DOCSLIB.ORG

History of Animation in the Beginning

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
History of Animation in the Beginning History of Animation In the Beginning... Edweard MuyBridge "Humans in Motion" stop motion photos - studied the dynamics of animal movement this way. Zoetrope Zoetrope (series of sequential images in a revolving drum) when the drum is revolved the slits in the drum creates the illusion of motion and becomes first movie- similarly film creates this illusion by having one image then black then image then black again. Thaumatrope (disk with one image on each side) twirl it and the two images superimpose on each other. two frame animation. French Brothers Auguste and Louis Lumiere Technology for recording of sequential images on a flexible film base. (1895) - most of the first films were French and released in America... Norman McLaren - Canadian - organized the National Film Board of Canada. Cel and Paper Animation Technique By mid-1910s animation production in US already dominated by the techniques of cel and paper. cell animation was more popularized in America than in Europe because of assembly line Taylorism that had taken America by storm. Cell Animation was most appropriate to the assembly-line style of manufacturing because it took a whole line of persons working on very specific and simple repetitive duties. On the other hand, in Europe where the assembly-line style of work was not encouraged, clay animation and other forms of animation that required only a few individuals working on the set at a time was more popularized. Because the actual set could only afford a limited amount of individuals working at one time together and no more this style and other alternative forms of animation became more widely accepted. Disney - cell animation - draw each image one at a time using onion-skinning technique. Early Disney where mechanical techniques still used. Arms literally extend not stretch... Cell Animation Process Traditional cell animation - drawings created one by one animators create the keyframe and assistances create inbetweens; onion skinning process used to make easier the reference drawing of each additional image. Synched Sound: Steamboat Willie - released November 18, 1928 - Disney Disney created the first cartoon synchronized with sound entitled 'Steamboat Willie' At first Disney tried to reach a deal with RCA or Western Electric to record the soundtrack but were turned down. Instead Walt contracted with bootleg Powers Cinephone process and even with a disastrous first recording finally in a session recorded the soundtrack with a 15-piece band and his very own Mickey squeaks. The Future of Animation 3d Animation Toy Story - released November 22, 1995 On entrance of computers and 3d driven software... feature length films of high polish can be created virtually in 3d. Toy Story is considered to be a first animated feature ever generated completely on computers. Disney and Pixar partnered up to create this film. From storyboard to final render - the many steps in creation of digital imagery Combination of 3d and 2d Iron Giant - released 1999 Even if Iron Giant looks as if it were completely drawn the traditional way - cell by cell - the big giant robot is actually designed in 3d and output as a 2d image using Maya with the added help of proprietary software. One of the drawbacks of this method is the perfect and rigid quality of the line rendered out of a 3d package. The perfect line is what separated it from 2d techniques so the solution was to "simplifying the design somewhat and not having too many surface shading areas", says Brad Bird director of The Iron Giant. Secondly, Brian Gardner created a program that caused line imperfections on the Giant randomly. They called it Wobble. Most of the backgrounds although 2d in look were also 3d renderings. The backgrounds were stretched a bit so that it appeared as if you were going around something. Fishing - released 1999 -Pacific Data Images use of non-realistic photo realistic rendering in 3d - water color effects "Character Animation is all about what the character is thinking...At times, he was getting lost. Is he happy or sad? So we punched it up. Rather than having him just look up at the sky, we had him jump off the ground just a bit. That touch better communicates what he's thinking, what he's feeling. That's all I do all day long as a character animatormove 3d models to look like they're thinking." - David Gainey Dinosaur - released 2000 With each new step into the next generation of computer graphics comes new and more believable CGI characters such as those found in Dinosaur. In Dinosaur the creation and implementation of realistic digital hair on the lemurs is included. Animation is the rapid display of a sequence of images of 2-D or 3-D artwork or model positions in order to create an illusion of movement. It is an optical illusion