Animated TV Research Articles

Film and Television Animation Production Technology Based on Expression Transfer and Virtual Digital Human

The world of film and TV animation has witnessed a revolutionary transformation with the combination of Expression transfer and digital virtual Human technology. This paper delves into the superior methodologies and technological improvements in the discipline of animation production, especially specializing in how those technology are redefining the requirements and practices of animation in film and television. Expression transfer technology, a groundbreaking approach in animation, entails the transfer of facial expressions from real actors to lively characters. This technique not most effective enhances the realism of lively characters but additionally lets in for a extra nuanced and emotive performance, bridging the space among conventional animation and stay-action performances. Digital Human era, however, entails creating extraordinarily practical virtual representations of people. Those digital humans aren’t mere caricatures or stylized variations however are reasonable in appearance and movement, way to advancements in motion seize, 3-D modeling, and synthetic intelligence. The mixture of those technologies is main to a new technology in animation where characters aren’t only visually stunning however also exhibit a depth of emotion and realism previously unimaginable. This paper explores diverse case research and applications of these technology in current animation, highlighting their effect on storytelling, person improvement, and viewer engagement. It also addresses the demanding situations and moral considerations in employing these technologies, which includes retaining artistic integrity and the capacity for misuse. The research concludes with a forward-searching attitude on how Expression transfer and digital digital Human technologies are set to redefine the future of movie and television animation, presenting new opportunities for creative expression and narrative intensity.

Boosting global sales and transnational circulation: Public financing of film and TV fiction and animation in Flanders and Denmark

Boosting global sales and transnational circulation: Public financing of film and TV fiction and animation in Flanders and Denmark

Exploring the Differences of Manga Adaptations in Film and Television in the Context of the Era--Taking Slam Dunk as an Example

Exploring the Differences of Manga Adaptations in Film and Television in the Context of the Era--Taking Slam Dunk as an Example

Understanding the Backer Motivations for Japanese Anime Crowdfunding Campaigns

In the Japanese animation industry, TV stations and film companies generally take the lead in setting up joint ventures called production committees to raise funds. Although there are cases where an animation studio takes the lead in starting a project, it is often difficult for the studio to form a production committee depending on the content of the project and the career of the director. In recent years, crowdfunding has attracted attention as a way of raising funds for production from general consumers. While some projects can raise more than their goals through crowdfunding, many others do not. This study, therefore, attempts to identify what anime crowdfunding backers value in pledging their support. A total of 6,596 comments from backers of three Japanese anime projects funded on the U.S. crowdfunding website Kickstarter were analyzed using a text-mining method. The results showed that most crowdfunding backers placed importance on the rewards and that crowdfunding success is likely to be related to past achievements of the work and its creators, as well as the credibility of the studio. Compared to overseas backers, Japanese backers were found to express their support for the creators more than for the rewards.

A Comparative Analysis of the Narrative Styles of Shanhaijing and Ancient Myths in Animated TV Series

This thesis compares and analyses the narrative styles of Shanhaijing and ancient myths in animated TV dramas, discusses the similarities and differences between the two in terms of narrative structure, character portrayal, and visual presentation, so as to reveal their roles in cultural inheritance and innovation, and puts forward suggestions for the future production of animated TV dramas.

Onomatopoeia, Sound Effects and Humour in Japanese Anime and US Animation Films and Television

Onomatopoeia are words signifying sounds by phonetically imitating or suggesting them. Research into the use of onomatopoeia in literature, language and comics has been rich and varied while the study of the use of onomatopoeia in film, television and their functions has so far been limited. This article focuses on two aspects: (a) the relationship between onomatopoeia and sound effects in US animation and Japanese anime; and (b) audiovisual humour caused by the use of onomatopoeia and sound effects in US animation and Japanese anime. The author introduces classifications and usage patterns of onomatopoeia in English and Japanese, and analyses the different types of onomatopoeia and sound effects in recent popular US animation films and TV, and in Japanese anime and their contributions to creating humour by applying humour theory (incongruity theory in particular). This study combines film analysis, soundtrack analysis, linguistic analysis and theories of humour, and will be of interest to students and scholars of film, sound, linguistics, psychology and other subjects interested in the study of onomatopoeia and audiovisual humour.

