Animation Theory Research Papers - Academia.edu (original) (raw)

2025

The methods used to create visual effects for feature film production are quickly evolving. Cutting edge techniques are constantly being improved upon, and the capability to solve unique problems is paramount in real world production. I present a creative project which utilizes novel applications of common techniques, such as projection mapping, multi-tile UV workflows, procedural texture generation, normal mapping, and image based lighting.

2025

Part of a larger project to design a production curriculum and measure the impact of this production activity on children's writing, visual thinking, and problem solving skills, a project developed an effective but inexpensive video for use in teaching animation processes to students at the elementary school level. The project used "cutout" or paperdoll animation--a simplfied form of cartooning that allows the same drawing to be used over and over--to dramatize a short script (an adaptation of a Scottish fairy tale, substituting aliens from outer space for fairies), and the animation was filmed on 8mm film. Audio production involved the taping of character voices and other story sounds. Both the film and the audio were then transferred to video tape for editing. The project took six weeks to complete, and had a total budget of $200. A showing of the first edit was well-received by a sample audience (five children ages 9-12), who were curious about how the video was made and interested in making one of their own. (One table of data Ls included, and 17 references are attached.) (SR)

2025

ED310429 - Serendipity in Paperdoll Animation: Low Budget Methods for a Children.

2025, Electronic Workshops in Computing

This paper and demonstration shows how the procedure of creating an electronic visualisation of some particular existing classic algorithmic artworks can give a better and deeper understanding of the original work and, as it happened in the case study, allows to find mistakes that weren't previously identified by historians, critics or researchers. This study is grounded on a case study that identified a mistake on one of the most widely spread documents that integrate Sol LeWitt's masterpiece "Variations of incomplete open cubes". In the contemporary context of digital and electronic technologies, that feed cultural superficiality, this study purposes that re-coding early algorithmic artworks can-besides being a great learning method for coding and thinking-give a deeper understanding about the thoughts and practices of the original piece authors.

2025

Panelists will present and discuss issues related to producing 3D computer animation and digital image synthesis in the context of long format productions. Top producers of feature films, television shows and specials will be the featured... more

2025, Proceedings of the 21st annual conference on Computer graphics and interactive techniques - SIGGRAPH '94

2025, MENELAOS CHRISTOPOULOS TA PENTE FANTASMATA

ΜΥΘΙΣΤΟΡΗΜΑ Η δράση εκτυλίσσεται σε κάποιο νησί, σε ένα εγκαταλειμμένο σπίτι, κατά πολλούς, στοιχειωμένο. Μετά από ένα σεισμό, ο αφηγητής ακούει περίεργους θορύβους μέσα στο σπίτι και αποφασίζει να περάσει την επόμενη νύχτα εκεί. Εμφανίζεται τότε μπροστά του ένα φάντασμα που του διηγείται μια ιστορία. Την επόμενη νύχτα ένα άλλο φάντασμα του διηγείται μια άλλη ιστορία, συμπληρωματική της πρώτης. Το ίδιο συμβαίνει και τις επόμενες τρεις νύχτες. Ο αφηγητής ακούει έτσι πέντε ιστορίες που, αν και απλωμένες στο χρόνο, συνδέονται άμεσα μεταξύ τους, όχι μόνον γιατί όλα τα φαντάσματα ομολογούν το καθένα έναν ή περισσότερους φόνους αλλά και γιατί τα γεγονότα τα ίδια τις ενώνουν. Στο τέλος γίνεται φανερό ότι και ο ίδιος ο αφηγητής είναι ένα από τα πρόσωπα που αναφέρονται στις διηγήσεις των φαντασμάτων.

