ETD Collection

Permanent URI for this collectionhttps://wiredspace.wits.ac.za/handle/10539/104


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Subject: search.filters.subject.Animated films

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Now showing 1 - 4 of 4
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    Making sense of humour: the translation of humour in the animation feature film shrek
    (2019) Murugan, Giselle Lydia Da Silva
    The aim of this study is to investigate the strategies adopted in the translation of humour as depicted in the full-length computer-animated feature film Shrek, an unprecedented box office success released by DreamWorks Animation in 2001. One of the film’s most successful aspects lies in its critically acclaimed appeal to adults and children alike through a significant amount of verbal and visual humour elements. In setting out to explore the film’s humour, the concepts of animation and humour are presented in a discussion of Shrek’s characters, plot and technological mastery. The study critically examines two core approaches to Translation Studies as fundamental approaches to translation: the notions of Context and Contextualisation (Baker, 2006) and the Relevance Theory of Communication (Sperber & Wilson, 1986 & 1988). Before analysing the subject of the research, the study considers the translation of humour through three key strategies: the General Theory of Verbal Humour (Raskin & Attardo, 1991), Norm Acceptance/ Norm Opposition (Asimakoulas, 2004) and Frame Semantics (Rojo López, 2002). Drawing on these three primary theories, the report identifies the essence of humour as it is presented through numerous devices and techniques in the film’s original English dialogue before analysing the Portuguese dubbed dialogue. Such devices and techniques include wordplay, irony, intertextuality and rhyme supporting a plethora of visual frames. Through an analysis of these laughter-inducing features, the adopted translation strategies are explored in the context of whether or not the identified humour was carried through from the original Source Text to the resulting Target Text.
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    A comparative analysis of character animation and performance between American and Japanese feature film animation
    (2018) Krommenhoek, Reg
    This research paper seeks to gain a better understanding of the disparity in character animation and performance between Japanese and American animation through a comparative analysis of feature films by Studio Ghibli and Disney. The analysis incorporates an investigation into the cultural and historical elements that influenced the development of the medium in both regions as well as the individuals that pioneered animation techniques and approaches to performance that contributed to both studios’ unique styles. Beyond the textual and technological readings of animation, this research paper engages with performance theory and seeks to explore the disparity in animation based on performative differences. By gaining, a nuanced understanding of performance in animation and the characteristics of these forms of performance one can gain a greater understanding of how each studio approaches character animation and performance, and why these approaches differ. This is achieved through identifying the difference in ideology regarding movement and the processes by which these movements are rendered. The identification of the key performance models -figurative or embodied- and their use by each studio is then re-integrated into the greater discussion regarding the textual and technological readings of animation and how the textual and technological elements help reinforce the unique style and approach to each performance mode. Thus gaining a nuanced understanding of the medium in both regions in regards to animation production and the disparity in animation on a performative level.
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    Best practice for animating APAs: an analytical approach to the existing structure of animated pedagogical agents (APAs) and their advacement in multimedia learning through the lens of character animation's twelve principles
    (2018) Munyao, Isabella
    A learner's cognition benefits from a well-embodied animated pedagogical agent that engenders a sense of social affinity with the learner within a virtual learning environment, such as e-learning. Herein, the theory of a balanced approach to animating pedagogical agents ties the principles of animation to those of multimedia design. This nascent theory informs the best practice for animating pedagogical agents (APAs). The grounded theory method raises it through an analysis of extant texts within the broad fields of animation and multimedia learning. Based on similar memos from the wide text base, focused codes are inductively derived. The focused codes then taper towards theoretical categories that group similar codes and ultimately inform the deductive reasoning behind the nascent theory of a balanced approach to animating pedagogical agents. Implications for future research, the design and animation of pedagogical agents are discussed.
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    Understanding the communicative potential of Animation
    (2018) Krommenhoek, Dirk
    Animation is the study and art of motion; however, the separation between animation and cinematography is uncertain due to hybridized images. The aim is to discover how animation communicates effectively. This research approaches animation as a complex visual communication system by employing concepts from semiotics. Animation is analysed on a ‘mimetic to abstract’ continuum along with the consequence produced by the various configurations of the continuum. Investigating the differences in the icon offers a reflection on the ontological and modal difference between the photographic image, photorealistic image and the rule-governed transpositions of an object (degrees of arbitrary and motivation). The distinction highlights properties that are unique to ‘genuine animation’, ‘genuine cinematography’ and their hybrid state.