of motion due to the phenomenon of persistence of vision, and can be created and demonstrated in a number of ways. The most common method of presenting animation is as a motion picture or video program, although several other forms of presenting animation also exist. Animation Tool - 3d Max - Adobe photoshop - Adobe illustrator - Coral painting - Draw pad - Pensil, brush, pen The History of Malaysia Animation!! Abstract Malaysian animation field has grown so well from the past of few years. There are many Malaysian films today are using animation to make it more interesting such as Cicakman, Brainscan, Susuk, Antoo Fighter and many more. 3D animation also has grown larger these days and more importantly, the Malaysian peoples with all ages have accept our animation. Some of the animation that has attracts Malaysian are Upin dan Ipin, Kacang, Saladin and Geng:Pengembaraan bermula... Year by year, there are large numbers of graduates entering the industry. There also many of animation school and course are made through the Malaysia. However, Malaysian animation is still at the crossroads. The delay of approving contracts by the government-owned TV station caused some producers to fold up or downsize. In the same time, many foreign animation, films, and TV series are flooding our TV channel. How could this happen while our products still floating nowhere? As a Malaysian, we must support our local products first no matter animations, films, TV series and also musics. Action is urgently required to prevents Malaysian animation from stagnating. In this post, I will give expose about our animation history in order to for us to more appreciate our animation industry and people before us who are fighting to make animation are accepted in this country. I hope with this expose, we can continue the journey of making animation more development in Malaysia. The Beginning Wayang Kulit(shadowplay) are said to one of the earliest animation in Malaysia. It is a puppet with articulating arms and manipulated by the Tok Dalang(storyteller). Wayang Kulit give the inspiration to a German animator, Lotte Reiniger to do her film, THE ADVENTURES OF PRINCE ACHMED. However, animation in Malaysia are formaly began in 1946 after the establishment of Malayan Film Unit(now Filem Negara). It is first was made only for government documentaries and advertisement. In 1963, the first short animation, HIKAYAT SANG KANCIL, was made handled by Anandam Xavier, a set designer who was intrained in animation. He planned, animated and did all the background with only one assistant, Goh Meng Huat. The animation was completed in 1978 but screened in 1983. The successful of this animation led to making other 5 short film that is: 1. SANG KANCIL DAN MONYET (1984) 2. SANG KANCIL DAN BUAYA (1987) 3. GAGAK YANG BIJAK (1985) 4. ARNAB YANG SOMBONG (1986) 5. SINGA YANG HALOBA(1986) The 2 commercial animation studios are then was established, FilmArt(1984) and Lensamation(1987), led to the training and creation of many animators. A number Japanese animation were post-animated at Lensamation. Live action features films began to include animated titles and animation sequences. At this time, all animation are done manually. The Turning Point When Tun Dr. Mahathir Mohamad, Malaysia's fourth Prime Minister, came in 1981, he immediately initiated the push for the use of digital technology. This resulting in the producing of the long-form animation industry came in 1994 to promote locally-made animated TV series. The aim was to cut down on foreign imports as well as increase local contents. The first TV series animation was screened in 1995, that is Usop Sontorian. In less than 10 years, the industry has produced numerous animation TV series, feature films and telemovies. 50% of these animation were animated with the direct-to-system method(drawing directly into the computer). List of animation produced in less than 10 years: 1. SILAT LAGENDA (1998; first feature film) 2. PUTEH (2001; film) 3. KARTINI (1997; telemovies) 4. NIEN RESURRECTION (2000; first 3D) 5. SKYLAND (2001; 21 episode 3D animation TV series) A number of Malaysian cartoonist had their characters tuned into animation: 1. LAT - Kampung Boy (developed in US and animated in Philippines) 2. IMUDA - Mat Gelap ( first combination of live action and animation) 3. NAN - Din Teksi 4. UJANG - Usop Sontorian (first TV Series) However, Malaysia still lacking an adult audience because, as usuall, Malaysia people mindset is still regarded as local animation are catering only for children. Even if the animation for adults could be done, there is no market locally. Both Silat Lagenda and Puteh lost money. Local Animation films, like serious local live action films do not sell in Malaysia. Conclusions Animation in Malaysia have grown so big day by days. As a Malaysia we must support our animation industry and not just to 'judge the book by its cover'.