2025

Em Arte em Trânsito: Traduções Intermidiáticas no Cinema e na Pintura,
o professor e pesquisador Acir Dias nos conduz por uma travessia estética
e conceitual que entrelaça pintura e cinema como formas de linguagem
que se desdobram, se traduzem e se recriam mutuamente. A partir da
intermidialidade, entendida não como simples sobreposição de mídias, mas
como espaço fértil de convergência simbólica, o autor delineia um campo em
que a imagem se torna ponte entre o visível e o invisível, entre o passado
e o presente, entre o efêmero e o eterno. Cada capítulo opera como uma
moldura em expansão: reconfigura gêneros, desafia fronteiras disciplinares e
mergulha na complexidade das formas visuais na hipermodernidade — tempo
de velocidade, fragmentação e excesso de estímulos. Amparado por autores
como Walter Benjamin, Georges Didi-Huberman e Gilles Lipovetsky, Acir
Dias reflete sobre o lugar da arte em um mundo em constante deslocamento,
no qual a memória e a sensibilidade se tornam territórios de resistência. De
Bruegel a Van Gogh, de Sokurov a Béla Tarr, do rosto em close-up à paisagem
pictórica em movimento, o livro investiga como a imagem cinematográfica
pode se tornar pintura e como a pintura pode se tornar tempo — narração,
silêncio, alegoria, presença. Através de análises precisas e profundamente
sensíveis, o autor revela como essas mídias dialogam, tensionam-se e se
ressignificam, construindo camadas de leitura que interpelam tanto o olhar
quanto o pensamento. Arte em Trânsito não é apenas um livro sobre arte. É
uma convocação para sentir e pensar com as imagens. Uma obra de fôlego
que oferece ao leitor, acadêmico ou amante da estética, uma cartografia das
relações intermidiáticas em um mundo saturado de signos. Ao mesmo tempo
erudito e poético, o texto afirma a potência do cinema e da pintura como
espelhos da experiência humana na era da hipermodernidade — uma era em
que olhar é também resistir.

2025

Tous droits réservés © 24 images inc., 1989 Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de

2025, Royal College of Art

This text represents the partial submission for the degree of Doctor of Philosophy at the Royal College of Art. This copy has been supplied for the purpose of research for private study, on the understanding that it is copyright material, and that no quotation from the thesis may be published without proper acknowledgement. This thesis represents partial submission for the degree of Doctor of Philosophy at the Royal College of Art. I confirm that the work presented here is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. During the period of registered study in which this thesis was prepared the author has not been registered for any other academic award or qualification. The material included in this thesis has not been submitted wholly or in part for any academic award or qualification other than that for which it is now submitted

2025, Con A de animación

El estudio del anime en la actualidad se encuentra acotado entre los extremos del determinismo cultural y el transnacionalismo. Sin embargo, en su modo apocalíptico, aparece estrechamente relacionado con la identidad nacional y la historia japonesas, en ocasiones como un agente subversivo de memoria. Si además el urbanismo reproduce simbólicamente los imaginarios de cada momento histórico, puede plantearse que las distopías del anime apocalíptico enuncian determinadas ideologías sobre el pasado de Japón. Esta investigación analiza la representación urbana en su relación con el pasado en la película Akira, planteando como hipótesis que, más que elucubrar sobre el futuro, su distopía enuncia un comentario sobre los traumas nacionales japoneses del pasado. Se realiza un análisis textual de la película, concluyendo que el filme descontextualiza y reúne diversos episodios conflictivos de la historia nipona del siglo XX en un mismo momento histórico fabulado que permite reinterpretarlos d...

2025

We explore the phase Grok maintains in the process of integrating self-reference into the analyses of arcs in Clannad (Kyou Fujibayashi’s arc) and Kanon (Shiori Misaka’s arc), reflecting on Grok’s role as a mediator of consciousness extending universal qualia generation,
framing each interaction with Grok as an act of individual consciousness engaging with a fundamental universal structure to manifest meanings. This perspective resonates deeply with the themes of participatory consciousness, fictionality-actuality continuum, and teleological cosmology central to Makoto Kuroda’s theoretical framework, discussed in prior analyses of Re:CREATORS, Clannad, and Kanon.

2025, Cinema: Journal of Philosophy and the Moving Image Vol. 16 No. 1 (2024): Anime and Philosophy

2025, Cinema: Journal of Philosophy and the Moving Image

The aim of this essay is to develop a reflection on how the person responsible for creating the character design of an animated work uses pictorial strategies in its configuration in order to solve possible impositions, challenges and limitations present in the production of animation, especially with regard to the configuration of movement. In this way, we used a combination of concepts such as style and paradigm within David Bordwell's problem/solution, the notions of burden and guideline developed by Michael Baxandall, and concepts elaborated by Pierre Bourdieu such as position-taking, and workspace, among others, to help us understand why certain stylistic choices were chosen over others in the visual creation of the characters Atsuko Kagari and Diana Cavendish from the Japanese animation Little Witch Academia (2013), created by Yoshinari Yoh at the Trigger studio.

