Stop-motion Animation

Tema ovog rada je tradicionalna animacija i primena tehnike animacije u produkciji kratkog animiranog filma. Pismeni deo ovog rada obuhvata sve korake u izradi animiranog filma. Pažnja je posvećena koracima ovog procesa, proširenim kroz pretprodukciju, produkciju i postprodukciju. Realizacija praktičnog dela rada urađena je sa Adobe After Effects, Adobe Photoshop i Adobe Premiere Pro.

The theme of this paper is the traditional animation and application of animation technique in the production of a short animated film. The written part of this work covers all the steps involved in making an animated film. Attention is paid to the steps of this process, expanded through pre-production, production and postproduction. The realization of the practical part of the work was made with Adobe After Effects, Adobe Photoshop and Adobe Premiere Pro.

The animation industry in Rahat, the largest Bedouin city within Arab society, serves as more than just a visually striking creative medium; it is a powerful tool for thought and communication, deeply influencing cultural norms and addressing the community’s daily challenges. By delving into and illuminating Bedouin traditions, animation offers a vital platform for engaging with heritage and reinforcing collective identity, all while exemplifying the crucial balance between tradition and modernity. Additionally, animation plays a pivotal educational role for children and youth, fostering value-driven learning and inspiring creative expression within the community. Concurrently, this emerging field is spurring technological advancement, nurturing entrepreneurship and innovation in digital content creation, and enhancing media and technology skills among the younger generation, thereby shaping the future of the Bedouin society in the Negev.

El surrealismo, movimiento fundado por autores como André Breton o Louis Aragon durante la década de 1920, ha dejado una impronta en la cultura de Occidente que va más allá del alcance espacial y temporal del movimiento en sí mismo. Asimismo, pese a que el significado de la mujer en el movimiento (tanto como artista como en su representación) ha sido muy debatido, el trabajo de artistas de su tiempo y posteriores ha sido permeable a muchas de las propuestas estéticas y vitales del movimiento. Esta propuesta pretende aproximarse a la rebeldía femenina tal y como se insinúa o plantea en obras de influencia surrealista, en las que lo femenino, en una posición ambivalente entre la infancia y la edad adulta, se dibuja como potencia subversiva a través del sueño, la fantasía o el juego, poniendo en tela de juicio el orden simbólico establecido.

Tomamos para ello una serie de obras que abordan esta cuestión tanto en la literatura (a partir de la obra Alicia en el País de las Maravillas, de Lewis Carroll); como en el cine, a través de las películas checas: Alice (Jan Svankmajer, 1988), Las margaritas (Vera Chytilová, 1966) y Valerie y su Semana de las maravillas (Jaromil Jires, 1970), así como en el trabajo en vídeo de la artista suiza Pipilotti Rist.

In this thesis I will analyze and discuss the work of renowned director Jan Švankmajer. Specifically, I will examine how director Jan Švankmajer‘s representation of the body creates a metaphorical language. In addition, I will address what meaning can be gathered from, or made apparent through the commentary of the body‘s language and discuss the significance of the socio-political implications. Prior to my discussion of Švankmajer‘s work I will give a concise socio-political history of the Czech Republic from 1968-1994; this discussion will provide a framework for the subsequent analyses. In order to provide support for my argument, I will discuss the relationship between Švankmajer‘s work and Michael Foucault‘s theory of the „body politic“, Patrick Fuery‘s theory of the „cinematized body“ and Mikhail Bakhtin‘s theory of the image of the grotesque body. After discussing the implication of these theories I will discuss three of Švankmajer‘s films in order to specifically address the...