Load more

Recommended publications
  • The Evolution of Malaysian Cartoon Animation
    THE EVOLUTION OF MALAYSIAN CARTOON ANIMATION Faryna Mohd Khalis Normah Mustaffa Mohd Nor Shahizan Ali Neesa Ameera Mohamed Salim [email protected], [email protected], [email protected], [email protected] ABSTRACT A cartoon can be defined as an unrealistic style of sketching and or funny figures that can make people laugh. Aside from entertainment purposes, cartoons are also used to send messages without a serious tone and indirectly telling something sarcastically. In April 2019, Malaysia was shocked by the headline that ‘Doraemon’ had been selected to represent the Japanese themed cartoon exhibition in conjunction with Visit Malaysia 2020. Malaysian art activists, specifically those who has a cartoon animation background, were very upset and expressed their dissatisfaction with the news. Local legendary cartoonist Datuk Lat also showed his disappointment and made a stand that a local cartoon character should have been chosen to represent Malaysia. Therefore, this research aims to illustrate the development of Malaysian cartoons from when they first started in newspapers, until their existence today in the form of animation on digital platforms. In sequence, Malaysia produced cartoons in newspapers, magazines, blogs, television and cinema, whereby this is in parallel with the development of technology. From hand- drawn art for ‘Usop Sontorian’ to digital animation for the film ‘Upin dan Ipin’, Malaysians should be more appreciative and proud of our local cartoons rather than those from other countries. Keywords: Local identity, Characteristic, Animation, Comic, Character design. Introduction Cartoons are fundamentally known as entertainment for kids. But due to cultural values, technological development and education, our cliché perception has changed to that cartoons are actually a source of effective communication for all ages (Muliyadi, 2001, 2010, 2015).
    [Show full text]
  • Komposisi Muzik We Were Here Dalam Animasi Iban's Migration
    KOMPOSISI MUZIK WE WERE HERE DALAM ANIMASI IBAN'S MIGRATION. Wendy James Jengan Sarjana Muda Seni Gunaan dengan Kepujian (Muzik) 201~ KOMPOSISI MUZIK WE WERE HERE DALAM ANIMASI IBAN'S MIGRA TION. WENDY JAMES JENGAN Projek ini merupakan salah satu keperluan untuk Ijazah Sarjana Muda Seni Gunaan dengan Kepujian (Muzik) Fakulti Seni Gunaan dan Kreatif UNIVERSITI MALAYSIA SARAW AK 2013 UNIVERSITI MALAYSIA SARAW AK BORANG PENGESAHAN STATUS TESIS ruDUL KOMPOSISI MUZIK WE WERE HERE DALAM ANIMASI IBAN'S MIGRATION. SESI PENGAJIAN :2009-2013 Saya WENDY JAMES JENGAN mengaku membenarkan tesis * ini disimpan di Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dengan syarat-syarat kegunaan seperti berikut: 1. Tesis adalah hak milik Universiti Malaysia Sarawak. 2. Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dibenarkan membuat salinan untuk tujuan pengajian sahaja. 3. Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dibenarkan membuat pendigitan untuk membangunkan Pangkalan Data Kandungan Tempatan. 4. Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dibenarkan membuat salinan tesis ini sebagai bahan pertukaran antara institusi pengajian tinggi. 5. *S ila tandakan ("" ) SULIT (Mengandungi maklumat yang berda~ah keselamatan D atau kepentingan seperti termaktub di dalam AKTA RAHS IA RASMI 1972) (Mengandungi maklumat Terhad yang telah ditentukan TERHAD D oleh organisasiibadan di mana penyelidikan G TIDAK TERHAD II TANDATANGAN PENULIS TANDATANGAN PENYELIA Tarikh : )..tl01- {I ~ Tarikh: P4-. or· .;to (;:, Alamat Tetap: 305, lorong 4f4,Tabuan Desa , 93350, Kuching, Sarawak. Catatan: * Tesis dimaksudkan sebagai tesis bagi Ijazah Doktor Falsafah, Sarjana dan Sarjana Muda * lika tesis ini SULIT atau TERHAD, sila lampirkan surat daripada pihak berkuasaJorganisasi berkenaan dengan menyatakan sekali sebab dan tempoh tesis ini perlu dikelaskan sebagai TERHAD.
    [Show full text]
  • Upin & Ipin: Promoting Malaysian Culture Values Through Animation
    Upin & Ipin: Promoting malaysian culture values through animation Dahlan Bin Abdul Ghani Universiti Kuala Lumpur [email protected] Recibido: 20 de enero de 2015 Aceptado: 12 de febrero de 2015 Abstract Malaysian children lately have been exposed or influenced heavily by digital media entertainment. The rise of such entertainment tends to drive them away from understanding and appreciating the values of Malaysian culture. Upin and Ipin animation has successfully promoted Malaysian folklore culture and has significantly portrayed the art of Malaysian values including Islamic values by providing the platform for harmonious relationship among different societies or groups or religious backgrounds. The focus of this research is to look into the usage of Malaysian culture iconic visual styles such as backgrounds, lifestyles, character archetypes and narrative (storytelling). Therefore, we hope that this research will benefit the younger generation by highlighting the meaning and importance of implicit Malaysian culture. Key words: Upin and Ipin; animation; narrative; folklore; culture; character archetypes. Upin e Ipin: promoviendo la cultura malasia a través de los valores de la animación Resumen Recientemente los niños en Malasia están siendo fuertemente expuestos cuando no influenciados por los medios masivos de entretenimiento digital. Esto les lleva una falta de comprensión y apreciación de la importancia de los valores de su propia cultura. La serie de animación propia Upin & Ipin ha promovido con éxito las diferentes culturas de Malasia y obtenido valores culturales significativos que representan a su arte, incluyendo el islámico, y proporcionando así una plataforma de relación armónica entre los diferentes grupos que componen la sociedad en Malasia, ya sea civil o religiosa.