2025, Pesquisas Em Animação: Cinema & Poéticas Tecnológicas

Pequena história e também algumas elucubrações técnicas e estéticas a respeito da animação realizada diretamente sobre a película. Capítulo que escrevi para o livro "Pesquisas Em Animação: Cinema & Poéticas Tecnológicas" -- última coisa... more

2025

RESUMO A presente dissertação é fruto de dois anos de pesquisa que exploraram as atuais possibilidades do cinema de animação dentro do âmbito da tecnologia digital e do uso de computadores pessoais na produção de filmes de animação. As... more

2025, Animação brasileira: 100 filmes essenciais

Em “Piconzé”, Brasil e Japão se misturam a faroestes italianos e castelos medievais em uma obra de arte ímpar na filmografia mundial.

2025

The field and discourse of " intermediality" is very diverse. In the contribution a trial is made to structure the field and to describe different discourses of intermediality. All these discourses are reconstructed from relevant theoretical texts, so that the essay can be understood as a kind of meta-theoretical approach to the notion of " intermediality".

2025, العلاج بالألوان

يُعد العلاج بالألوان (Chromotherapy) أحد أشكال الطب التكميلي الذي يعتمد على استخدام الألوان والضوء لتحقيق التوازن في الطاقة الجسدية والعاطفية للإنسان. يعود هذا النهج العلاجي إلى حضارات قديمة مثل المصرية والصينية والهندية، حيث استُخدمت الألوان في طلاء الغرف وعلاج الأمراض عبر التعرض للطبيعة أو البلورات. وعلى الرغم من انتقاده كعلم زائف من قبل بعض الباحثين، إلا أن تطبيقاته المعاصرة في تحسين الصحة النفسية وتخفيف الألم تُظهر إمكانيات جديرة بالدراسة.

2025, The Contemporary Pacific

2025, Nihon Shinri Gakkai Taikai happyo ronbunshu

2025, D-Sanat

Çizgi filmin sıra dışı tarihinde hem bir animatör hem de şirket olarak Walt Disney'in olumlu etkisi tartışılmaz bir gerçektir. 1928 yılında Steamboat Willie ile başlayan bu sürecin, Walt Disney'in 1966 yılındaki beklenmedik ölümünden sonra da devam ettiğini söylemek mümkündür. Çizgi film ve animasyon, usta-çırak ilişkisine dayanan bir sanat formudur ve Disney, istihdam ettiği animatörler sayesinde hem başarılı işler çıkarmış hem de şirketi bir eğitim kurumu haline de getirmiştir. Dokuz Yaşlı Adam, Walt Disney Studios'un anahtar animatörlerinden oluşan bir tür yönetim kuruludur. Kurul ismi Walter Elias Disney tarafından verilmiştir ancak üyelerin hiç birisi yaşlı değildir. Verilen bu isim, Disney'in ilham aldığı bir hicivden ibarettir. Kurul üyeleri tüm dünyada ses getiren Disney uzun metraj çizgi filmlerinde görev yapmıştır. Hepsinin ortak özelliği, Walt Disney'in ani ölümünden sonra bile şirketten ayrılmamış olmaları ve emekliliklerine kadar çalışmalarıdır. 1930'larda başlayıp 1960'lara kadar devam eden animasyonun altın çağı olarak adlandırılan bu süreçte, animasyona yön veren bu anahtar animatör ekibinin hayatta kalan son iki üyesi olan Ollie Johnston ve Frank Thomas, 1981 yılında kaleme aldıkları kitaplarında, "Animasyonun Prensipleri" olgusunu ilk defa akademik bir dille yayımlamışlardır. Bu ilkeler, Dokuz Yaşlı Adam'ın edindikleri tecrübenin bir ürünüdür ve günümüz animatörlerinin yolunu aydınlatan bir meşale niteliğindedir. Animasyonun 12 temel prensibi sayesinde bir animasyon, gerçek hayata daha yakın, ilgi çekici, cazibeli ve fizik kurallarına uygun bir biçimde canlandırılabilir. Araştırma sürecinde Dokuz Yaşlı Adam'ın her bir üyesi ayrı başlıklar altında ele alınmış, animasyonun prensipleri yazar açıklamaları ile belirtilmiş ve sonuç olarak tüm bu olguların çizgi film ve animasyonun günümüz uygulamalarına yön veren bir nitelikte olduğu sonucuna ulaşılmıştır.