‘Unsticking’ Kid Cosmic: Lifting the burden of gendered certainty in children’s TV

In recent years, American children’s animated TV has slowly begun to depict queerness in explicit ways, with a handful of shows portraying gender non-conforming characters and same-gender relationships. Still others have provided pathways to reading queer alterity in an absence of apparent queerness by celebrating and embracing uncertainty, change and difference. This article focuses on the latter in relation to textual analysis, exploring ‘unsticking’ in Kid Cosmic, an animated show that turns over and complicates the neo-liberal, individualistic superhero tropes typical of many comic books and comic book movies. Following Kid and his three companions as they negotiate newfound powers, the show offers the opportunity to read queerness in children and children’s TV not as an additive quality or monolithic struggle but rather as a fluid, uncertain, unfixed and ever-changing process of motion. As Kid and his companions’ bodies are transcendently lifted from existing representational frameworks and thrown through space – unstuck from the ground and from their daily lives – they come to comprise something, I argue, quite radical.

Mechanisms to detect and translate audiovisual intertextuality in the dubbing of animated productions into Spanish

ABSTRACT Intertextuality, which can be defined as the interrelationship between texts, can appear anywhere, from an informal conversation among friends to manifestations of literature or cinema. However, its use is normally intentional, and translators should have the tools to detect intertextuality and transfer these references so that the target audience and the original audience are on an equal footing. This article explores intertextuality in the dubbing of audiovisual productions, where references to other productions and characters are constant. Our research is based on the study of two seasons of the animated TV series Family Guy dubbed in Spain, as well as on previous research on this topic. We seek to both determine which intertextual signs (Hatim and Mason 1990, 174) may help audiovisual translators in the detection stage and to develop an integrated method to help them carry out the challenging translation process.

Animating Eco-aesthetics: Multiplanar Images, Interspecies Government, and Eco-conscious Gaming in The Legend of Hei (2019) and Its TV Series (2011–Present)

Abstract This study on the animation feature The Legend of Hei (2019) and its TV animation series (2011 to the present) endeavors to explore nascent models of eco-aesthetics in Chinese animation through an intersectional framework bridging studies of eco-politics, eco-cinema, and contemporary animation and media studies. Through close analysis of multiplanar imaging and limited animation in the animation feature, I discuss how varied animation techniques in the film contribute to aesthetic effects of appearance and disappearance, diversified characterization, and representations of contesting models of ecological subjectivities, bio-politics, and environmental governance. Contrary to a radical ecologist’s approach that resorts to forceful undertakings to “rescue nature,” the animation projects an alternative ethico-political method that promotes co-existence, inter-species governance, tolerance, and the art of “letting be.” The latter half of the essay situates the TV animation series The Battle of Luo Xiaohei in the milieu of eco-cinema and media ecology. I argue that the TV animation’s transmedial presentation of ACG gaming, platformativity, and parasocial participation of gamers, human characters and elfin alike, offer new insights on videogaming as social and cultural responses to environmental crises, also drawing attention to the ethico-political potential of parasocial gameplay in promoting democratic ideals of ecosystem governance.

On the Question of Formation and Development of the Animation Industry in the XX — Beginning of XXI Century

