s was a great time for empowered animated female leads in TV series as merchandisers recognised audience buying power (Perea, 2014). This didn’t translate to the big screen as from 1995 to 2012 most of Pixar’s films featured male leads. -
THE ANIMATED TRAMP Charlie Chaplin's Influence on American
THE ANIMATED TRAMP Charlie Chaplin’s Influence on American Animation By Nancy Beiman SLIDE 1: Joe Grant trading card of Chaplin and Mickey Mouse Charles Chaplin became an international star concurrently with the birth and development of the animated cartoon. His influence on the animation medium was immense and continues to this day. I will discuss how American character animators, past and present, have been inspired by Chaplin’s work. HISTORICAL BACKGROUND (SLIDE 2) Jeffrey Vance described Chaplin as “the pioneer subject of today’s modern multimedia marketing and merchandising tactics”, 1 “(SLIDE 3). Charlie Chaplin” comic strips began in 1915 and it was a short step from comic strips to animation. (SLIDE 4) One of two animated Chaplin series was produced by Otto Messmer and Pat Sullivan Studios in 1918-19. 2 Immediately after completing the Chaplin cartoons, (SLIDE 5) Otto Messmer created Felix the Cat who was, by 1925, the most popular animated character in America. Messmer, by his own admission, based Felix’s timing and distinctive pantomime acting on Chaplin’s. 3 But no other animators of the time followed Messmer’s lead. (SLIDE 6) Animator Shamus Culhane wrote that “Right through the transition from silent films to sound cartoons none of the producers of animation paid the slightest attention to… improvements in the quality of live action comedy. Trapped by the belief that animated cartoons should be a kind of moving comic strip, all the producers, (including Walt Disney) continued to turn out films that consisted of a loose story line that supported a group of slapstick gags which were often only vaguely related to the plot….The most astonishing thing is that Walt Disney took so long to decide to break the narrow confines of slapstick, because for several decades Chaplin, Lloyd and Keaton had demonstrated the superiority of good pantomime.” 4 1 Jeffrey Vance, CHAPLIN: GENIUS OF THE CINEMA, p. -
List Article – Top 3 Best Adult Animated Series on Television For
List Article – Top 3 Best Adult Animated Series On Television For a few decades, cartoons were only for children. Either they were filled with kid-friendly story lines or they were “PC” enough that everyone could enjoy them. What a terrible world... Luckily, something fantastic occurred in the late 80’s: adult animation went mainstream. All of a sudden, it was cool to be in college and watching cartoons. Sometimes the shows were good, other times they were odd and still others were just plain terrible. After 25 years, tons of shows have come and gone, with only a few standing out as the best of the best. Here are my top 3 adult animated series of all time: 3) Family Guy By the late 1990’s when we thought we had seen in all, Seth MacFarlane arrived. After a few years of animating children’s cartoons, Seth brought to the table one of the raunchiest, most terrible and insulting programs we had ever seen. Family Guy is the 3rd best adult cartoon in history. Another record-breaking series from Fox, the show centers on the Griffin family from Rhode Island. Peter (the idiot), Lois (the sane one), Chris (the Peter-in-training), Meg (the ugly one) and baby Stewie (the evil one), along with the family dog, Brian (the pretentious one) spend their days living lives of greed, lust, violence and every other major sin known to man. Every episode is filled with hilarious moments, mainly from the flashback cutaways, which have now become a standard in all animation. -
The Logical Linguistics
International Journal of Latest Research in Humanities and Social Science (IJLRHSS) Volume 01 - Issue 11, www.ijlrhss.com || PP. 10-48 The Logical Linguistics: Logic of Phonemes and Morae Contained in Speech Sound Stream and the Logic of Dichotomy and Dualism equipped in Neurons and Mobile Neurons Inside the Cerebrospinal Fluid in Ventricular System Interacting for the Unconscious Grammatical Processing and Constitute Meaning of Concepts. (A Molecular Level Bio-linguistic Approach) Kumon “Kimiaki” TOKUMARU Independent Researcher Abstract: This is an interdisciplinary integration on the origins of modern human language as well as the in- brain linguistic processing mechanism. In accordance with the OSI Reference Model, the author divides the entire linguistic procedure into logical layer activities inside the speaker‟s and listener‟s brains, and the physical layer phenomena, i.e. the speech sound stream or equivalent coded signals such as texts, broadcasting, telecommunications and bit data. The entire study