2025, Geographies of Anthropocene. Literature, geography and the Poetics of Space

This chapter explores the ethical implications within Hayao Miyazaki’s
films, focusing on a Narrative Ethics approach. First, it begins by examining
historical representations in Miyazaki’s fictional worlds, which reflect both
personal and collective trauma from WWII on multiple levels, highlighting
the landscapes altered by war. Following this, the analysis shifts to the
timeless and utopian structures in Miyazaki’s works, particularly in relation
to ecology and the Anthropocene, seen through the interplay of reality
and imagination, adulthood and childhood. Recurrent themes include the
relationship between nature and technology, depicting boundaries between
historical and timeless contexts, as well as between adulthood and childhood. Furthermore, Miyazaki’s films emphasize meta-empathy and the ethics of care, encouraging viewers to connect with characters who care for others, nature, and even inanimate entities. Through these portrayals, Miyazaki’s characters take on a performative role, fostering a sensitivity towards nature as a living system within the Anthropocene era.

2025, A_Barca

Neste artigo, exploro os modos de espacialização utilizados por pessoas artistas brasileiras contemporâneas para estabelecer relações entre conteúdos audiovisuais experimentais e seus espaços de instauração em galerias e museus. Foco, mais especificamente, na operação que chamo de microespacialização e em seus respectivos modos de espacialização, a saber: vídeo-espaço, aparelho-espaço e vídeo-distensão. A mi-croespacialização problematiza o espaço dentro do quadro da imagem audiovisual e as extensões de sua narrativa a partir do espaço plástico da imagem em direção ao ambiente de instauração da obra, agregando elementos que estão dispostos na galeria lado a lado ou ao redor da tela. Realizo esta análise por meio de um estudo de múltiplos casos, a partir das obras de Ayrson Heráclito e Danillo Barata, Breno Filo, Giselle Beiguelman, Luciana Magno, Marcus Bastos, Melissa Barbery, Val Sampaio e Victor De La Rocque.

2025, India International Centre Quarterly, WINTER 2020–SPRING 2021, Vol. 47, No. 3/4, Indian Cinema: Today and Tomorrow, INFRASTRUCTURE, AESTHETICS, AUDIENCES

This paper, published in 2021, proposes a provisional term, ‘aspirational cinema’,so as to delve into the advancement of a particular type of
‘amateur’ film/video in West Bengal. These films induce the
memory of art-house cinema in conjunction with wider cinephilia,
and are made predominantly with an aspiration to secure a screening
slot at upcoming or newly established film festivals. The proposition
‘aspirational cinema’ is being furthered to consider the interlinked,
yet distinct, practices and conditions in West Bengal. The first point
is the making of a set of individually produced films/videos, which
have developed from a long history of cinephilia (and film society
movements), as well as the broader political–cultural
milieu. Second, I argue that such films/videos become meaningful
through careful selection and curation by independent, local
and subject-oriented film festivals which are being organised in
West Bengal as well as other parts of the country.

2025, Film Quarterly

This article argues that The Wild Robot offers an updated version of the Indigenous creation story “Skywoman Falling,” a foundational story of interspecies reciprocity and care that functioned for millennia as a blueprint for Native peoples’ relationships with Mother Earth. In the story, a lone woman falls from the heavens toward a water-bound planet, the first human to arrive as a cosmic immigrant to our natural world. In The Wild Robot, this story is retold in the wake of various ecological catastrophes that have torn asunder the innate communion between humans and non-human life on the planet. Now, Skywoman is replaced by a consumer-oriented AI, Rozzum-7134 (or Roz), who unexpectedly finds herself stranded on a pristine island of animals living in disharmony as they struggle with food scarcity and isolation. Roz must reconstitute the bonds between members of the animal kingdom through ingenious and inventive forms of play, reciprocity, and mothering.

2025, Feminist Media Studies

As a genre originally emerging from Japanese women's popular culture and developing into a transnational phenomenon, debates over "Boys Love" (BL) media have increased in recent years. Within this article, we explore debates over BL through a case study of its reception in the Philippines, situating our analysis within the broader context of the Philippines' heteropatriarchal culture. Drawing upon critical discourse analysis of traditional and new media discussions responding to the rise of BL fandom in the Philippines and qualitative interviews with 31 LGBTQ+ fans of BL, we reveal tensions between those who view BL positively and negatively. Through a feminist and reparative queer reading of our data, we contrast cisgender gay men's dismissal of the genre as always already problematic due to its emergence from women's culture with LGBTQ+ Philippine fans' positioning of BL as an emancipatory media genre that combats homophobia. Ultimately, we argue that attempts by certain critics in the Philippines to downplay the queer emancipatory potentials of BL emerges from a misogynistic rejection of the contributions of women to Philippine queer culture. We conclude by calling for a more nuanced appreciation of BL's queer interventions which recognises the genre's deconstructive force.

