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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. -
Kristián Néky (FAV, Bakalárské Prezenčné Štúdium)
Masarykova univerzita Filosofická fakulta Ústav filmu a audiovizuální kultury Kristián Néky (FAV, bakalárské prezenčné štúdium) Stratégie spoločnosti Rooster Teeth v oblasti online video tvorby v rokoch 2003–2019 Bakalárska diplomová práca Vedúci práce: Mgr. Michal Večeřa, Ph.D. Brno 2019 Prehlasujem, že som pracoval samostatne a použil iba tu uvedené zdroje. V Brne dňa 20. 6. 2019 ......................................................... Kristián Néky Ďakujem Mgr. Michalovi Večeřovi, Ph.D. za všetky pripomienky, rady a trpezlivosť, ktoré mi venoval pri vedení tejto bakalárskej práce. Rád by som zároveň poďakoval svojej rodine a najbližším priateľom, ktorí mi boli vždy silnou oporou. OBSAH 1 ÚVOD ............................................................................................................................................... 5 1.1 PROBLEMATIKA ZDROJOV ...................................................................................................... 6 2 MACHINIMA AKO FOLKLÓRNA ANIMÁCIA NA PRELOME STOROČÍ .............................................. 8 2.1 POČIATKY FENOMÉNU MACHINIMA ...................................................................................... 8 2.2 QUAKE A CESTA KINEMATOGRAFIE VIRTUÁLNYCH PRIESTOROV KU ŠIROKÉMU INTERNETOVÉMU PUBLIKU............................................................................................................... 11 2.3 PÔVODNÁ DEMOSCÉNA ....................................................................................................... 16 2.4 POPULARIZÁCIA KINEMATOGRAFIE -
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. -
Runaway Film Production: a Critical History of Hollywood’S Outsourcing Discourse
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository RUNAWAY FILM PRODUCTION: A CRITICAL HISTORY OF HOLLYWOOD’S OUTSOURCING DISCOURSE BY CAMILLE K. YALE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctoral Committee: Professor John C. Nerone, Chair and Director of Research Professor James W. Hay Professor Steven G. Jones, University of Illinois at Chicago Professor Cameron R. McCarthy ABSTRACT Runaway production is a phrase commonly used by Hollywood film and television production labor to describe the outsourcing of production work to foreign locations. It is an issue that has been credited with siphoning tens of millions of dollars and thousands of jobs from the U.S. economy. Despite broad interest in runaway production by journalists, politicians, academics, and media labor interests, and despite its potential impact on hundreds of thousands—and perhaps millions—of workers in the U.S., there has been very little critical analysis of its historical development and function as a political and economic discourse. Through extensive archival research, this dissertation critically examines the history of runaway production, from its introduction in postwar Hollywood to its present use in describing the development of highly competitive television and film production industries in Canada. From a political economic perspective, I argue that the history of runaway production demonstrates how Hollywood’s multinational media corporations have leveraged production work to cultivate goodwill and industry-friendly trade policies across global media markets. -
MPEG-7-Aligned Spatiotemporal Video Annotation and Scene
MPEG-7-Aligned Spatiotemporal Video Annotation and Scene Interpretation via an Ontological Framework for Intelligent Applications in Medical Image Sequence and Video Analysis by Leslie Frank Sikos Thesis Submitted to Flinders University for the degree of Doctor of Philosophy College of Science and Engineering 5 March 2018 Contents Preface ............................................................................................................................................ VI List of Figures .............................................................................................................................. VIII List of Tables .................................................................................................................................. IX List of Listings .................................................................................................................................. X Declaration .................................................................................................................................... XII Acknowledgements ..................................................................................................................... XIII Chapter 1 Introduction and Motivation ......................................................................................... 1 1.1 The Limitations of Video Metadata.............................................................................................. 1 1.2 The Limitations of Feature Descriptors: the Semantic Gap ..................................................... -
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. -
Animating Race the Production and Ascription of Asian-Ness in the Animation of Avatar: the Last Airbender and the Legend of Korra