Textos redactados por Samuel Viñolo Locubiche para el libro "100 años de animación española: Arte y tecnología", editado por Sygnatia en 2016 (ISBN: 978-84-946243-0-8).
INCLUYE RESEÑAS SOBRE:
Alfredo el cartero y la máquina reparadora
Alike
Asha
Balin
Birdboy
Blackie y Kanuto
Canis
Cleo y Cuquín
Cloudtrotters
Cuatro amigos y medio
D'Artacán y los tres mosqueperros
El apache de Londres
El viaje de Saïd
Érase una vez
Extraordinary tales
Garbancito de la Mancha
Glup una aventura sin desperdicio
Habitat
Imp
Invizimals
Juanito Jones
Koki
La corona mágica
La noche del océano
Los Fruittis
Los muertitos
Los sueños de Tay Pi
Marco Antonio rescate en Hong Kong
Megasónicos
Olentzero y el tronco mágico
Papá soy una zombie
Peraustrínia 2004
Picasso la alegría de vivir
Pos eso
Pregúntale a Lara – Ask Lara
Psiconautas
Pumpkin reports
Saari
Sendokai Champions
The Imp
Tom
Vitaminix
William Wilson
Yoko y sus amigos
Zepo

The paper investigated the impact of training on academic staff of federal universities in North-Central Nigeria. This study made use of the descriptive survey research design. Three research questions were raised, and three hypotheses were generated for testing. The target population of the study comprised of all academic staff of four public federal universities in North East Nigeria. The sample size is 200. For the purpose of sampling, the multistage and stratified sampling techniques were used. Out of the population of 2,300 staff, a sample of 200 academic staff was drawn using research advisor. The instrument was structured with 15 items using the 4 point likert type scale of measurement ranging from Strongly Agree (4) to Strongly Disagree (1). Training and Academic staff Questionnaire (TASQ) was used for collecting data for the study. The face and content validity was established after subjecting the instrument to vetting by three experts in the field of education. The reliability of the instrument was ascertained using 30 academic staff who were not part of the study sample used. The reliability coefficient of the instrument of 0.82 was computed using Cronbach Alpha formula to measure the internal consistency of the questionnaire items. The responses of the respondents were presented in simple statistical table and analyzed using frequency counts, percentages, mean (x ̅), and grand mean (gx ̅). The paper discovered that training has impact on pedagogical skills, research skills and provision of community service skills of academic staff of federal universities in NorthEast Nigeria. Based on this findings, the paper hereby recommended tertiary institutions manager should create environment whereby academic staff are encouraged to participate massively in workshops, seminars and conferences organised internally and externally. This will not only equip them with new skills, techniques, knowledge and experiences necessary to enhance or build their job performance capacity for teaching, research and provision of community service.

Il est possible de construire une nouvelle théorie de la plasticité filmique en analysant les effets visuels émergeant du mouvement obtenu image par image, procédé élémentaire du stop motion. Le fondu d’image provoque la transformation, voire la transmutation, d’un matériau à travers la simulation de qualités et de comportements matériels.
Cette simulation est en étroit rapport avec une capacité cognitive investie par l’animateur : la visualisation mentale.
Considérer ce lien aussi bien que cette fiction de la matière invite à s’éloigner des interprétations métaphoriques puisant dans la science physique et des discours d’ordre vitaliste.

    Paru le 14 mars 2024
    Broché - format : 13,5 x 21,5 cm • 254 pages
    Langue : français
    ISBN : 978-2-336-44268-6
    EAN13 : 9782336442686
    EAN PDF : 9782336442693
    (Imprimé en France)

En cada uno de los capítulos que componen este libro, Al límite. Estética y ética de la violencia, puede hallarse la evidencia de algo que es
motivo de una preocupación que va más allá del ámbito académico: una
violencia desmedida y recalcitrante constituye una de las dimensiones esenciales de la cultura contemporánea al punto de afirmar que vivimos
en una cultura de la violencia. Las noticias y las imágenes que proliferan en la iconósfera expandida en que se ha convertido nuestra cultura,
como lo registran las redes sociales y los mass media, dan cuenta inequívoca de ello.
Con el propósito de identificar y analizar los diversos matices de
la violencia en acontecimientos y productos mediáticos y artísticos de la cultura actual, algunos de una figura tal que fácilmente pasan desapercibidos o resultan imperceptibles para un ojo no educado en
el análisis fundado en la semiosis, este proyecto ha conjuntado a in- vestigadores de diversas disciplinas de las humanidades y las ciencias
sociales para abordar un estudio pormenorizado y riguroso de tales
fenómenos.