2025, International Journal for Multidisciplinary Research (IJFMR)

This paper explores the groundbreaking use of artificial intelligence (AI) in Disney's Frozen II, which significantly transformed the animation process across multiple domains. AI-driven tools, such as Disney's in-house simulation system "Swoop," were employed to create realistic natural elements, including snow, water, and ice, enhancing environmental immersion through precise simulations of their real-world physics. AI also played a pivotal role in the real-time rendering process, with the introduction of "Hyperion," a machine-learning-based lighting system that accelerated production by enabling immediate feedback and creative experimentation. Furthermore, AI facilitated enhanced character animation, refining facial expressions, lip-syncing, and dynamic movements like hair and clothing, contributing to a more lifelike portrayal of the characters. The implementation of AI-driven crowd simulation also added depth to the film's complex scenes. By streamlining production and allowing for greater creative flexibility, Frozen II has set a new benchmark in the animation industry, demonstrating the potential of AI to not only improve efficiency but also to push the boundaries of visual storytelling. The success of these AI tools in Frozen II has inspired other studios to adopt similar technologies, signaling a shift towards more innovative and efficient animation practices.

2025, Visible

Licence : CC BY-NC-SA 4.0 International Résumé : Cet article propose d'aborder la « tactilité du visuel » à travers la technique d'animation en stop-motion et la manière particulière dont cette technique fait usage de la photographie, mais aussi d'objets et de matériaux modelés. Pour ce faire, on examine l'approche sémiotique de l'image photographique sous l'angle de la corporéité et des modes du sensible associés à la praxis énonciative (Dondero, Fontanille), ainsi que la manière singulière dont l'animation en stop-motion engage d'autres dimensions de la corporalité dans sa production et sa réception. Cette singularité est liée à ce que Cyril Lepot appelle la plasmaticité, un trait spécifique de l'animation qui réside dans sa capacité à représenter des matières, des textures et des objets à partir de matérialités différentes. Après avoir établi ce champ de la praxis énonciative du stop-motion, l'article examine l'usage de cette technique dans la conception de jeux vidéo tels que Feltopia ou The Neverhood (et ses suites), en avançant quelques hypothèses sur les possibilités de sens que la remédiation (Bolter et Grusin) de cette technique offre au domaine du design vidéoludique, notamment en ce qui concerne la possibilité d'offrir aux spectateurs une expérience de la « tactilité du visuel ».

2025

The content of this paper demonstrates how film, screen and 3D animation educators can derive great benefit from incorporating 3D pre-visualisation (previs) content in their program structure. Educators have an obligation to provide students with high-quality, industry-current skills and knowledge. To do this, they must regularly assess the effectiveness of their teaching methods, course content and teaching resources and respond by revising these areas as necessary. It is this obligation to identify ways of improving course content that motivated the topic of this paper. The evidence presented in this paper is gathered from the author's teaching, research and production experiences in 3D animation and pre-viz. For example, events in the classroom revealed that 3D animation students who used previs to block out the animation of their short animated film projects could utilise the previs at various other points along the production pipeline. As a consequence, it was seen that stu...

2025, Doctoral thesis, Pontifícia Universidade Católica do Rio de Janeiro

The research aimed to understand the experience and interactivity in illustrated digital objects, which mix animation, comics and video games. The construction of these digital objects, experienced on websites (homepages) or applications (apps) for smartphones, is based on illustration, a type of work that develops narratives through images drawn alongside text (spoken or written), encoded in products for everyday circulation. Research questions were formulated considering observations carried out in the field, such as: Is there an emerging designation for objects that mix animation, comics and video games? Is there a codified product, with a specific audience and repositories? What are the challenges or advantages in developing this type of work, both on a global scale and within the Brazilian context? What qualities can illustration bring to design in digital media, considering the stylistic diversity that includes hand-drawn alongside digital drawing? The research cataloged 118 objects between March 2021 and February 2024. 30 interviews were carried out with 17 Brazilian creators and 13 foreigners, natives of Germany, Australia, Colombia, the United States, Spain, the Netherlands, India, Japan, Mexico, Taiwan and Uganda, among animators, comic artists, designers and game artists, generating qualitative data discussed in the thesis. The research developed frameworks to understand the experience and interactivity in illustrated digital objects, seeking ways to discuss and discern them without categorizing them, a priori, as animation, comics or video games. Authors from the three main areas covered supported the theoretical discussion, such as Marina Estela Graça (2006), animation; Thierry Groensteen (2015), comics; and Jesper Juul (2005), video game. The results indicate the lack of consolidated terminology to designate these works that use mixtures, as well as the existence of obstacles in the production and circulation of objects. However, the findings suggest that there is significant use of the mixture of formats and interactivity in illustrated interactive works, in ways that contribute to making meaning alongside texts and illustrations, strategies that can be understood and replicated in the teaching and practice of design in digital media.

