Foreign Animation Research Articles

Research on the Market Development of Cultural Peripheral Products: A Case Study of Animation Derivative Products

Today, animation and comic derivative products are one of the most popular branches of cultural and creative peripheral products. With the rapid development of the foreign animation industry, animation derivative products have made much profit for people. At the same period, it also becomes one of the vital research topics. Researchers found rich progress in derivative products. However, the issue of improving the development of Chinese animation and comics is still a lack of unified explanation and cognition. Therefore, this thesis aims to research the item of animation and comic derivative products market development through literature analysis and case study. The research found that the changes in consumers’ purchase intention, imperfect industrial chains, narrow audience groups, and difficult animation propagation are the main factors leading to the dilemma of animation derivative products. Therefore, Chinese animation should perfect the animation and comic industry chain by promoting content, derivative products’ marketing approaches, and breaking down single industrial barriers and limitations.

The effect of digital marketing communications on Adit Sopo Jarwo's animation brand awareness and brand reputation through children's educational content

<p><em> Indonesian animation should be able to compete with foreign animation, but in fact the broadcast of Indonesian animation in Indonesia is still inferior, especially on national television. To keep up with overseas animation, especially in the national market, there needs to be a creative strategy in marketing these local animations to increase brand awareness and a good brand reputation so that Indonesian animation can be a major choice for animation shows, as MD Animation does by utilizing the technology. Social media is a means of presenting educational content to children to increase the brand awareness and reputation of their product, the Adit Sopo Jarwo animation. This study aims to find out the effect of digital marketing communication on Adit Sopo Jarwo's brand awareness and animation reputation through child education content, a survey was conducted on followers of @mdanimation's Instagram account. In this study, the theory used is digital marketing communication theory, brand awareness, brand reputation and stimulus, organism, and response (SOR) theory, which is to see how the response from the audience affects brand reputation. This study used a positivist paradigm with a quantitative approach and used survey research methods and data analysis techniques using path analysis. The samples used in this study were 387 respondents with sample determination using purposive sampling. The results of this study were obtained in that digital marketing communication was shown to have a direct and significant influence on brand reputation. In addition, the results of the analysis with the Sobel test show the influence of the brand awareness variable as an intervening variable between the digital marketing communication variable and the brand reputation, so it can be said that the indirect effect or indirect influence is significant. </em><strong></strong></p>

О ПЕДАГОГИЧЕСКОМ ОБРАЗОВАТЕЛЬНОМ ПОТЕНЦИАЛЕ АНИМАЦИОННОГО КОНТЕНТА ДЛЯ РАЗВИТИЯ ДЕТЕЙ РАННЕГО ВОЗРАСТА

The article discusses the issue of the pedagogical and educational impact of animation on the development of toddlers, and the disclosure of their speech potential. At the same time, the key aspect is animated content based on children's folklore materials. The authors analyzed domestic and Russian animated films for toddlers in the Kazakh and Russian languages, revealing their pedagogical and educational potential. In 60-70s of the last century, Kazakh animation art was based on the works of Kazakh children's folklore and played an important role in the upbringing of the child, the formation of the best qualities in him, the national picture of the world. Due to a long period of stagnation in the animation art of Kazakhstan, there is a lack of animation content in the Kazakh language for toddlers, which has pedagogical and educational value; dominance in the information space of foreign animation products. This causes the problem of the formation and development of speech in the Kazakh language in children who prefer foreign cartoons and master the world through the prism of foreign language and culture. The authors conclude that digital animation content is a powerful educational tool for the development of toddlers. At the same time, when creating cartoons for toddlers, it is important not only the content side but also the sound side of speech, and interactivity.

Iklan Animasi “Sebuah Kenangan Manis” Dalam Perspektif Kritik

“Sebuah Kenangan Manis” comercial ads by Khong Huan company received a lot of attention and appreciation from many internet users when it was released. By using 2D animation media created using the frame by frame technique, it requires animators to draw images one by one to animate the drawings. The animation of “A Sweet Memories” interesting because it is quite rare for advertisements made by local studios to use 2D animation media with quality that can be said to compete with foreign animation. In addition, in the advertisement, Khong Huan also claims to use a Japanese animation style called anime, which in Indonesia has quite a lot of fans. In response to the many appreciations for this advertisement, this study will try to directly analyze the animation visuals of “Sebuah Kenangan Manis” advertisement by frame by frame.

