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Debahuti Chakravorty
International Journal of Future Generation Communication and Networking, 2021
With the rapid development of science and technology, the world of animated cinema has evolved by leaps and bounds. While animated films of the past were targeted for a specific audience especially children, the same cannot be said anymore in the present day about this highly popular genre of cinema. Commercially successful films like Frozen, Zootopia, Kungfu Panda, Despicable Me, Inside Out, Wall-E, Ice-age, are just a few examples of the increasing popularity of the animated movies. All the aforementioned titles have found great appeal and have mesmerized children and elders alike. The story of any film plays an important role in capturing its audience and eventually determining a film's critical acclaim and financial success. The story concept ties together various visual elements which gives shape to the story teller's vision and contribute to the overall effect of an animated film.The main aim of this research is to explore the effectiveness of visual representation in animated films while spreading social awareness. The basic objective of the study is to study the Socio-cultural effects of visual representation in animated films. The researcher implied qualitative methods for the research. This study is anticipated to be a pioneering activity in exploring the effectiveness of animated films in spreading social awareness.
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Animated Films: Palatable Mirrors of Life
Yolec Homecillo
This paper aims to explain the mediation process of how an animated film offers different presentations and contestations of authenticities of life. By studying the anthropology of media, reflexivity in animated ocumentaries, the illusion of life – animation principles, and cinematography in animation, we can analyze how animated films present different authenticities by creating palatable mirrors of life. By applying the first daub of narrative creation (choosing fragments of lived experiences and intertwining them with the artist’s creative biases redefines them as life stories), the second daub of art direction (The creation of visual and emotional presentations of life stories through background design, composition, lighting, and color that allows the suspension of disbelief), and the third daub of animation style (the curation of life stories into segments of scenes, connected by transitions, and piece by piece presentation to the audience in a certain timeframe), animated films presents both the natural and different authenticities of life. These offered overlays are examined through the theories mentioned and content analysis of the animated films: Grave of the Fireflies and Big Hero 6. These films are differently daubed but both were still able to offer different presentations and contestations of authenticities of life.
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emotion and film theory
Norbert Wiley
This is a comparison of the emotions we have in watching a movie with those we have in everyday life. Everyday emotion is loose in frame or context but rather controlled and regulated in content. Movie emotion, in contrast, is tightly framed and boundaried but permissive and uncontrolled in content. Movie emotion is therefore quite safe and inconsequential but can still be unusually satisfying and pleasurable. I think of the movie emotions as modeling clay that can symbolize all sorts of human troubles. Amajor function of movies then is catharsis, a term I use more inclusively than usual. Throughout I use a pragmatist approach to film theory. This position gives the optimal distance to the study of ordinary, middle-level emotion. In contrast psychoanalysis is too close and cognitive theory too distant. This middle position is similar to Arlie Hochschild's symbolic interactionist approach to the sociology of emotions, which also mediates between psychoanalysis and cognitive theories.
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Perception of Emotion Portrayal In Cartoons by Aurally and Visually Oriented People.
PerMagnus Lindborg
International Conference in Music Perception and …, 2010
This article reports results from a study of perceived emotion portrayal in cartoons by different groups of subjects. A set of audiovisual stimuli was selected through a procedure in two steps. First, 6 ‘judges’ evaluated a large number of random snippets from all Mickey Mouse cartoons released between 1928 and -35. Analysis singled out the five films ranking highest in portraying respectively anger, sadness, fear, joy and love/tenderness. Subsequently, 4 judges made a continuous evaluation of emotion portrayal in these films, and six maximally unambiguous sequences were identified in each. The stimuli were presented to two groups (N=33), one in which the subjects were expected to be visually oriented, and one where they would tend to be more aurally oriented, in three different ways: bimodally (original) and unimodally, i.e as an isolated sound or video track. We investigated how group and modus conditions influenced the subjects’ perception of the relative intensity of the five emotions, as well as the sense of realism portrayed in the cartoon clips, and how amusing they were found to be. Finally, we developed an estimate for visual-aural orientation as a linear combination of select self-reported variables, and tested it as a predictor for the perception of medium dominance.
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The evocation and expression of emotion through documentary animation
Sophie Mobbs
Animation Practice, Production & Process, 2016
Full bibliographic details must be given when referring to, or quoting from full items including the author's name, the title of the work, publication details where relevant (place, publisher, date), pagination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award.
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Film-induced affect as a witness emotion
Ed Tan
Poetics, 1995
Traditional narrative film presents the viewer with the illusion that he or she is physically present in a fictional world, a witness to the events and characters involved in that world. Witnesses cannot participate in events, nor can they command their movements and views. It is the film's narration that dictates what the viewers see, how they see it and when. Emotion in the film viewer is a response to this predicament. It has been proposed that interest is the central emotion in film viewing. Interest is the urge to watch and actively anticipate further developments in the expectation of a reward. The film's control of the viewers' perceptions of events imposes on them special attitudes towards those events and characters. The events themselves together with the attitudes coloring them determine the viewers' emotions. Attitudes affect the witness' insight into the significance of the situation in the fictional world to the characters involved. Understanding of the significance of events for a character is the basis of empathic emotion, whereas abstraction from their meaning to characters underlies non-empathetic emotion. Sympathy is the major empathic emotion in film viewing. Finally, it is argued that the role of the film as an artefact, to be distinguished from the illusion of a fictional world it presents, in creating emotion is limited.
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Of popcorn and tearjerkers: In search of the psychological basis of the cinematic experience
Sarah A Kass, PhD
PsycCRITIQUES, 2013
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Emotion Elicitation: A Comparison of Pictures and Films
Susanne Marschall
Frontiers in psychology, 2016
Pictures and film clips are widely used and accepted stimuli to elicit emotions. Based on theoretical arguments it is often assumed that the emotional effects of films exceed those of pictures, but to date this assumption has not been investigated directly. The aim of the present study was to compare pictures and films in terms of their capacity to induce emotions verified by means of explicit measures. Stimuli were (a) single pictures presented for 6 s, (b) a set of three consecutive pictures with emotionally congruent contents presented for 2 s each, (c) short film clips with a duration of 6 s. A total of 144 participants rated their emotion and arousal states following stimulus presentation. Repeated-measures ANOVAs revealed that the film clips and 3-picture version were as effective as the classical 1-picture method to elicit positive emotions, however, modulation toward positive valence was little. Modulation toward negative valence was more effective in general. Film clips wer...
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Another Punctum: Animation, Affect, and Ideology
Eric Jenkins
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Animation Studies – Vol.5, 2010
Meg Rickards
2015
Uncanny breaches, flimsy borders Jan Švankmajer’s conscious and unconscious worlds The portrayal of a character’s subjective, ‘inner ’ experience onscreen is an enduring challenge for the filmmaker. Many techniques for conveying fantasies or dreams, such as blurring the frame’s edges, cross-dissolves and bleached colour, have been used- from soap operas to advertising- to such an extent that they could be considered by audiences as hackneyed or clichéd. Yet the notion that cinema cannot deal with complex psychological states such as dream, memory, the imagination and the unconscious seems to be tied up not only with clichéd imagery, but also with the derision of film as a passive visual and aural experience that leaves little to the imagination. For instance, George Bluestone insists that the rendition of mental states cannot be as adequately represented by film as by language: “If the film has difficulty presenting streams of consciousness, it has even more difficulty presenting st...
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