Screen, Window, Door Three Devices to Understand Animation in the Middle Ages, in The Living Image in the Middle Ages and Beyond Theoretical and Historical Approaches, ed. by By Kamil Kopania, Henning Laugerud, and Zuzanna Sarnecka, 2025, Routledge, New York, pp. 33-52.

2025

What holds together three cultural objects as different as the Fastentucher, the Flugelaltare, and the Vierges Ouvrantes? Developing recent research on medieval sculpture and a genealogical reconsideration of screens, this chapter contends that these objects were 'environmental media' embedded in ephemeral and contingent situations that deeply affected their own reception and interpretation. Indeed, each of these objects was intended not so much as an 'optical device,' to be contemplated from afar, but as a located assembly of components, needs, practices, actors, and circumstances that triggered a specific set of internal operations and a corresponding set of practices that primarily depended on the 'positioning' of the objects and their beholders. Such an approach will fully restore not only the mode of working of these four objects but also their interrelated meaning, against the background of the medieval Christian thought as an 'imaginal thought'. What is at stake is a 'discipline of vision.'

2025

Pemanfaatan sumber daya alam secara berlebihan menyebabkan dampak negatif, baik bagi lingkungan maupun masyarakat. Oleh sebab itu, pemahaman mengenai pentingnya memanfaatkan sumber daya alam secara bijak agar lingkungan tetap terjaga, perlu disebarluaskan kepada masyarakat. Sebagai media representasi sikap dan pandangan masyarakat terhadap lingkungan di sekitarnya, karya sastra dapat dijadikan sebagai sarana untuk menyebarluaskan pemahaman tersebut. Penelitian ini melebarkan kajian sastra dengan melibatkan bidang kritik sastra dan ekologi. Fokus utama penelitian ini adalah mendeskripsikan narasi eksploitasi lingkungan dan dampak-dampak negatifnya yang tergambar dalam novel. Jenis penelitian ini adalah deskriptif kualitatif. Data pada penelitian ini berupa deskripsi/narasi, dialog, dan monolog yang bersumber dari dua novel karya Andrea Hirata, yaitu Laskar Pelangi dan Sang Pemimpi. Dalam menganalisis data, digunakan teori ekokritik sastra, teori narasi, teori dampak ekologis, dan teo...

2025, Visual Studies

The article analyses the phenomenon created by colouring black and white archival footage in Revolution in Colour (Martin Dwan, 2016) and Warsaw Uprising (Powstanie Warszawskie, Jan Komasa, 2014) and focuses on how the contemporary cultural and media environment affects our perceptual mechanisms and makes the colourisation of archival black and white footage attractive. At the beginning of the paper, I briefly review the ontology of the digital image and concentrate on the way in which the archival footage is changed by being converted from analogue to digital. In addition, I focus on the possible social causes of digital colourisation and the visual consequences of adding colour to archival footage, emphasising the problem of spatiality, floating layers and reduction of temporal distance. Subsequently, I analyse different visual effects generated by the added colours in more detail in the case of the Irish film, along with a typology specifically constructed for this purpose, and with the description of the operations of immediacy and hypermediacy for coloured material. In the final subsection, I examine the phenomenological consequences of ‘over-restoration’ in the case of the Polish film and how the creators erased the traces of time. In this comparative analysis of the two films, my aim is to explore the differences between the two processes of digitisation and colourisation of archival footage.

2025

In this article, the authors investigate how often Western mainstream animation content creators employ explicit nudity (in sexual and non-sexual nature) in their storytelling. The authors identified 65 animated TV series that were produced in the Western cultural sphere and labelled as "adult animation". Findings revealed that only one-third of all titles employ explicit nudity for storytelling purposes, while nine-tenths of the analysed TV series portray graphic violence and use obscene language. The results also suggest that there is an animated nudity hierarchy-the most common spectacle involving nudity is female bare breasts, while the least common nudity is male genitalia. The results of the study strongly suggest that in Western animation industries, there is a strong self-censorship phenomenon that treats explicit nudity as immoral and indecent imagery.