    [Show full text]
  • International Journal of Creative Multimedia
    International Journal of Creative Multimedia Promoting Positive Values While Emphasising on Aesthetical Perspectives in University Students through Adaptation of Knowles Seven Step Process of Andragogical Approach Juhanita Jiman [email protected] University Malaysia of Computer Science and Engineering (UNIMY) Abstract This paper intends to illustrate how Knowles’ seven step process of androgogical approach can help educators to better facilitate animation students with acquired technological knowledge and skills while exposing them to critical aesthetical elements and ethical principles. It is important for educators to understand that they are dealing with young adults who are highly affected by their environments in this borderless world. Therefore, educators are responsible for more than just academics; they also have social roles. To resolve these concerns, an effective androgogical approach can be advantageous for both educators and students. We used to assume that teaching pedagogy was necessary at all levels of education; however, since university students are no longer children, pedagogical methods are not entirely relevant to them. Pedagogy is a teaching method that focuses on children, while andragogy is a teaching approach that focuses on adults and helps them learn more effectively. When people grow older, they become more self- reliant and accountable for their actions. The pedagogical model, in several ways, fails to take care for such developmental shifts, resulting in individual stress, frustration, and resistance. Due to the rapid development in technology, animation students have become highly aggressive in their pursuit of technological expertise, leading them to ignore and overlook the importance of a story's core values. As educators, we must not only help them achieve their goals in terms of technical abilities, and professional experience, but also teach them what is right and wrong, and inspire them to instil moral principles in their work.
    [Show full text]
  • PG Diploma Programs Experts of the Industry
    www.icat.ac.in 1 68 STUDENT 04 28 RESOURCES WELCOME ABOUT THE Partial List of Recruitment Partners 68 Eligibility & Admission Procedure 72 TO ICAT UNIVERSITY Fees 73 Course Administration 74 Words from the CEO 04 Annamalai University 28 General Information 76 About Image Group 05 Gallery 77 Management Committee 05 Image Group Milestones 06 Growing Demand for Creative Professionals 08 Welcome to ICAT Design & Media College 10 The ICAT Advantage 11 30 58 Knowledge Brigade 12 Accolades & Achievements 14 Guest Lectures 18 UG & MASTERS PG DIPLOMA Industry Workshops 24 PROGRAMS PROGRAMS B.Sc. Animation 30 P.G. Diploma Programs 58 B.Sc. Visual Effects 32 PG Diploma in Animation 60 B.Sc. Game Art and Design 34 PG Diploma in Visual Effects 61 B.Sc. Game Design & Development 36 PG Diploma in Game Design 62 B.Sc. Game Programming 38 PG Diploma in Game Development 63 B.Sc. Photography 40 PG Diploma in Multimedia Technologies 64 B.Sc. Graphic Design 42 PG Diploma in Interior Design 65 B.Sc. Fashion Design & Communication 44 PG Diploma in UI Design & Development 66 B.Sc. Interior Architecture 46 PG Diploma in Advertising Design 67 B.Sc. Media Technology 48 B.Sc. UI Design & Development 50 B.Sc. Visual Media 52 M.Sc. Multimedia 54 M.Sc. Game Technology 56 2 www.icat.ac.in www.icat.ac.in 3 WORDS FROM ABOUT MANAGEMENT THE CEO IMAGE GROUP COMMITTEE We always relate creativity with artists and artistic medium. ICAT proves this notion to be wrong and helps students to understand that creativity is much more than art.