started in 2007, when the author visitedthe Klasies River Mouth (KRM) Caves in South Africafor the first time, the oldest modern human site in the world.The archaeological excavation in 1967- 68 (Singer Wymer 1982) confirmed that (anatomically) modern humanshad lived inside the caves duringthe period120 – 60 Ka (thousand years ago), which overlaps with the timing of language acquisition, 75 Ka (Shima 2004). Following this first visitIstarted an interdisciplinary investigation into linguistic evolution and the in- brain processing mechanism of language through reading various books and articles. The idea that the human language is digital was obtained unexpectedly. The Naked-Mole Rats (Heterocephalus glaber) are eusocial and altruistic. They live underground tunnel in tropical savanna of East Africa. -
Vol. 3 Issue 4 July 1998
Vol.Vol. 33 IssueIssue 44 July 1998 Adult Animation Late Nite With and Comics Space Ghost Anime Porn NYC: Underground Girl Comix Yellow Submarine Turns 30 Frank & Ollie on Pinocchio Reviews: Mulan, Bob & Margaret, Annecy, E3 TABLE OF CONTENTS JULY 1998 VOL.3 NO.4 4 Editor’s Notebook Is it all that upsetting? 5 Letters: [email protected] Dig This! SIGGRAPH is coming with a host of eye-opening films. Here’s a sneak peak. 6 ADULT ANIMATION Late Nite With Space Ghost 10 Who is behind this spandex-clad leader of late night? Heather Kenyon investigates with help from Car- toon Network’s Michael Lazzo, Senior Vice President, Programming and Production. The Beatles’Yellow Submarine Turns 30: John Coates and Norman Kauffman Look Back 15 On the 30th anniversary of The Beatles’ Yellow Submarine, Karl Cohen speaks with the two key TVC pro- duction figures behind the film. The Creators of The Beatles’Yellow Submarine.Where Are They Now? 21 Yellow Submarine was the start of a new era of animation. Robert R. Hieronimus, Ph.D. tells us where some of the creative staff went after they left Pepperland. The Mainstream Business of Adult Animation 25 Sean Maclennan Murch explains why animated shows targeted toward adults are becoming a more popular approach for some networks. The Anime “Porn” Market 1998 The misunderstood world of anime “porn” in the U.S. market is explored by anime expert Fred Patten. Animation Land:Adults Unwelcome 28 Cedric Littardi relates his experiences as he prepares to stand trial in France for his involvement with Ani- meLand, a magazine focused on animation for adults. -
Exaptation, Grammaticalization, and Reanalysis
Heiko Narrog Tohoku University Exaptation, Grammaticalization, and Reanalysis Abstract The goal of this paper is to argue that exaptation, as introduced into the study of language change by Lass (1990, 1997), in specific functional domains, is a limited alternative to grammaticalization. Exaptation, similarly to grammaticalization, leads to the formation of grammatical elements. Like grammaticalization, exaptation is based on the mechanism of reanalysis. It decisively differs from grammaticalization, however, as it implies change in the opposite direction, namely from material absorbed in the lexicon back to grammatical material. Two sets of data are presented as evidence for the replicability of this process. One involves the occurrence of exaptation across languages in a specific semantic domain, namely, the evolution of morphological causatives out of lexical verb patterns. The other data pertain to recurrent processes of exaptation in one language, namely in Japanese, where exaptation figures in the development of various morphological categories. In all cases of exaptation, reanalysis is crucially involved. This serves to show that reanalysis may be more fundamental to grammatical change than both grammaticalization and exaptation. Furthermore, it allows for change both with the usual directionality of grammaticalization and against it. 1. Introduction Even detractors of grammaticalization theory do not seriously challenge the fact that in the majority of cases the morphosyntactic and semantic development of grammatical material follows the paths outlined in the standard literature on grammaticalization. The two following California Linguistic Notes Volume XXXII No. 1 Winter, 2007 2 issues, however, potentially pose a critical challenge to the validity of the theory. First, there is the question of the theoretical status of grammaticalization as a coherent and unique concept. -
<Strong><Em>English Grammar for Students of Japanese