This paper investigated Virtual Learning and Undergraduate Students’ Academic Achievement in Mathematics during Covid-19 Lockdown in Ibadan, Oyo State. The study adopted One-group pretest-posttest Quasi-Experimental design. The population for this study was two hundred and eighty (280) First-year students in the faculty of Basic Medical and Applied Science, Lead City University, Ibadan, Nigeria. Sample for the study comprised Fifty (50) students who participated in the virtual learning in Applied Mathematics coded MTH 112 during COVID-19 Lockdown. The instrument for the study was Forty (40) objective questions optioned A to D on Applied Mathematics Achievement Test (AMAT). The instrument was validated and tested for reliability with reliability coefficients of 0.71. Student t-test statistics was used to test the Hypotheses generated at 0.05 level of significance. Hypothesis one revealed a significant difference in the achievement of students in Applied Mathematics when exposed to vi...

In this article, I argue that looking and staring, which are typical aspects of Stephen Dwoskin’s experimental, highly personal approach to cinema, contribute to a broader sensory enquiry into conditions of diasporic and disabled (gender) dysphoria. I explore the intersecting relationships between these four d’s – Dwoskin, diaspora, disability, dysphoria, understanding how in recent years trans studies, diaspora studies and disability studies have become interested especially in conditions of dysphoria as strategies that negotiate complex embodiment and ethnicity. In doing so, I adopt a hybrid approach to aesthetic modes of self-estrangement and radical interruptions of normative embodiment in Dwoskin’s late films. Adopting what Elliot Evans has described via Eve Kosofsky Sedgewick and Paul B Preciado as a ‘universalising’ orientation of cutting edge trans theory,1 and earlier work by historians of disability and masculinity such as David Serlin,2 I read across these concepts to suggest that the formal and aesthetic structures and contexts of Dwoskin’s late films trouble the borders between embodied conceptualisations of diaspora, disability and dysphoria. This has consequences for Dwoskin’s positioning in wider discourses of experimental filmmaking, both within and beyond Britain where he spent the majority of his adult life, and helps to connect the relationships between his diasporic Jewishness and disability. Thinking expansively, this article examines how expressions of dysphoria, discussed in trans, disabled and diasporic communities, have the potential to offer, not recuperation or rehabilitation of Dwoskin’s work, but a space to think from that is resistant to the binarist, normative and exclusionary logics prevailing in British culture at this moment in the 21st century.

Resumo Figuras de acção utilizadas como interfaces tangíveis possibilitam uma interacção fácil, e intuitiva para crianças que pretendam animar personagens virtuais. Discutimos a experiência da concepção e desenvolvimento do sistema Voodoo, um sistema onde as crianças assumem o papel de um “realizador de cinema”, animando personagens virtuais através de figuras de acção. Este sistema transforma os movimentos e gestos executados sobre a figura de acção em animações, tendo por base padrões de movimentos e o contexto narrativo de uma história bem conhecida. Discutimos sobre uma avaliação preliminar do Voodoo, descrevemos algumas lições apreendidas, e reflectimos sobre o futuro deste tipo de sistemas.

Stop motion is an animation form full of amusement, in today's animation industry we have profound 2D and 3D works been produced which lead the audience to an " motion fatigue" on these fictitious experiences, they tend to watch more vivid and authentic stop motion, why audiences are deeply attracted by characters made of various materials? And why stop motion can express a strong sense of authenticity? This essay will demonstrate the features of materials through the study on the texture and unfold the beauty of this material expression.

This paper undertakes a literary, textual, and performative analysis of the Tale of Tenjū in Amida no Munewari, one of the oldest Japanese puppet plays, first performed on stage in the early Edo era. The oldest version of the text has been recently rediscovered and transcribed, and the play resuscitated and newly performed. Tracing its historical evolution, this paper uses both traditional textual analysis and participant-observer primary research with a drama troupe to describe the modernization of the drama. Amida no Munewari is a pivotal text for understanding the historical impact of the renewal of performing arts in Japan, and it raises questions that are difficult to imagine from a purely textual perspective. The author provides a holistic overview and offers historical and contemporary insights into the text and the creative process leading to its revival in the present day.