Los filmes de animación en los cines del Madrid de entreguerras (1916-1939)

En este estudio se indaga en la difusión que las producciones de cine de animación tuvieron en las salas de Madrid desde las primeras proyecciones de las que se tiene noticia, en torno a 1916, hasta el final de la Guerra Civil. El principal objetivo es constatar si los filmes de animación extranjeros llegaron a España de forma regular y también si las producciones españolas tuvieron presencia en las salas durante ese período. Las fuentes utilizadas son las secciones de cartelera que aparecen en los periódicos de la época, así como las revistas especializadas en cine y espectáculos. Partiendo de esto, se realizará un análisis cuantitativo de las carteleras de prensa, aunque dentro de una visión de conjunto, complementado todo con el análisis cualitativo de otras publicaciones del período.

Retracted] Computer Vision‐Based Art Color in the Animation Film Performance Characteristics and Techniques

If an animated film wants to present extraordinary visual effects, the successful use of art colors is the key to the success or failure of an animated film. Although our country’s animated film started a short time ago, its development has been slow. In modern times, it is difficult to compete with excellent animation works of other countries; animation is an art form that requires the combination of modern technology and traditional cultural areas. Chinese cartoons are gradually declining today when the technology is taking off. The reason is that the traditional culture of the country has not been thoroughly explored. In today’s diversified world, if you want to revive the brilliance of Chinese animation, you must deeply and systematically study various elements of national art and form your own creative thinking and creation system. Particularly under computer vision, the gap is very obvious. Under the computer vision, in order to study the characteristics and techniques of the use of fine art colors in animated films, to promote the development of animated films in China, this article analyzes the role of art color in the animation of excellent Chinese and foreign animation works in recent years, through literature analysis, comprehensive qualitative and quantitative analysis, etc., to study the meaning and application of color symbols, hoping to be a Chinese animation providing useful help for film creation and development. Studies have shown that color has a strong influence on animated films. A good use of artistic color can add a lot of color to an animated film. According to statistics, art colors account for at least 20% of excellent animation works, which can be integrated into animation colors. Animation works with domestic characteristics are easier to succeed. This shows that the use of artistic colors can play a key role in animated films.

Implementasi Strategi Pengawasan Komisi Penyiaran Indonesia (KPI) terhadap Program Televisi dalam Mewujudkan Siaran Ramah Anak

Children's programs currently served are not in accordance with the classification of programs during children's broadcast hours and children's content that contains violence and contains more foreign animation than local children's shows. Therefore, Komisi Penyiaran Indonesia (Indonesian Broadcasting Commission), which was formed as an independent institution, has the authority to compile and supervise various broadcasting regulations that connect broadcasting institutions requiring a strategy in monitoring television programs in realizing child-friendly broadcasts. This study aims to describe and analyze the implementation of the strategy of Komisi Penyiaran Indonesia in monitoring television programs to achieve child-friendly broadcasts. This research was conducted with a descriptive qualitative approach. Data collection was carried out by interview, documentation and observation. The results of this study indicate that the implementation of the strategy of Komisi Penyiaran Indonsia is quite good but there are still shortcomings in the budget and target recipients, namely broadcasting institutions that are still committing violations. The implementation strategy is formulated into a program, in the form of Bimbingan Teknis Penyiaran Anak, Anugerah Penyiaran Ramah Anak and Pengaturan Isi Siaran Anak.