The purpose of the article is to analyze distinct aspects of the formation and development of the animation industry during XX — at the beginning of XXI century in connection with the movie industry and broadcasting mainly in the USA that allows a deep understanding of the essence and peculiarities of audiovisual industry functioning as the separate segment of creative industry.
 The methodology. On the basis of the historical approach and also methods of data collecting and analytical and synthetical processing, qualitative analysis of development was conducted. It was found out that today the animation industry is a separate segment of audiovisual industry, that had overcome a difficult way of development in co-evolution with the movie and TV industries that have survived in the globalization of production and its distribution.
 The results. The industry of animation appeared in the USA under the influence of cinematography and its further formation was determined by two main factors: technological development that enabled diversified markets and products, improved animators’ ability to express their own creative ideas, besides, assisted to enlarge the global market and many regional market niches, and also the tendency of cost decrease of production that provided the basic conditions for the animation production in other countries-subcontractors. 
 After the World War II a sharp drop in showing animated cartoons in the cinema was observed but with the appearance and spreading of TV for the animated industry new possibilities became available. Significant changes happened in 1980 when after almost a decade break, 2D animated films were actively made for the cinemas, and within the animated industry two measurements were formed — local-artisanal and global Hollywood system. Technological determinism brought new markets and two tendencies into animated production: mass production for the non-theatrical markets, CGI in the world market. Using cheap software and fast rendering of CGI-animation have changed forever the TV animation and had a huge influence on the geography of the animated industry.
 The scientific novelty. Analysis of the animation through the prism of branch industrialization during XX — beginning XXI century.
 The practical significance. The material of the given article can be used for the development of program or strategies for the animated industry development in Ukraine as a foreign experience.

CCLOOW: Chinese children's lexicon of oral words.

In this article, we introduce the Chinese Children's Lexicon of Oral Words (CCLOOW), the first lexical database based on animated movies and TV series for 3-to-9-year-old Chinese children. The database computes from 2.7 million character tokens and 1.8 million word tokens. It contains 3920 unique character and 22,229 word types. CCLOOW reports frequency and contextual diversity metrics of the characters and words, as well as length and syntactic categories of the words. CCLOOW frequency and contextual diversity measures correlated well with other Chinese lexical databases, particularly well with that computed from children's books. The predictive validity of CCLOOW measures were confirmed with Grade 2 children's naming and lexical decision experiments. Further, we found that CCLOOW frequencies could explain a considerable proportion in adults' written word recognition, indicating that early language experience might have lasting impacts on the mature lexicon. CCLOOW provides validated frequency and contextual diversity estimates that complements current children's lexical database based on written language samples. It is freely accessible online at https://www.learn2read.cn/ccloow .

On the prudence of adopting a ‘Sin now; repent later’ policy

Abstract‘Listen, I'm against sin. I'll kick it as long as I've got a foot; I'll punch it as long as I've got a fist; I'll butt it as long as I've got a head; and I'll bite it as long as I've got a tooth’ (Billy Sunday). Billy Sunday was a revivalist preacher in the early half of the twentieth century. I take it that Billy's approach to sin will be taken by most to be more theologically acceptable than the following. ‘I figure I'll go for the life of sin, followed by the presto-change-o deathbed repentance’ (Bart Simpson). Bart Simpson is a character in the animated TV Show, The Simpsons. In the vignette from which this quotation of Bart's is abstracted, Bart is actually in conversation with a Billy-Sunday-like preacher. The preacher, on hearing of Bart's theology (Bartian theology, we may call it; not, NB Barthian theology), replies in a slightly stunned way, as if he had never himself considered Bartianism prior to that particular moment, ‘Wow! That is a good angle. . .’ However, he quickly collects himself and adds definitively, ‘But it's not God's angle.’ In this article, I wish to explore Bart's angle; could it, or something like it, after all, be a prudent angle?

Challenging the stereotype through humor? Comic female scientists in animated TV series for young audiences

Stereotypical representations about what scientists do, look like, and how they behave are cognized in early childhood and refined throughout life, through direct or indirect contact with the STEM communication climate, whether it be direct interactions with scientists, science education, communique, or entertainment. Popular media (TV) plays an important role in influencing our ideas of science by constructing images of social science reality. What has rarely been discussed in these contexts is what kind of scientific stereotypes are reinforced or challenged in popular TV shows for young audiences, particularly regarding female scientists. Using qualitative textual analysis, this paper examines how female scientists are portrayed through humor (and what kind of humor) in two popular animated entertainment series for children—Spongebob Squarepants and Adventure Time—and how their portrayal reinforces or challenges gender stereotypes in cultural representations of science. The analysis revealed that science was portrayed as humorously framed non-science, often represented by exaggerated ever-computing datasets on larger-than-life computer screens that would rival NASA. However, the representation of the female scientists in these animated TV comedies was steeped in archaic stereotypes that, surprisingly, were barely associated with humor: it was the science, not the female scientist per se, that was comic. Interpreting these findings in light of science communication research, gender studies, popular entertainment studies and humor studies, this article adds new perspectives to our understanding of humor in science narratives and the public imagination, and provides new insights for the study of the intangible aspects of science in culture.