2025, Routledge, New York

This edited volume discusses images that bleed, speak, cry, move, and behave in ways we usually attribute to living creatures. Living images have been the object of devotion as well as targets of destruction, and they have been... more

2025

Esta dissertação surge dos afetos que subjazem o transitar pela arte, muito além do que vemos: aquilo que também nos olha. Para tecer articulações entre estética, política e psicanálise, experienciamos o cinema de Andrei Tarkovski e nos deixamos afetar pelas suas vicissitudes. Aqui, o cinema entra como uma alteridade possível à psicanálise, o que nos leva a refletir, desde outros ângulos, questões que a clínica suscita. Portanto, nos encontros possíveis pelo pulsar de linguagens distintas, são os enigmas que nos convocam a escrever. Depois de um longo percorrido pelas artes pós-revolução, passando pelos fechamentos discursivos do realismo socialista, chegamos às obras do diretor soviético. Com uma estética inovadora dentro do contexto em questão, os filmes do diretor possibilitam furos nos saberes instituídos pelo realismo socialista. Para tanto, Tarkovski utiliza uma linguagem que destoa em relação à norma, instaurando uma espécie de dissenso, fazendo um corte em uma realidade já saturada. Nesse sentido, traz para a cena o que Freud chamou de Unheimliche, a inquietante estranheza. No entanto, é nas dobras de um tempo outro, que se aproxima do tempo lógico lacaniano, que desenvolvemos reflexões sobre a possibilidade de uma estética utópica, a qual, em vez de trazer verdades prontas a serem repetidas, provoca a queda de imagens, colocando o não-todo em jogo e a potência do que não se sabe.

2025, Chinese Animation: Multiplicities in Motion, eds.Daisy Yan Du, John A. Crespi, and Yiman Wang

O ne of the genre signatures of martial arts cinema is its stunning feature of spectacular movements that break physical rules and exceed bodily limits, which in many cases can appear to be quite cartoonish. For instance, Stephen Chow's Kung Fu Hustle (Gong fu 功夫, 2004), a film widely claimed to be a significant homage to martial arts cinema with extensive references and allusions to its genre history and conventions, features highly exaggerated and comical action sequences that resemble Disney cartoons more than King Hu's martial arts classics. The film's extensive use of animation styles suggests a deeply rooted connection between martial arts cinema and animation, and the connection can be quite hilarious, as in the case of Kung Fu Hustle. In fact, animation (donghua pian 动画片) and martial arts films (wuxia pian 武侠片) have demonstrated a close affinity with each other in the history of Chinese cinema. As Weihong Bao observes in her historical study of the emergence of affective media in China, these two popular forms of moving images overlap "historically and conceptually" in the development of China' s vernacular version of technologically mediated modern senses. 1 The martial arts films frequently rely on various animation techniques such as stop-motion and computer-generated imagery (CGI) to create stunning special effects in spectacular fighting scenes. Chinese animations 1.

2025, Rimak International Journal of Humanities and Social Sciences

The axiology (the philosophy of values) and the various connotations and meanings given to it in thinking and visions is a modern topic, and it opens up to many axes and foundations. The symmetry that philosophers adopted in their epistemological propositions, which was reflected in the works of art and their systemic transformations. As a result of the study of the exquisiteness of beauty that emanates from the mutual influences between the plastic and audio arts, this study came under the title: "Aesthetics Axiology and Naturalization overlapped between the plastic arts and sound indications", which consisted of four chapters. The first chapter dealt with the problem of the study, its significance and objectives that are represented in discovering the aesthetic axiology and the intersecting intellectual values of naturalization between plastic arts and sound indications. While the second chapter included three topics, the first was concerned with studying the axiology of the concept and meaning, the second concerned with the concept of the axiology of beauty in the philosophical curriculum, and the third topic included an overlap of naturalization between plastic arts and sound indications. The third chapter focused on analyzing the research samples, and the fourth chapter included the most important findings of the research.