Overcoming Cultural Constraints in Translating English Series: A Case Study of Subtitling Family Guy into Arabic

Subtitling and dubbing foreign animation in Arabic have been growing since TV screens reached Arab homes. This imposes stricter control and ethical supervision of the used language. This study examines the cultural constraints in subtitling the American animated sitcom Family Guy into Arabic. Family Guy addresses sensitive matters, such as sex, alcohol, religion, and politics, and so it is viewed with concern and caution in the Arab world. The researchers classified the cultural constraints in translation into three main categories: religious remarks, jokes & humour that revolve around proper nouns, and taboos. The analysis shows that the strategies used in translating religious remarks were scene deletion, words omission, and words omission with justifications. For jokes and humour, the translator opted for three strategies, namely, retain unchanged, retain unchanged with added guidance and retain unchanged with detailed explanation. Euphemistic expressions and word omission were the two strategies followed in translating taboos. The study concludes that the target audience has a vital role in determining the appropriate constraints on translation that go in line with their ideology and culture. Keywords: Audio-visual Translation; English-Arabic; Ideology; Subtitling; Family Guy

The Vulgarization of the Language of a Children’s Multiplication Text as a Psycholinguistic Problem

Research aim is to identify the phenomena of verbal vulgarization of children’s cartoon discourse, to determine their functional-semantic loads and registers of reduced emotional evaluation, as well as the main socio-cultural types of corporate vulgar behavior.
 Research Methods. The study of the vulgarization of children’s media content was carried out with the help of: a) theoretical methods, b) psycholinguistic empirical methods – discourse-analysis of vulgarized dialogical situations; questionnaire related to the testing of registers of dialogical situations in cinema texts among the audience of student’s youth (80 humanitarian students (specialty “Journalism”) of the National University “Odesa Law Academy” aged 17-20 years).
 Results. The didactic role of animated cinema texts in the formation of media culture is noted. It was proposed the practical analysis of the modern children’s cartoons language in the context of the systematization of markers of affective vulgarity, such as slangisms, jargonisms, elements of common language, obscenisms. On the basis of a survey and psycholinguistic experiment, a stylistic evaluation of the perception of the selected lexical-phraseological material as such that contains the connotation “vulgarity” was confirmed, the attitude of the young generation of viewers to vulgarized cinema text was revealed.
 Conclusions. Among the main conclusions we may note that as a result of language vulgarization of modern consciousness, in particular children, the so-called conceptual sphere of human activity is changing. The new generation of viewers is focused on low, coarse communication, on the weakening of the feeling of beautiful, on the positive perception of the appropriate aesthetics of everyday life. According to the results of the questionnaire, these cinema texts are perceived neutral by 55 students, positively – 21 students, negatively – 4 students. The language of cartoon characters, which represent certain social groups of real society, is seen as the norm for any situation, and grumpiness, disrespect, psycho-emotional imbalance are seen as their “organic” color. Therefore, the majority, or the vast majority of the respondents, correlated the lexical-phraseological units as jargon that is, acceptable in the youth environment. Modern foreign animation that is presented as translated cinema text, loses the important function of being a mediadidactive source, that is, the medium of producing patterns of individual and collective linguistic behavior.

The Role of Object Design in the Creation of Ani­mation Imagery. Art Analysis Experience

The article’s problematics relate to the field of theoretical understanding of the emergent deve­lopment of 3D animation in modern culture, its technological, artistic, commercial features. The article focuses on specific features of character design and the influence of the character’s audiovisual image on the aesthetic imagery of the screen work. The study aims to distinguish the concepts of “character type”, “visual imagery”, “audiovi­sual imagery”, “artistic ima­gery” and to substantiate the semantic relationships between them. The authors uphold the belonging of character design to the field of object design, identify the main phases of desig­ning the audiovisual imagery of the character object, and determine its structural role in transmedia projects. In the process of consi­deration of these aspects, the article involves materials from interviews and speeches by artists Alexander Petrov, Mikhail Tumelya, and Maxim Kostenko.Via the deductive method, the article highlights the components of the screen artistic imagery in terms of subject-spatial content. In the context of solving certain problems, a comparative analysis of character ensembles in various techniques is carried out using examples of national and foreign animation. This analysis reveals the main trends in the development of artistic space of the screen work. The article also covers commercial, technological and aesthetic aspects of character development in modern 3D animation.The conclusions of this study provide the conso­lidation of the term “object design” in the art field and can be further used both in analytical work and in the educational process in the areas of history and theory of art, media and multimedia directing theory and practice.