Applying Vinay and Darbelnet's Translational Procedures in Dubbing Animation from English into Arabic

The main purpose of the present study is to focus on dubbing as a term employed in recording and synchronizing the original production soundtrack with another language to create the finished soundtrack such as in TV series and animation. This study aims at investigating translational procedures used in dubbing and sheds light on the difficulties that the translator may face while dubbing animation. The study hypothesizes that adopting Vinay and Darbelnet’s translational procedures (1995) may help to achieving a good match in dubbing English animation into Arabic. One of the significant conclusions is that no matter how good the dubber is skilful, especially in applying a suitable translational procedure and strategy, it is hard to come up with complete harmony with Source text due to some difficulties that face the dubber, especially in terms of finding the right expression that must match and synchronize with lip movements of characters, and the different articulating system of each language.

Postmodernism and its emotional impact: The American T.V. Show, ‘Family Guy, as a Politically Incorrect Document

Postmodernism is a movement that grew out of modernism. Movements in art, literature, and cinema focused on a particular stance. The visual artists who created entertainment focused on expressing the creator herself/himself beginning from German expressionism to modernism, surrealism, cubism, etc. These art movements played an important part in what an artist (literature, art, and visual) portrayed to his or her audience. As perspectives played an important part, an understanding of what the artist needed to portray was critical. Modernism dealt with this portrayal, which came about due to the changes taking place in society. In terms of the industry, where the overall product dealt with features like individualism, experimentation and absurdity, modernism dealt with a need to overthrow past notions of what painting, literature, and the visual arts needed to be. “After World War II, the focus moved from Europe to the United States, and abstract expressionism (led by Jackson Pollock) continued the movement’s momentum, followed by movements such as geometric abstractions, minimalism, process art, pop art, and pop music.” Postmodernism helped do away with these shortcomings. An understanding of postmodernism is explored in this paper. The main point which sets it apart is concepts like pastiche, intersexuality, and spectacle. Concerning pop culture, an understanding of referencing is a constant trait used by postmodern art. Postmodern television and the central part of this study applied to the popular animated American TV show, ‘family guy’ is a postmodern show in its truest form, while attempting to use certain aspects of postmodernism tropes to help emphasize that visual art can be considered a historical document while doing an in-depth analysis of the visual text of ‘family guy by itself, several other research papers were used to help further put in stone that ‘family guy’ is a true representation of postmodern television. It is divided into two phases of data collection: context analysis, which involves a qualitative study. The second being in-depth interviews (also qualitative) which in itself helps give a subjective view of participants between the ages of 20 and 28. These comprise students who are familiar with the show and the concepts of the show. All of them, both frequent viewers of the show and those also politically informed of world politics, helped further emphasize the concept of the paper, which was the idea of how a television show in all its absurd narrative and pastiche functions as a historical document. The purpose of this study, along with the results for this research, is to help bring about the comprehension of how postmodern shows are influenced by other past events, figures of history, etc.; this understanding can explain how a television show like ‘family guy could be considered a historical document – by its narrative, by the cultural references connected to these said events, and also with the help of paintings, which the makers of the show use to design the episode of the show, and which reflect and refer to the actual historical figures. Historiography is being proven to be biased in more ways than one, which leads us to an understanding of a different narrative depending on one’s own opinions of history and historical documents as we know it.