O jogo Sinuca dos Planetas e Alguns Satélites Naturais Componentes
do Sistema Solar é o segundo produto educacional, de um conjunto de três,
constituindo juntamente com os demais (a sequência didática: Sistema Solar,
Elementos Químicos, Substâncias, Terra e Vida e o jogo: Elementos Químicos,
a Tabela Periódica do Universo), a essência da pesquisa apresentada, uma vez
que encontra-se erigida no contexto de um mestrado profissional em Astronomia;
curso eminentemente voltado para a aplicação e consequente divulgação e
incorporação de conhecimentos em Astronomia junto ao alunato da educação
básica; no caso concreto, direcionado a alunos do primeiro ano do Ensino Médio.
Montado com materiais de baixo custo, já que em sua grande maioria foi
feito com materiais de refugo, se constitui em uma mesa de sinuca montada com
papelão e restos de forro de PVC, quatro tacos, vinte e seis bolas-astros que
compõem um conjunto com unidades duplicadas dos oito planetas e de quatro
satélites naturais componentes do Sistema Solar, bem como do Sol; além da
bola branca (bola de mando) representada em unicidade.
As bolas do jogo, em vez de numeradas, são individualizadas com
pinturas que possibilitam aos sinuqueiros e demais componentes das equipes
identificarem qual planeta ou satélite natural cada uma delas representa e qual
delas está a representar o Sol.

Interest is a motivational variable which describes the psychological state of engaging or the predisposition to re-engage with a particular class of object, events, or ideas over time. The aim of this research was to determine the effects of animated-media instructional strategy on students’ interest in chemistry when compared to those taught using conventional method using their pretest and post test mean scores. The design of the study was quasi-experimental, specifically the pretest-post test non-equivalent control group design. The result shows that the animated-media group had higher gain mean interest score (18.86) than those in the group taught using conventional method which had gain mean score of 5.93. Also the effect of animated-media instructional strategy on students’ interest in chemistry is significant when compared to those taught using conventional method using their pretest and post test mean scores. The findings of this study revealed that animated-media instructi...