Las fenzhangpian de animación en China continental (1995-2012). Normas preliminares, operacionales y censura

En este artículo presentaremos el proceso que se siguió en China continental entre 1995 y 2012 para que una determinada película de animación extranjera pudiera ser proyectada en los cines de aquel país. Nos centraremos en unos criterios que pueden enmarcarse en el concepto de normas preliminares de Toury y de las reglas (rules) definidas en el sentido que les otorga este mismo autor. La propia definición jurídica del concepto de «película importada» revela criterios ideológicos. De esta forma, las películas realizadas en Hong Kong y Macao o Taiwán dejaron de ocupar cuota de películas importadas en los años 2003 y 2013 respectivamente. Al mismo tiempo, los filmes extranjeros que se exhiben en las salas comerciales deben seguir una normativa jurídica que regula el proceso de selección de dichas producciones, lo cual es una forma más de censura. Dentro de las películas extranjeras, la regulación favorece el visionado de las películas fenzhangpian (‘películas de taquilla compartida’) enfrente de las maiduanpian (‘películas compradas en su totalidad por las distribuidoras’). Además, se observa un predominio destacado de las producciones estadounidenses. Finalmente, las informaciones extratextuales que hemos recogido de profesionales en relación con la producción del texto meta nos permiten demostrar que las normas operacionales actúan como procesos de censura en la fase propia de traducción.

Character Design in Indonesian Animated Series: Escaping The Shadow of Foreign Hegemony

Whilst animated series, whether it’s a TV series or web series is a relatively new media in Indonesia, it has gone through a significant process. One of the interesting aspects that we can observe from it is the development of the character design. It’s undeniable that foreign hegemony contributed in major parts of the design but we can’t overlook the efforts in finding Indonesia’s very own unique character design and how it affects the successors. This paper will study the character designs of Indonesia animated series from the earliest known to the latest to date when this paper is written. The method used is comparative descriptive case study, the research focus is the design character of contemporary Indonesian animation and then compared with foreign animation character design, in this study primarily is animation of Japan and the United States as the dominant power in both areas. By conducting case studies, this study aimed to develop in-depth analysis of the subject matter of the character designs in terms of aspects that enrich the visual and qualitative approach.
 Keywords: character design, Indonesia animation, animated web series, animated TV series

Research and development of animation derivatives marketing strategies based on the analysis of consumer demand

In this paper, cartoon derivative products consumer market, consumer behavior, and the determined animation derivatives market space have been analyzed based on the Multiple regression models and methods of factor analysis. Specifically, we selected youth groups and non-selected youth groups in five cities as the research object from questionnaire survey, by different groups of domestic and foreign animation derivatives recognized degree. The analysis of the problems of animation derivatives on the basis of research result, put forward views and suggestions on the future development of the derivatives market and cartoon animation industry. By the results of experiments, it can be provided guidance to companies on how to develop animation derivatives.

더빙의 여부가 애니메이션 영화 흥행에 미치는 영향

This study examined the effects of dubbing on the ticket sales of foreign animation movies put on the screen in Korea in the context of 'Skopos Theory'. The ticket power of animation increased when dubbing was chosen as the translation strategy. Moreover, the effects were greater when the animation was in the peak seasons, classified as non-restricted, and made in non-US countries. The ticket power was also found to be greater when celebrities joined in the dubbing. This finding was consistent with the 'Skopos Theory', which implied that dubbing is superior to captioning for audience understanding and audience attraction. This study confirmed empirically the positive effects of dubbing on the performance of foreign animation movies, which is the contribution to the literature that has been limited on case studies. These results also suggest that a dubbing strategy should be consistent with its target audience.