Connecting Fantasy Worlds and Nostalgia: Miyazaki Gorō’s Animation Movies

In the particular context of post-Cold War Japanese animation, the name of Miyazaki Gorō 宮崎 吾朗 (born 1967) is mostly related to the name of his illustrious father, Miyazaki Hayao 宮崎 駿 (born 1942). Professionally speaking, Miyazaki Gorō is a landscaper (construction consultant in the planning and designing of parks and gardens) as well as an animation director of two animation movies and one TV animation series. This paper focuses on the two animation movies released by Studio Ghibli under Miyazaki Gorō’s direction: Tales from the Earthsea (ゲド戦記 Gedo senki, 2006) and From Up On Poppy Hill (コクリコ坂から Kokuriko-zaka kara, 2011). Miyazaki Gorō’s two animation movies are described and analyzed, both as ideological manifestos continuing and, from a certain point onward, transcending what might be called the “Ghibli paradigm” and as aesthetical masterworks combining the “Ghibli paradigm” with fresh visions of employing animation as a medium, exploring, absorbing and integrating influences from beyond geographical boundaries and striving to break the “Japanese” limitations of the artistic language utilized in his approach to animated expressive modes.

Animation Design Based on 3D Visual Communication Technology

The depth synthesis of image texture is neglected in the current image visual communication technology, which leads to the poor visual effect. Therefore, the design method of film and TV animation based on 3D visual communication technology is proposed. Collect film and television animation videos through 3D visual communication content production, server processing, and client processing. Through stitching, projection mapping, and animation video image frame texture synthesis, 3D vision conveys animation video image projection. In order to ensure the continuous variation of scaling factors between adjacent triangles of animation and video images, the scaling factor field is constructed. Deep learning is used to extract the deep features and to reconstruct the multiframe animated and animated video images based on visual communication. Based on this, the frame feature of video image under gray projection is identified and extracted, and the animation design based on 3D visual communication technology is completed. Experimental results show that the proposed method can enhance the visual transmission of animation video images significantly and can achieve high-precision reconstruction of video images in a short time.

Anime tourism in Italy: Travelling to the locations of the Studio Ghibli films

Film-induced tourism, intended as travelling to places where films and TV series have been shot or set, has been extensively studied in the last two decades in several disciplinary fields. For example, the term ‘media pilgrimage’ emerged in media sociology to highlight the sacred dimension these practices may assume, while fan studies have focused on the narrative of affection built upon specific places. Calling forth the relationship between film and landscape, these phenomena have been also explored in the light of film semiotics and media geography. In the past decade, the representation of landscape and the construction of the sense of place in animation benefited from increased scholarly attention; however, the links between tourism and animation still appear under-explored. Japanese animation, because of its prominent use of real locations as the basis for the building of its worlds and the tendency of its fanbases to take action (even in the form of animation-oriented tourism), is an especially promising field, in this respect. In the last fifteen years, a debate on ‘content(s) tourism’ has involved the Japanese government as well as academic scholarship, referring to a wide variety of contents, from novels to films and TV series, anime, manga, and games. The article presents a case study: a discussion of the experience of anime tourists who visited the Italian locations featured in the films by the world-famous animator and director Miyazaki Hayao, especially in Castle in the Sky (1986) and Porco Rosso (1992). The experiences of anime tourists were collected from images and texts shared through the social network Twitter.

Film and TV Animation Production Based on Artificial Intelligence AlphaGd

The dual attributes of artificial intelligence AlphaGd production, combined with modern social culture, industrial economy, and other factors, show rich connotation and extension in the development process of film and television animation production from the perspective of artificial intelligence AlphaGd. This paper first discusses and analyzes the practical significance and points out that AI AlphaGd has powerful functions, can greatly improve the sense of animation, and can effectively promote the technological innovation of animation production, then introduces the role modeling ideas of AI AlphaGd, and describes the modeling steps. Finally, the application of AI AlphaGd works produced after the use of artificial intelligence AlphaGd is more lifelike and specific in both the embodiment of the character image and the basic picture effect, which can make the audience have a more comfortable and perfect viewing experience. After summarizing, this paper puts forward the shortcomings of perspective artificial intelligence AlphaGd. Artificial intelligence may be useful in key decision-making processes, but it may negate the need for humans to be involved in these discussions. In view of these shortcomings, further research and discussion are made to accumulate new experience for product development and production from the perspective of artificial intelligence AlphaGd.

Lissette Lopez Szwydky. Transmedia Adaptation in the Nineteenth Century.

Lissette Lopez Szwydky. Transmedia Adaptation in the Nineteenth Century.