    [Show full text]
  • Uncanny Valley of Life : the Existence in 3D Animation in Shadow Puppets Theatre
    Journal of Computing Technologies and Creative Content 1(1), 1-5, August 2016 Uncanny Valley of Life : The Existence in 3D Animation in Shadow Puppets Theatre Dahlan Abdul Ghani Universiti Kuala Lumpur Malaysian Institute of Information Technology Menara Bandar Wawasan, PO 50250 Kuala Lumpur [email protected] original hypothesis states that as the appearance of a robot is made Abstract - Mori (1970) proposed a theoretical graph describing a nonlinear relation between a character’s degree of human likeness and more human, some human observer's emotional response to the the emotional response of the human perceiver. With the current scenario robot will become increasingly positive and empathic, until a point that Wayang Kulit or shadow puppets is slowly being extinct; the pursuit is reached beyond which the response quickly becomes that of a of realism in virtual humans including Wayang Kulit 3D puppets can strong revulsion. This area of repulsive response aroused by a robot cause a phenomenon known as The “Uncanny Valley”. Furthermore, 3D with appearance and motion between a "barely human" and "fully computer animated or virtual puppets are more focused on issues human" entity is called the Uncanny Valley. With computer 3D pertaining to realism compared to the abstract visual such as Wayang animation, it provides a platform for the audience to view visuals or Kulit itself. Therefore, this research will discuss on issues which arises in the Uncanny Valley of Life that exists especially with Wayang Kulit 3D shadow puppets with 3D perspective, depth, weight, size and computer animated puppet characters. emotions, in the realm of absolutely ‘Real’.
    [Show full text]
  • Tajuk Perkara Malaysia: Perluasan Library of Congress Subject Headings
    Tajuk Perkara Malaysia: Perluasan Library of Congress Subject Headings TAJUK PERKARA MALAYSIA: PERLUASAN LIBRARY OF CONGRESS SUBJECT HEADINGS EDISI KEDUA TAJUK PERKARA MALAYSIA: PERLUASAN LIBRARY OF CONGRESS SUBJECT HEADINGS EDISI KEDUA Perpustakaan Negara Malaysia Kuala Lumpur 2020 © Perpustakaan Negara Malaysia 2020 Hak cipta terpelihara. Tiada bahagian terbitan ini boleh diterbitkan semula atau ditukar dalam apa jua bentuk dan dengan apa jua sama ada elektronik, mekanikal, fotokopi, rakaman dan sebagainya sebelum mendapat kebenaran bertulis daripada Ketua Pengarah Perpustakaan Negara Malaysia. Diterbitkan oleh: Perpustakaan Negara Malaysia 232, Jalan Tun Razak 50572 Kuala Lumpur Tel: 03-2687 1700 Faks: 03-2694 2490 www.pnm.gov.my www.facebook.com/PerpustakaanNegaraMalaysia blogpnm.pnm.gov.my twitter.com/PNM_sosial Perpustakaan Negara Malaysia Data Pengkatalogan-dalam-Penerbitan TAJUK PERKARA MALAYSIA : PERLUASAN LIBRARY OF CONGRESS SUBJECT HEADINGS. – EDISI KEDUA. Mode of access: Internet eISBN 978-967-931-359-8 1. Subject headings--Malaysia. 2. Subject headings, Malay. 3. Government publications--Malaysia. 4. Electronic books. I. Perpustakaan Negara Malaysia. 025.47 KANDUNGAN Sekapur Sirih Ketua Pengarah Perpustakaan Negara Malaysia i Prakata Pengenalan ii Objektif iii Format iv-v Skop vi-viii Senarai Ahli Jawatankuasa Tajuk Perkara Malaysia: Perluasan Library of Congress Subject Headings ix Senarai Tajuk Perkara Malaysia: Perluasan Library of Congress Subject Headings Tajuk Perkara Topikal (Tag 650) 1-152 Tajuk Perkara Geografik (Tag 651) 153-181 Bibliografi 183-188 Tajuk Perkara Malaysia: Perluasan Library of Congress Subject Headings Sekapur Sirih Ketua Pengarah Perpustakaan Negara Malaysia Syukur Alhamdulillah dipanjatkan dengan penuh kesyukuran kerana dengan izin- Nya Perpustakaan Negara Malaysia telah berjaya menerbitkan buku Tajuk Perkara Malaysia: Perluasan Library of Congress Subject Headings Edisi Kedua ini.