Foreign Animation Films and the Rising of Anti-Multiculturalism among Parents

As the impact of globalization, foreign animation films such as Shin Chan from Japan, Krishna from India, Upin-Ipin from Malaysia, Batman and many others from the US are very popular in Indonesia. Those films supposed represent cultures of each nation, so that people can learn multiculturalism. However, those films create inversely. This study aims to know how foreign animation films affect on the rising of anti-multiculturalism among Indonesian parents. Survey is conducted on parents with kindergarten or elementary children in Yogyakarta. The results show that children prefer to watch foreign animation films compare to domestic one. They are more likely to imitate their favorite animation stars by behaving violently, speaking harshly, and disrespectfully to parents. As a result parents tend to blame their children changing behavior on foreign cultures as bad and impolite compare to their own culture. Instead of encouraging better understanding on multiculturalism, foreign animation films has raised anti-multiculturalism among parents.Sebagai dampak globalisasi, film animasi asing seperti Shin Chan dari Jepang, Krishna dari India, Upin Ipin - dari Malaysia, Batman dan banyak lainnya dari Amerika Serikat sangat populer di Indonesia. Film-film seharusnya mewakili budaya masing-masing negara, sehingga orang dapat belajar multikulturalisme. Namun, film-film ini dapat pula berakibat sebaliknya. Penelitian ini bertujuan untuk mengetahui bagaimana film animasi dari luar bisa berpengaruh pada peningkatan anti-multikulturalisme pada orang tua di Indonesia. Survey dilakukan pada orang tua yang memiliki anak TK atau SD di Yogyakarta. Hasil menunjukkan bahwa anak-anak lebih memilih untuk menonton film animasi asing dibandingkan dengan film dalam negeri. Mereka lebih cenderung untuk meniru bintang animasi favorit mereka dengan berperilaku keras, berbicara kasar, dan tidak hormat kepada orang tua. Akibatnya, orang tua cenderung menyalahkan anak-anak mereka perilaku yang berubah pada budaya asing sebagai buruk dan tidak sopan dibandingkan dengan budaya mereka sendiri. Alih-alih mendorong pemahaman yang lebih baik tentang multikulturalisme, film animasi asing telah meningkatkan anti-multikulturalisme di kalangan orang tua.

An Analysis about Formativeness of Animation Characters for Kids - Comparision of Korean and foreign Animation Characters -

An Analysis about Formativeness of Animation Characters for Kids - Comparision of Korean and foreign Animation Characters -

대만애니메이션의 발전과 그 동향 분석

대만 초기애니메이션은 미국과 일본의 영향아래 발전하였으며, 대부분 하청위주의 위탁가공이었다. 1970-80년대 이후 애니메이션 산업의 기술적 정착과 체계적 관리는 현재 대만애니메이션 산업의 발전과 디지털화를 가능하게 하였다. 1990년대 이후 정부의 장려금지원정책도 있었지만 기업투자의 열망과 창작자의 실험적 창의성이 산업경제구조와 잘 조화되면서 애니메이션의 급속한 성장을 가져왔다. 2000년에 이르러 인터넷과 영상매체의 발전으로 애니메이션 산업은 새로운 영역으로 확대되었지만 여러 문제점도 함께 나타났다. 이는 대만정부의 소극적인 애니메이션 보조금 지원정책과 전문적인 인재양성 계획 부재, 전문교육기관과 교육인력 미비, 창의적인 스토리텔링 고갈과 해외작품의 형식위주 모방 그리고 문화산업간 국제교류 부족 등에 기인한다. Animation in Taiwan has been profoundly influenced by the production of labor intensity for American and Japanese in the early days of its development. This phenomenon of the labor intensity reached peak in the 1980s. Information Bureau of Taiwan began to establish a system of supportive funding for its animation industry in the 1990s. During this period, the animation industry in Taiwan gave special emphasis to the theme of the local culture and to the creative works of the animation. By the 2010s, the elements of Chinese culture were introduced in the animation production in Taiwan. Through cross-national cooperation in production with other advanced countries, the Taiwan-made animation was successfully expended to the international market. However, the animation industry in Taiwan is facing the following problematical challenges: Firstly, the Taiwan government gives special attention to the financial support of animation industry rather than training university students to become professional experts in animation production. Secondly, there is no professional higher institution established to train specialized professional animation film-makers. Thirdly, Due to the lack of the cultural inspiration and the original mind, the form of its creative animated production is primarily imitated from other advanced countries. And fourthly, despite the fact that there is a cooperation and exchange programs between Taiwan and other foreign animation industries.