Animating Race The Production and Ascription of Asian-ness in the Animation of Avatar: The Last Airbender and The Legend of Korra Francis M. Agnoli Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Art, Media and American Studies April 2020 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 2 Abstract How and by what means is race ascribed to an animated body? My thesis addresses this question by reconstructing the production narratives around the Nickelodeon television series Avatar: The Last Airbender (2005-08) and its sequel The Legend of Korra (2012-14). Through original and preexisting interviews, I determine how the ascription of race occurs at every stage of production. To do so, I triangulate theories related to race as a social construct, using a definition composed by sociologists Matthew Desmond and Mustafa Emirbayer; re-presentations of the body in animation, drawing upon art historian Nicholas Mirzoeff’s concept of the bodyscape; and the cinematic voice as described by film scholars Rick Altman, Mary Ann Doane, Michel Chion, and Gianluca Sergi. Even production processes not directly related to character design, animation, or performance contribute to the ascription of race. Therefore, this thesis also references writings on culture, such as those on cultural appropriation, cultural flow/traffic, and transculturation; fantasy, an impulse to break away from mimesis; and realist animation conventions, which relates to Paul Wells’ concept of hyper-realism. -
Animation Software Free Download Windows 7L
Animation Software Free Download Windows 7l Animation Software Free Download Windows 7l 1 / 3 2 / 3 7 Best Rotoscoping Software for your Animation Project · 10 Best Free VPN Software for your Windows PC. Filed Under: Freeware.. Freeware Files.com - Download free Animation Software. ... OS: Windows XP/Vista/7/8/10 (32-Bit/64-Bit). In: Free Graphics Tools > Animation .... Download and install the best free apps for Animation Software on Windows, Mac, iOS, and Android from CNET Download.com, your trusted source for the top .... for Windows, Linux and OSX. Download ... Download. We providing two flavors of binary builds of Synfig for all supported operating systems. Please choose ... Synfig is a free and open-source software licensed under GNU GPL v3. ... Microsoft Windows 7 or above; Dual-Core CPU at 2 Ghz or better; 2GB RAM or more .... Adobe Animate CC (Adobe Flash Professional)2017. ... The most popular animation software. ... Free and Easy Animated Movie Maker for Both Beginners and Experts.. 10 Best Free Download Animation Software for Windows and Mac 2020 ... 7, Anim8or, Windows, Difficult, 3D animation is Anim8or's main function.. Make professional cartoon animation videos for education, business, marketing and training with Animiz cartoon video creator tool.. List of best free download 2D and 3D animation software for Windows 10/8/7, for beginners & professionals. Small companies and freelance .... 1 Download Moviestorm. The Moviestorm Installer for Windows will start to download automatically in a few seconds. Save the file to a suitable folder (Right).. Easily create stunning 2D animations using keyframes with this motion graphics software. Export to video, flash, GIF or HTML5. -
VIDEO GAME SUBCULTURES Playing at the Periphery of Mainstream Culture Edited by Marco Benoît Carbone & Paolo Ruffino
ISSN 2280-7705 www.gamejournal.it Published by LUDICA Issue 03, 2014 – volume 1: JOURNAL (PEER-REVIEWED) VIDEO GAME SUBCULTURES Playing at the periphery of mainstream culture Edited by Marco Benoît Carbone & Paolo Ruffino GAME JOURNAL – Peer Reviewed Section Issue 03 – 2014 GAME Journal A PROJECT BY SUPERVISING EDITORS Antioco Floris (Università di Cagliari), Roy Menarini (Università di Bologna), Peppino Ortoleva (Università di Torino), Leonardo Quaresima (Università di Udine). EDITORS WITH THE PATRONAGE OF Marco Benoît Carbone (University College London), Giovanni Caruso (Università di Udine), Riccardo Fassone (Università di Torino), Gabriele Ferri (Indiana University), Adam Gallimore (University of Warwick), Ivan Girina (University of Warwick), Federico Giordano (Università per Stranieri di Perugia), Dipartimento di Storia, Beni Culturali e Territorio Valentina Paggiarin, Justin Pickard, Paolo Ruffino (Goldsmiths, University of London), Mauro Salvador (Università Cattolica, Milano), Marco Teti (Università di Ferrara). PARTNERS ADVISORY BOARD Espen Aarseth (IT University of Copenaghen), Matteo Bittanti (California College of the Arts), Jay David Bolter (Georgia Institute of Technology), Gordon C. Calleja (IT University of Copenaghen), Gianni Canova (IULM, Milano), Antonio Catolfi (Università per Stranieri di Perugia), Mia Consalvo (Ohio University), Patrick Coppock (Università di Modena e Reggio Emilia), Ruggero Eugeni (Università Cattolica del Sacro Cuore, Milano), Roy Menarini (Università di Bologna), Enrico Menduni (Università di -
Machinima As Digital Agency and Growing Commercial Incorporation
A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Megan R. Brown December 2012 © 2012 Megan R. Brown. All Rights Reserved 2 This thesis titled A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation by MEGAN R. BROWN has been approved for the School of Film and the College of Fine Arts by Louis-Georges Schwartz Associate Professor of Film Studies Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT BROWN, MEGAN R., M.A., December 2012, Film Studies A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation (128 pp.) Director of Thesis: Louis-Georges Schwartz. This thesis traces machinima, films created in real-time from videogame engines, from the exterior toward the interior, focusing on the manner in which the medium functions as a tool for marginalized expression in the face of commercial and corporate inclusion. I contextualize machinima in three distinct contexts: first, machinima as historiography, which allows its minority creators to articulate and distribute their interpretation of national and international events without mass media interference. Second, machinima as a form of fan fiction, in which filmmakers blur the line between consumers and producers, a feature which is slowly being warped as videogame studios begin to incorporate machinima into marketing techniques. Finally, the comparison between psychoanalytic film theory, which explains the psychological motivations behind cinema's appeal, applied to videogames and their resulting machinima, which knowingly disregard established theory and create agency through parody.