3. Electronic Theses and Dissertations (ETDs) - All submissions
Permanent URI for this communityhttps://wiredspace.wits.ac.za/handle/10539/45
Browse
8 results
Search Results
Item Making sense of humour: the translation of humour in the animation feature film shrek(2019) Murugan, Giselle Lydia Da SilvaThe 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.Item Understanding the communicative potential of Animation(2018) Krommenhoek, DirkAnimation 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.Item Remembering Nostalgia: Trends of Nostalgia within contemporary animated films(2017) Bowyer, Jessica Patricia MaryThe use of 2D animations visual designs within contemporary 3D animated films has become a vastly more popular and far-reaching trend, with big animation companies like Pixar and Disney, releasing several films since 1995 that reveal a re-emergence of 2D nostalgia in main-stream animation. I believe this is a result of a desire in audiences for a more nostalgic aesthetics, in the form of 2D aesthetics in the character designs and overall style choices within contemporary 3D animated films. I will endeavour to explore this trend within this research report by discussing two films from director Brad Bird, The Iron Giant (1999) and The Incredibles (2004), that I feel explore this contemporary trend of nostalgia specifically within the animation industry, stressing the importance of the visual signifiers that I believe incorporate this current trend of nostalgia. This paper does not, however, look at nostalgia as a broad based cultural phenomenon, but rather looks at the aesthetics of nostalgia specifically in terms of my two case studies and feature film animation. To do this, this paper will look to define nostalgia in terms of animation, exploring the sentimental nostalgia that I believe is evident in my two case studies, after which it will look at the history of 2D and 3D animation, and how the developments within these two mediums made the aesthetic of my case studies possible. The majority of this paper will be dedicated to discussing my chosen case studies in terms of the visual indicators of nostalgia that can be found within them. Throughout this paper, I will attempt to show that the aesthetic of these two films is a direct result of the nostalgia that contemporary audiences and animation studios have for a specific style of animation and the lifestyle associated with it, from a time that embodies this: 1950s and 60s America.Item A proposition for how musical competencies could benefit 3D character animators when synchronising performances to pre-recorded music using Khumba as a case study(2017) Jacobs, Carelize JohaniEven though a significant amount of research has been conducted over the years on film music and animation, these two fields of academic study mostly developed independently from each other. Little attention has been given to these two fields in terms of how they are deployed together, particularly after the ‘Golden Age’ of Hollywood filmmaking. This study, from an animation perspective, contributes to this need for research with an investigation and eventual proposition that will elucidate and advance the integration and contemporary deployment practices and processes of music and character animation. The aim of the study was to identify and suggest the ideal musical competency set a character animator would benefit from and, to propose an approach for notation in which these competencies are used to digitally animate characters moving to the beat of pre-recorded music for a 3D animation feature-length film. A qualitative research approach was followed and the research methodology consisted of a historical analysis, studying current practices and the analysis of a case study. The South African 3D computer-animated feature film, Khumba (2013), produced by Triggerfish Animation Studios, was used as the case study. Reasons for its suitability were twofold: Firstly because the researcher could easily access the animators (which was essential) and secondly, because the film had the musical scenes required to conduct the research. The focus was on the musical scenes in the film. The integration of animation and music in a scene was analysed, allowing the researcher to show how Khumba animators could have benefited from the suggested musical competencies and from using the proposed method when animating musical scenes. A universally agreed approach for notation in animating-to-music doesn’t exist. However, a method known as the bar sheet was used by earlier animators, requiring them to have a basic knowledge and understanding of music. This study proposes the reintroduction of an adapted version of the original bar sheet, digitised for assimilation with contemporary technology. A plug-in for Autodesk Maya was also proposed as an output of the research. Ultimately, this research has the potential to lead to a heightened proficiency of character animators when animating musical scenes in 3D feature-length films. In addition, the research could prompt a universally agreed approach for notation which combines traditional and new methods and techniques. The adoption of this approach could also lead to changes in the working practices of film making teams and the work flow within production pipelines.Item An assessment of motion capture in animated film through an analysis of aesthetics(2016) Edwards, Christie-Lee HelenThis study aims to determine whether motion-captured animation is better suited for hyper-realistic or caricatured film aesthetics and whether it creates or breaks the aesthetics engagement for the viewer. This will be done by analysing how each aesthetic maintains or breaks 'suspension of disbelief' in viewers towards character engagement and identification. This paper specifically aims to report on a study of body motion capture, via attaching trackers only on the body and not on the face and fingers. Films used to critically analyse these ideas will be The Advantures of Tintin: The secret of the Unicorn (year) directed by Steven Spielberg to illustrate motion capture, which pertains to caricatured animated feature film aesthetics with caricatured designs. in comparison Beowulf (year) directed by Robert Zemeckis will be studied to demonstrate motion capture with hyper-realistic aesthetics. Motion capture has often been critiqued negatively for its depiction of human characters and their movement as having a disturbing appearance; which is mostly criticised as effects of the Uncanny valley- a phenomenon first introduced by Professor Masahiro Mori. There are currently 13 major motion capture animation feature films, such as Final Fantasy: Spirits within, final fantasy: Advent children, the polar express, Last order final fantasy VII, monster house, happy feet, Beowulf, A Christmas Carol, The Adventures of Tintin: The secret of the Unicorn, Mars needs moms, Happy feet 2, kochadaiiyaan, Space Captain Haddock. With the amount of motion capture being used in current animation features, especially with a local South Africa studio such as The Flying Circus using it as a means of saving costs on animation production, there needs to be an understanding of where motion capture is best suited depending on the aesthetic design of the film. This becomes especially imperative to animated films, because it has its own codes of depicting 'realism' that are separate to that of live action films that are discussed in details in the paper. To conclude, this study will aid in determining