    [Show full text]
  • Full Paper Proceeding CARS-March-2019
    Full Paper Proceeding-ARS 2nd International Conference on Advanced Research in Economics, Social Sciences & Trade Development ISBN: 972-81-615-9001-3 Character Design towards Narrative Believability of Boboiboy in the Malaysian Animated Feature Film Boboiboy: The Movie (2016) Mohd. Suhaimi Juhan1, Norlela Ismail2 1,2Faculty of Film, Theatre & Animation, Universiti Teknologi MARA, Malaysia [email protected] Keywords: Abstract: Designing a character in animation film is crucial especially when it concerns narrative Character believability. A character is designed to complement the narrative especially believable animated character. A Design, believable animated character allows the audience to perceive the characters as a life-like character thus the Narrative, ‘illusion of life’ well-constructed. In order to achieve a greater effect close to life-like character, a believable Believability, animated character must also be appropriately timed, and his emotions must be clearly demonstrated (Joseph Animation Bates, 1994). It is also argued that a believable animated character moves according to his emotional state and Films, personality throughout his journey in the narrative similar features as presented in live action films. Problems BoBoiBoy arise if a character is not bothered about what happens in his world or is emotionally detached of his surroundings. If the characters do not react or respond to his circumstances, they did not take action, the audience will not care about what happens to them. Characters without emotions are considered as a robot. The scenario becomes even worse if the physical features of a character do not match with the personality. This paper attempts to examine the qualities and personalities of BoBoiBoy in BoBoiBoy: The Movie (2016) that make him a believable character with ‘life-like’ form and clear demonstration of human-like basic emotions even though he is personified as a little boy with superpower qualities.
    [Show full text]
  • Download Your Free Digital Copy of the June 2018 Special Print Edition of Animationworld Magazine Today
    ANIMATIONWorld GOOGLE SPOTLIGHT STORIES | SPECIAL SECTION: ANNECY 2018 MAGAZINE © JUNE 2018 © PIXAR’S INCREDIBLES 2 BRAD BIRD MAKES A HEROIC RETURN SONY’S NINA PALEY’S HOTEL TRANSYLVANIA 3 BILBY & BIRD KARMA SEDER-MASOCHISM GENNDY TARTAKOVSKY TAKES DREAMWORKS ANIMATION A BIBLICAL EPIC YOU CAN JUNE 2018 THE HELM SHORTS MAKE THEIR DEBUT DANCE TO ANiMATION WORLD © MAGAZINE JUNE 2018 • SPECIAL ANNECY EDITION 5 Publisher’s Letter 65 Warner Bros. SPECIAL SECTION: Animation Ramps Up 6 First-Time Director for the Streaming Age Domee Shi Takes a Bao in New Pixar Short ANNECY 2018 68 CG Global Entertainment Offers a 8 Brad Bird Makes 28 Interview with Annecy Artistic Director Total Animation Solution a Heroic Return Marcel Jean to Animation with 70 Let’s Get Digital: A Incredibles 2 29 Pascal Blanchet Evokes Global Entertainment Another Time in 2018 Media Ecosystem Is on Annecy Festival Poster the Rise 30 Interview with Mifa 71 Golden Eggplant Head Mickaël Marin Media Brings Creators and Investors Together 31 Women in Animation to Produce Quality to Receive Fourth Mifa Animated Products Animation Industry 12 Genndy Tartakovsky Award 72 After 20 Years of Takes the Helm of Excellence, Original Force Hotel Transylvania 3: 33 Special Programs at Annecy Awakens Summer Vacation Celebrate Music in Animation 74 Dragon Monster Brings 36 Drinking Deep from the Spring of Creativity: Traditional Chinese Brazil in the Spotlight at Annecy Culture to Schoolchildren 40 Political, Social and Family Issues Stand Out in a Strong Line-Up of Feature Films 44 Annecy
    [Show full text]
  • THE CASE of DENGUE CAMPAIGN by MBAZZAKI MAYIMUNA a Di
    A COMPARISON OF ANIMATED AND HUMAN CHARACTER PUBLIC SERVICE ANNOUNCEMENTS: THE CASE OF DENGUE CAMPAIGN BY MBAZZAKI MAYIMUNA A dissertation submitted in fulfilment of the requirement for the degree of Master of Human Sciences (Communication) Kulliyyah of Islamic Revealed Knowledge and Human Sciences International Islamic University Malaysia OCTOBER 2011 ABSTRACT This experimental study investigates the effectiveness of using animated characters in a public service announcement (PSA) on preventing dengue. The study seeks to find the difference in recall of animated and human character PSAs. This research also intends to unveil the difference in recall of PSAs between the recency and control groups. Using a post-test - only control group design, the researcher randomly assigned a total of 80 young adults to three experimental groups which are, animated group (who watched animated PSA only), human character group (who watched human character PSA only), recency group (who watched animated PSA in the last order) and one control group (no treatment given). The independent t-test analysis demonstrates that there was a significant difference in recall of the animated and human character PSAs with the results indicating that there was better recall for the animated PSA than the human character PSA. Furthermore, the test generated significant results for the recency effect towards recall of PSA. There was better recall of the PSA for the recency group unlike the control group which performed poorly in recall of PSA content. Generally, the results in this study suggest that animated characters and recency effect may enhance recall of PSA content. The researcher concludes that PSAs designed in persuasive formats with animation may play a pivotal role in raising public awareness on important societal issues that affect them and other people around them, for example awareness on the global burden of dengue and how to prevent it.