Η παρούσα διπλωματική εργασία αποτελεί μια έρευνα η οποία έχει ως κυρίαρχο στόχο την διερεύνηση του βαθμού συμβολής και αξιοποίησης των εργαλείων της επαυξημένης πραγματικότητας στις τεχνικές του stop motion.
Σε αυτό το πλαίσιο, αρχικά, έγινε επισκόπηση εργαλείων και πλατφορμών επαυξημένης πραγματικότητας, έτσι ώστε να επιλεχθεί η πλατφόρμα πάνω στην οποία αναπτύχθηκε η παρούσα έρευνα. Στη συνέχεια επιλέχθηκε η Spark AR με κριτήρια προσβασιμότητας, δυνατοτήτων tracking και ανοικτότητας. Σε αυτή την πλατφόρμα αναπτύχθηκαν και
δοκιμάστηκαν εφέ (ή φίλτρα) επαυξημένης πραγματικότητας, με στόχο να διευκολυνθεί ο δημιουργός ταινιών stop motion, στις χρονοβόρες διαδικασίες, όπως το lyp sync και το motion capture, αλλά και απαιτητικές, τόσο σε εξοπλισμό, όσο και σε τεχνικές γνώσεις υλοποίησης.
Επιπλέον, τα εφέ δοκιμάστηκαν σε πραγματικές, μη ιδανικές συνθήκες (όπως είναι ένα στούντιο, η ύπαρξη κατάλληλου εξοπλισμού ή ιδανικού φωτισμού) και από χρήστες με μέτριες έως ελάχιστες τεχνικές γνώσεις, αλλά και από τον ίδιο τον ερευνητή, για την διαμορφωτική αξιολόγηση μέσω συμμετοχικής παρατήρησης.
Δημιουργήθηκαν επίσης, πρότυπα φύλλα εργασίας και ημερολόγιο έρευνας, για την καταγραφή και παρατήρηση της πορείας της έρευνας.
Η πρωτοτυπία της παρούσας εργασίας εντοπίζεται στην ανάπτυξη και παραμετροποίηση εφέ επαυξημένης πραγματικότητας με στόχο την εφαρμογή τους ειδικά στην δημιουργία ταινιών animation. Μετά από συγκριτική δοκιμή των πλατφορμών ΕΠ που υπάρχουν αυτή την στιγμή και με τις προϋποθέσεις που θέτουν τα ποιοτικά στοιχεία της έρευνας,
χρησιμοποιήθηκε το Spark AR Studio της Meta. Αν και η δημιουργία εφέ στην συγκεκριμένη πλατφόρμα, επικεντρώνεται στην χρήση τους με τις εφαρμογές Instagram και Facebook messenger, αυτό δεν αποτελεί περιορισμό, αφού οι εφαρμογές αυτές υπάρχουν σχεδόν σε όλα τα κινητά τηλέφωνα και οι περισσότεροι χρήστες τις χρησιμοποιούν. Εξάλλου, το παραγόμενο βίντεο από τα εφέ που αναπτύχθηκαν, αποθηκεύονται στο κινητό, δίνοντας την δυνατότητα στον χρήστη, να τα αξιοποιήσει κατάλληλα για τη δημιουργία ταινιών animation.
Τα τελικά προϊόντα του πρακτικού μέρους της έρευνας περιλαμβάνουν τις ολοκληρωμένες εφαρμογές των εφέ, καθώς επίσης και το υποστηρικτικό υλικό δημοσιοποίησής τους, δηλαδή ένα βίντεο demo χρήσης των εφέ.

The text reconstructs the material conditions for the production of puppet film conventions in post-war Poland between 1945 and 1950, based on the work of Ryszard Potocki and Zenon Wasilewski. The main argument is that the change in the profile of the Studio of Small Film Forms Se-Ma-For in Łódź after 1960 and the appearance of films in techniques other than puppet film (drawing, cut-out, combined technique, live set) was a consequence of the division of time between artistic activities and concurrent non-creative activities, aimed at mobilising material resources. The development of the puppet film convention (understood according to Howard Becker's conception), was conditioned by the mobilisation of material and personal resources necessary for the establishment of a film studio. Building the infrastructure of Polish animation after the Second World War was a process of networking of places, equipment and people. The fragile position of Polish film animation in the complex structure of Polish cinematography forced the players in the field of puppet animation to mobilise resources in the form of interpersonal relationships and the development of managerial skills. Wasilewski's and Potocki's activities as designers and builders of the physical space that conditioned their creative activity are captured in the text as the creation of film studios, understood in the spirit of Brian J. Jacobson as concurrent yet competing visions of animation filmmaking.

La idea de pensamiento como captura y conquista ha resultado tan operativa que su fuerza a menudo parece incontestable. El concepto de representación ‒o incluso la crítica a la representación‒ con su capacidad de sobreponer y envolver un mundo en otro, ha resultado funcional a esa mirada de mundo, saturando cualquier reflexión que  intente  acercarse  al  pasado  y  a  sus  producciones  artísticas  desde  otras  claves.  Considerando esta proposición inicial, en el presente escrito nos interesa hablar sobre Colonia Dignidad como parte del pasado de Chile de las últimas décadas desde una perspectiva alejada de las producciones artísticas que lo han visitado como representa-ciones de este, sino ensayando otras conexiones, contagios y polinizaciones cruzadas. Es lo que haremos al pensar aquí la película de cine animado stop-motion La casa lobo (2018),de Cristóbal León y Joaquín Cociña, considerando lo que Peter Pál Pelbart ha consignado como una “ecología de emisiones”y de las“diseminaciones”(371), apelando a una lógica de aproximación no-representativa (Vannini 6) que re-conoce un modo de existencia autónomo de las imágenes, desanclado de un orden de realidad predeterminado.