which aesthetic style provides better engagement through a critique of aesthetics the films chose to pursue and which keeps viewers succumbed to 'suspension of disbelief'. This will aid in determining whether motion capture is an appropriate method to creating animated movement for a particular aesthetic.Item Pausing dramatic tension within contemporary action cinema: the relationship between time slicing/slow motion and suspenseful situations in action feature films through praxis lead research(2016) Goncalves, Raymond Carlos McClureTime slicing is a film-based visual effect that refers to an enhanced simulation of time at variable speeds by creating the illusion of frozen or slowly progressing motion in time; it is most commonly digitally manipulated. This report will research and analyse how it can be utilized to amplify dramatic tension, or suspenseful situations in contemporary action films through theories, technology and various filming techniques. The theoretical methodology in this report is a historical account of the technology and process in the evolution of time manipulation within photography and film leading up to time slicing. Some Film theory is included in this report in a more conceptual manner as to why time slicing or slow motion is used in suspenseful situations, particularly in the action film genre. The report also demonstrates how the high standards of time slicing in feature films can be similarly achieved on a budget which will be demonstrated through a practical component that will compare a real time versus a time sliced scenario. While it would be preferable to use a full 360-degree array of cameras, the technology involved in time slicing has not yet reached a point where it is economically accessible to a student film maker and most local industries, which is why the focus of the research paper analyses a shorter array of cameras that is just enough to capture a time slice effect. The results will then be assessed based on dramatic tension/suspense to see if they equate to the theories of montage and mise en scène discussed in the research report. As a case study, the report will then compare a scene from The Matrix to that of a scene produced as part of the practical component in order to draw conclusions on quality and the possibilities of a lower budget set-up.Item The use of interactive educational animated series to enhance second language development in preschool children(2016-03-03) Dongo, ClaireThis research report aims to encourage the research, development and production of interactive educational animated series in southern Africa such as the highly successful US series Dora the Explorer, specifically to teach southern African languages. Over the years mediums of imparting knowledge to children have changed rapidly (mainly due to ever-evolving technology), but the fact that children learn best when they are having fun has remained constant. Animation has been a leader in children’s entertainment as it has the power of expanding their imaginations and at the same time captures their attention. Animated series such as Dora the Explorer and Blues Clues have been popular with preschool children and impart valuable lessons. Dora the Explorer in particular helps children learn Spanish as a second language. The research takes a look at how children acquire a second language and how animation can aid the process of learning. Various theories on how children learn reveal the link between language, age and play. It is revealed that during production, careful consideration of content is required for educational animation to be an effective learning aid. This leads to the discovery of Richard Mayer’s principles that are recommended to be considered when creating effective educational animation. Included is a comparative analysis of the development processes of successful US children’s educational animated series to similar southern African productions. The research aims to inform the possible creation of an educational interactive animated series to enhance second language development for preschool children.Item A study of how the technological advancements in capturing believable facial emotion in Computer Generated (CG) characters in film has facilitated crossing the uncanny valley(2014-10-22) Louis, ClareIn recent years, the quest for capturing authentic emotion convincingly in computer generated (CG) characters to assist exceedingly complex narrative expressions in modern cinema has intensified. Conveying human emotion in a digital human-like character is widely accepted to be the most challenging and elusive task for even the most skilled animators. Contemporary filmmakers have increasingly looked to complex digital tools that essentially manipulate the visual design of cinema through innovative techniques to reach levels of undetectable integration of CG characters. In trying to assess how modern cinema is pursuing the realistic integration of CG human-like characters in digital film with frenetic interest despite the risk of box office failure associated with the uncanny valley, this report focuses on the progress of the advances in the technique of facial motion capture. The uncanny valley hypothesis, based on a theory by Sigmund Freud, was coined in 1970 by Japanese robotics professor, Masahiro Mori. Mori suggested that people are increasingly comfortable with robots the more human-like they appear, but only up to a point. At that turning point, when the robot becomes too human-like, it arouses feelings of repulsion. When movement is added to this equation, viewers’ sense of the uncanny is heightened when the movement is deemed to be unreal. Motion capture is the technique of mimicking and capturing realistic movement by utilising technology that enables the process of translating a live actor’s performance into a digital performance. By capturing and transferring the data collected from sensors placed on a body suit or tracked from a high definition video, computer artists are able to drive the movement of a corresponding CG character in a 3-Dimensional (3D) programme. The attention of this study is narrowed to the progress of the techniques developed during a prolific decade for facial motion capture in particular. Regardless of the conflicting discourse surrounding the use of motion capture technology, these phenomenal improvements have allowed filmmakers to overcome that aspect of the uncanny valley associated with detecting realistic movement and facial expression. The progress of facial motion capture is investigated through the lens of selected films released during the period of 2001 to 2012. The two case studies, The Curious Case of Benjamin Button (2008) and Avatar (2009) were chosen for their individual achievement and innovative techniques that introduced new methods of facial capture. Digital images are said to undermine the reality status of cinematic images by challenging the foundation of long held theories of cinematic realist theory. These theories rooted in the indexical basis of photography, have proved to be the origin of contemporary viewers' notion of cinematic realism. However, the relationship between advanced digital effects and modern cinematic realism has created a perceptual complexity that warrants closer scrutiny. In addressing the paradoxical effect that photo-real cinematic realism is having on the basic comprehension of realism in film, the history of the seminal claims made by recognized realist film theorists is briefly examined.