    [Show full text]
  • The Efficiency Issues on the Animation Production Stages
    THE EFFICIENCY ISSUES ON THE ANIMATION PRODUCTION STAGES WAN MUHAMMAD BIN WAN ABDUL AZIZ MASTER OF ART 2017 The Efficiency Issues On The Animation Production Stages by WAN MUHAMMAD BIN WAN ABDUL AZIZ A thesis submitted in fulfillment of the requirements for the degree of Master of Art Faculty of Creative Technology and Heritage UNIVERSITI MALAYSIA KELANTAN 2017 THESIS DECLARATION I hereby certify that the work embodied in this thesis is the result of the original research and has not been submitted for a higher degree to any other University or Institution. OPEN ACCESS I agree that my thesis is to be made immediately available as hardcopy or on-line open access (full text). EMBRAGOES I agree that my thesis is to be made available as hardcopy or on-line (full text) for a period approved by the Post Graduate Committee. Dated form___________ until _____________ CONFIDENTIAL (Contains confidential information under Official Secret Act 1972)* RESTRICTED (Contains restricted information as specified by the organization where research was done)* I acknowledge that University Malaysia Kelantan reserves the right as follows. 1. The thesis is the property of University Malaysia Kelantan. 2. The library of University Malaysia Kelantan has the right to make copies for the purpose of research only. 3. The library has the right to make copies of the thesis for academic exchange. ________________________ ___________________________ SIGNATURE SIGNATURE OF SUPERVISOR 850425-03-5219 DR NIK ZULKARNAEN BIN KHIDZIR Date: Date: i ACKNOWLEDGEMENT Author the opportunity to express the gracefully to Allah s.w.t for giving a strength to complete writing thesis.
    [Show full text]
  • Fusion Art Style of Malaysian & Japanese Anime
    International Journal of Innovative Technology and Exploring Engineering (IJITEE) ISSN: 2278-3075, Volume-8, Issue-11S2, September 2019 Fusion Art Style of Malaysian & Japanese Anime Dahlan Abdul Ghani, Nor Masliza Binti Md Azahar Abstract— Japanese development fusion and fashion eaten up via adults thru variety of type or report hobbies commonly depicted by way of excellent delineations, fiery such DragonBall, Naruto, Slam Dunk and generously extra. characters and fantastical subject matters. in any case, the In step with Dr. Susan J. Napier, an educator of the Malaysian movement continues to be new in this industry and japanese software program at Tufts university and acclaimed nevertheless has nonappearance of attempt in conveying quality vivacity from normal to pc empowered. eastern are commonly anime reporter, anime did now not see its whole rebuilding requested via goal measurement, including children's, kids, until later within the 20th century: "eastern anime was from youngsters and a various volume of types targeting an person the start in particular hard to find out in the West like collecting of observers. The cause of the research to discover celebrity Blazers crossed into American tv, however they about the similar characteristics appears at between Malaysian were regularly Americanized to the point of being vague improvement and japanese movement. This paper will examine with infelicitous names, American names, and once in a on more than one views which relates towards the socially various effect of Malaysian and eastern anime, for instance, while, distorted plot lines. By way of one way or the other, individual plan and cultural. anyhow, some the watchers began to peer that they had been seeing some thing awesome from American tv section and Keyword : Japanese Animation, Malaysian Animation, ultimately wound up aware about the japanese roots." character design, cross-cultural (Susan, 2007).
    [Show full text]