UCLA Issues in Applied Linguistics Title English Grammar for Students of Japanese (The Study Guide for Those Learning Japanese) by Mutsuko Endo Hudson. Ann Arbor: The Olivia and Hill Press, 1994 vii + 204 pp. Permalink https://escholarship.org/uc/item/29p5w1zb Journal Issues in Applied Linguistics, 5(2) ISSN 1050-4273 Author Mishina, Satomi Publication Date 1994-12-30 DOI 10.5070/L452005194 Peer reviewed eScholarship.org Powered by the California Digital Library University of California English Grammar for Students of Japanese (The Study Guide for Those Learning Japanese) by Mutsuko Endo Hudson. Ann Arbor: The Olivia and Hill Press, 1994 vii + 204 pp. Reviewed by Satomi Mishina University of California, Los Angeles English Grammar for Students ofJapanese provides a concise explanation of the key concepts and terminology of English and Japanese grammar. The title of this book may be somewhat misleading, since Hudson does not necessarily emphasize the grammar of English, but rather affords equal emphasis to the grammars of both English and Japanese. The description of English grammar and the contrastive presentation of the two grammar systems are intended to help students learning Japanese to understand its basic grammatical notions in hght of the grammar of their own native language, which, the author assumes, faciUtates the understanding of a foreign language grammar. The grammar points are addressed in separate chapters in the following basic order: parts of speech (e.g., nouns, verbs), inflections, various sentence level phenomena (e.g., subject, topic), sentence type (e.g., affirmative vs. negative, declarative vs. interrogative), tense (e.g., present tense, past tense), voice (e.g., active, passive), and types of clauses (e.g., conditional clauses, relative clauses). -
Porting Grammars Between Typologically Similar Languages: Japanese to Korean Roger KIM Mary DALRYMPLE Palo Alto Research Center Dept
Porting Grammars between Typologically Similar Languages: Japanese to Korean Roger KIM Mary DALRYMPLE Palo Alto Research Center Dept. of Computer Science 3333 Coyote Hill Rd. King's College London Palo Alto, CA 94304 USA Strand, London WC2R 2LS UK [email protected] [email protected] Ronald M. KAPLAN Tracy Holloway KING Palo Alto Research Center Palo Alto Research Center 3333 Coyote Hill Rd. 3333 Coyote Hill Rd. Palo Alto, CA 94304 USA Palo Alto, CA 94304 USA [email protected] [email protected] Abstract We report on a preliminary investigation of the dif®culty of converting a grammar of one lan- guage into a grammar of a typologically similar language. In this investigation, we started with the ParGram grammar of Japanese and used that as the basis for a grammar of Korean. The re- sults are encouraging for the use of grammar porting to bootstrap new grammar development. 1 Introduction The Parallel Grammar project (ParGram) is an international collaboration aimed at producing broad-cov- erage computational grammars for a variety of languages (Butt et al., 1999; Butt et al., 2002). The gram- mars (currently of English, French, German, Japanese, Norwegian, and Urdu) are written in the frame- work of Lexical Functional Grammar (LFG) (Kaplan and Bresnan, 1982; Dalrymple, 2001), and they are constructed using a common engineering and high-speed processing platform for LFG grammars, the XLE (Maxwell and Kaplan, 1993). These grammars, as do all LFG grammars, assign two levels of syntac- tic representation to the sentences of a language: a super®cial phrase structure tree (called a constituent structure or c-structure) and an underlying matrix of features and values (the functional structure or f- structure). -
The Right Fit a Short Animated Film a Creative Project
THE RIGHT FIT A SHORT ANIMATED FILM A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF FINE ARTS BY ZACHARY A. CRAW JAMES A. BEANE BALL STATE UNIVERSITY MUNCIE, INDIANA JULY, 2012 I. Statement of the Problem As a growing artist, animation always caught my attention, even at an early age. At that time I did not necessarily consider it art, but it was definitely something that inspired me as an artist. I can recall obsessively drawing cartoon and video game characters without really thinking about the implications or impact it would have on my later artwork. Animation has been around for quite some time. At its most primitive state, animation can be dated back to Paleolithic cave paintings and Egyptian burial chamber murals. The animation was comprised of a succession of figures that would depict a story by creating the illusion of motion. The Zeotrope is another early form of animation that can be dated back to 180 AD. It was generally a cylindrical device that was hung over a lamp, lit and moved by the heat. As with the cave and mural paintings, there was a succession of images that created the illusion of movement. When the cylindrical carousel is spun, the images will trick the eye by creating the optical illusion of image movement. Despite the fact that animation has been around since Paleolithic times, it seems it has a difficult time being seen as a viable art form alongside more traditional forms of art such as painting and sculpture.