Nationalism and preferences for domestic and foreign animation programmes in China

Since China implemented animation control policies in 2004, foreign animation programmes have almost disappeared from Chinese television. At the same time, the Chinese government has invested enormous amounts of money in developing the animation industry as a creative industry. A questionnaire survey was conducted to explore how the Chinese audience views domestic and foreign animation programmes. The results indicate that pirated Japanese animation is widely viewed via the Internet by adolescents; on the other hand, domestic animation is popular only among children. Preferences for domestic animation correlate positively with age and patriotism but negatively with Internet use, while preferences for Japanese animation correlate negatively with age and patriotism but positively with Internet use. These results show that nationalistic sentiments are associated with preferences for either domestic or foreign animation programmes. However, preferences for Japanese animation are not significantly associated with anti-government attitudes.

Japan Animation: from Commercialism to Art

Guarding children from the too much influence of foreign culture, especially the influence of Western world, Chinese government has been encouraging the production of domestic animation.In China, after 2000, it was decided that more than 60 percent of animations broadcasted on TV must be products of China. Although foreign animation is obliged to be under 40 percent, most of the TV stations except CCTV would not keep the rule. This is the reason why the government decided to take this measure. There is a fact in the background that Disney animations from US and Japan animations are quite popular among Chinese children. Especially, most of the elementary school pupils in the urban area seem to watch such Japan animations as “Detective Konan”, “Ultraman”, “Chibimarukochan”, “Captain Tsubasa” and so on. In China, Japanese animation and Manga are estimated very high. “Doraemon” used to be selected as the “most humorous reading piece” in the research executed by China Social Science Institute.In Japan, the number of the animation pieces broadcasted on TV is about 2500. Including the sales of character goods, the gross sales are more than 1 trillion yens. It will be large enough to be called a “gigantic industry”. Export sales are 100 billion yens a year(half equal to the sales grade of all US movies a year, four times equal to the Japanese export steel sales to US). the share of Japanese animation in the world market is more than 60 percents, 80 percents of animation piece broadcasted on TV in Europe are Japanese product. Not only TV animation but also comics are popular. One can easily find bookshelves filled with “manga” in the bookstores in Asian or European countries. Japanese animation is highlighted as the world wide gigantic industry. Not only from the cultural point of view but also from economical phase connected with the movement of vast amount of money, the problems of globalization, regionalization and localization of animation are going to be focused on.These kinds of animations in Japan, which compose the main stream of commercial animation, produce the particular sub-cultural field that is called “Otaku” culture. Akihabara, where a lot of foreign sightseers went to buy electrical appliance made in Japan, has recently been getting to be the center of “Otaku” culture. With animations, this “Otaku” culture also has spilled on the world. In Europe, as same as Japan, animation events (and even “costume play show” also) are held in various cities. Young people gathering there are called “Otaku” with the respect to the persons who are well up in the sub-culture.In this paper, the presenter will not treat the actual conditions of Japanese animation as the gigantic industry with the worldwide market and vast investment, which even arouse the interference of politics in the various countries and areas. Relatively independent of the main stream commercial animation, there are some artistic and creative animations which have gradually been popular to the audiences. Their method and potentiality will be mainly introduced in the paper. In this boundary also we can find the conflict between the restriction of nationalism and the possibility of globalization, that never means “Amaricanization”.The main objects of this examination are the animation pieces based on the works of MIYAZAWA Kenji, a famous Japanese poet and children story writer of the former 20th century. In these years, he has been regarded as one of the national writer of Japan, and also he has been getting gradually well-known in world wide scale. This paper will show how different are the concepts and methods of these pieces of “animazation” of literature, from the ones of commercial animations, and also will show the endeavor of animators to lessen the restriction of nationalism, localism and so on.