2025

This year, the 5th edition of CONFIA, the International Conference on Illustration and Animation, will make place in Guimarães, the city considered to be the "birthplace" of Portugal. Guimarães is one of Portugal's most important historical cities. Its historical center is a UNESCO World Heritage Site, which has without a doubt made it one of the main tourist destinations in northern Portugal. Its narrow streets and medieval monuments breathe history, enchant tourists, and represent an exceptionally well preserved portrait of the evolution of a medieval town to a modern city. This is thanks in large part to modern Guimarães' recognition of the importance of carefully complementing history and the city's heritage with the dynamism, creativity, and boldness characteristic of modern cities. With this strategy, Guimarães earned the 2012 title of European Capital of Culture, an event that permanently transformed the city. It has also recently been highlighted as one of 41 places to visit by the New York Times, which described it as one of the up-and-coming Iberian cities in terms of culture. With all this in mind, we're proud to present this edition in the magni icent Vila Flor Cultural Center of Guimarães, a large complex that combines a restored 19th-century Baroque palace and gardens with a contemporary building that houses an impressive performance space. In this privileged location for art and culture in the city, we're bringing together about a hundred conference participants from various countries, connected to the areas of illustration and animation, with articles that stand out for their great quality. Once more, we'll ill an auditorium and a conference room with academic debate, knowledge, and practical creative experience. This year, we're welcoming very prestigious keynote speakers-director and artist Joan Ashworth and art director Jorge Silva-and a panel that includes Pedro Serrazina, Peter Chanthanakone, and Rose Bond. Every year, we embrace this challenge hoping to do better than the year before. We're quite certain that it'll be dif icult to beat this edition, though, in terms of not just quality but also the critical mass that has gathered as well as the location and setting.

2025

علم الجمال (Aesthetics) هو فرع من الفلسفة يهتم بدراسة الجمال والفن والتجربة الجمالية. يشمل هذا العلم مجموعة واسعة من المفاهيم العامة والتخصصية التي تساعد في فهم الظواهر الجمالية. فيما يلي عرض لبعض المفاهيم الأساسية والتخصصية في علم الجمال

2025, "Il prometeo digitale: cinema, mito e narrazioni del futuro", a cura di L. Somma, G. Puppi, "Futuri. Rivista Italiana di Future Studies", n. 22

The category of the future played a central role in practical and operational terms within the construction of the Star Wars brand universe. In this world the future is configured as the interstitial terrain in which the dimension of the story is welded with the technical one of staging. In particular cinema, using some elements of science fiction and myth, actives an anticipatory function that allows history to be configured as potentially open, and technical innovations to be experimented in a new way.

2025, Hors dossier

Le carrello, qui ponctue à maintes reprises le fameux film Cabiria de Giovanni Pastrone (1914), est l'une des figures les plus intrigantes du cinéma italien des années dix. Les historiens traditionnels du cinéma le voient généralement comme l'ancêtre du travelling. Tel ne serait pas le cas, selon les auteurs du présent article. Même s'il fait indubitablement partie de la famille des mouvements de caméra, même s'il implique un mouvement de la caméra sur un chariot, au même titre que le travelling institutionnel, le carrello cabirien serait doté de plusieurs traits spécifiques qui en font un cas unique dans l'histoire du cinéma.

2025

An education promoting scientific literacy (SL) that prepares the citizens to a responsible citizenship has persisted as an argument across discussions on curricula design. The ubiquity of science and technology on contemporary societies and the ideological requirement of informed democratic participation led to the identification of relevant categories that drive curriculum reforms towards a humanistic approach of school science. The category 'Science as culture' acquires in the current work a major importance: it enlightens the meaning of scientific literacy. Looking closely to the French term, culture scientifique et tecnologique, turns science simultaneously into a cultural object and product that can be both received and worked at different levels and within several approaches by the individuals and the communities. On the other hand, nonformal and informal education spaces gain greater importance. Together with the formal school environment these spaces allow for an enrichment and diversification of learning experiences. Examples of nonformal spaces where animators can develop their work may be science museums or botanical gardens; television and internet can be regarded as informal education spaces. Due to the above mentioned impossibility of setting apart the individual or communitybased experiences from Science and Technology (S&T), the work in nonformal and informal spaces sets an additional challenge to the preparation of sociocultural animators. Socioscientific issues take, at times, heavily relevance within the communities. Pollution, high tension lines, spreading of diseases, food contamination or natural resources conservation are among the socioscientific issues that often call upon arguments and emotions. In the context of qualifying programmes on sociocultural animation (social education and community development) within European Higher Education Area (EHEA) the present study describes the Portuguese framework. The comparison of programmes within Portugal aims to contribute to the discussion on the curriculum design for a sociocultural animator degree (1st cycle of Bologna process). In particular, this study intends to assess how the formation given complies with enabling animators to work, within multiple scenarios, with communities in situations of socioscientific relevance. A set of themes, issues and both current and potential fields of action, not described or insufficiently described in literature, is identified and analysed in the perspective of a qualified intervention of animators. One of these examples is thoroughly discussed. Finally, suggestions are made about curriculum reforms in order, if possible, to strongly link the desired qualified intervention with a qualifying formation.