Browsing by Subject "Animation"

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Animating history and memory : the productions and aesthetics of Waltz with Bashir and Tower
(2017-05-04) Levy, Dylan Olim; Gopalan, Lalitha; Berg, Charles R
Films like Waltz with Bashir (2008) and Tower (2016) are unique in that they not only fit within accepted frameworks of documentary filmmaking, but they also use animation as their primary method of storytelling. Anabelle Honess Roe thoroughly explores animated documentaries in her book Animated Documentary, arguing that animation is used in these kinds of films to either “substitute” for traditional means to represent the real world (24), such as live action footage, or to “evoke” the psychology, emotional states, and other subjective experiences of an individual (25). Ultimately, Roe argues that animation is a suitable “representational strategy for documentary” filmmaking because of its “visual dialectic of absence and excess” (39). This report applies Roe’s arguments to the analysis of the aesthetics and roles of animation in Waltz with Bashir and Tower. In both of the films’ treatments of historical tragedies—the 1982 Lebanon War and massacres in the Beirut internment camps in Waltz with Bashir, and the 1966 sniper shooting at the University of Texas in Austin in Tower—the films posit their animations as necessary means with which to both re-create the events surrounding those tragedies and to explore personal trauma. Yet while Waltz with Bashir has a more stylized form of animation to fit with its focus on the protean nature of personal memory, Tower uses a more mimetic form of animation, rotoscope, as a means of “mimetic substitution” (Roe 23) for live action footage. Unlike other writings on Waltz with Bashir, this report specifically offers close, formal analyses of specific scenes in both films. Through the analysis of particular scenes and by focusing on the films’ animation production processes, their treatments of color, and how they ultimately transition from animation to live action footage, this report reveals how the “substitutive” and “evocative” functions of animation are at work in these films.
The box
(2012-05) Leahy, Katherine Lee; Habeck, Michelle M.; Otte, Ray C.
This project explored a new work in the lighting and video area of the entertainment industry. This thesis archives the creative process of this specific new piece, resulting in a realized and finished work open to the public. The Box opened in the Oscar Brockett Theater on the University of Texas at Austin campus on March 19, 2012, and ran from 10 am to 7 pm for three days. The Box was an installation piece of art that told a story. This seemingly simple structure of a large black box contained a surprising inner life. The sculpture had an opening cut into its side, which upon entering transports the viewer into a space with a modified perspective. More than one person can view the piece at a time. Visitors entered the box and became immersed in a world of manipulated lighting, video, and sound. Characters existed in the form of animated light, color, and audio. These characters expressed elemental energies of air, fire, earth, and water that communicated primal emotions. The Box wove a narrative fabricated from lighting, animation, sound, and manipulation of perspective, without using traditional methods of storytelling such as actors or speech. While The Box was on display, viewers visited multiple times and interacted with the environment in different ways. Dancers danced in The Box, actors delivered monologues, and some viewers simply lay on the floor and became part of the art itself.
The combination of imaginary and real worlds.
(2011-05) Wei, Wei 1983-; Shields, David, M.F.A.; Hall, Peter, 1965-
Design
Exploring how stories are told in different art forms : from text to visual storytelling, animated radio play, Kimmy
(2022-12-01) Liu, Ningmo; Habeck, Michelle M.
The focus of this thesis is an exploration of storytelling and its translation and representation through differing art forms. In this case, scripted vocal performance, visual drawing, and animation are exploited to tell the story. Kimmy, a script written by Farah Lawal Harris and produced by The Department of Theatre and Dance at The University of Texas at Austin in 2021, will be used as the object of research to communicate this author’s process of interpreting and transforming the recorded audio production to a fully animated visual and audio storied experience. The author of this thesis created the visual design for the production. The author of this thesis will explore how different art formats affect storytelling and how it illustrates character in a stylized graphic story. The paper will expose the details of the visual design process, from early conceptual sporadic thoughts and ideas to that of a fully illustrated, conceptually unified, and completely storied play. The thesis will serve as a critical reflection focusing on collaboration, workflow, revision, and resolution.
Genre in context : toward a reexamination of the film musical in classical Hollywood
(2015-08) McDonnell, Cari Elizabeth; Neumeyer, David; Buhler, James; Schatz, Thomas; Carson, Charles; Almen, Byron
Though no single history of the Hollywood musical exists as such, a historical narrative nevertheless emerges from the extensive body of scholarly work on the genre. Most studies of the American film musical have used as texts a limited canon of films. Though these studies have illuminated many stylistic and critical constructs at work in the film musical, they have also presented an incomplete picture of the historical development of the musical in classical Hollywood. We need to contextualize our critical understanding of the American film musical by broadening the scope of films we study and by investigating the cultural and industrial circumstances in which these films were produced. The purpose of this study, then, is twofold: I offer a historical context in which to conduct critical examinations of the Hollywood film musical, and I provide examples of how this historical understanding can inform further investigations of the genre. By far the most attention in the literature is given to MGM musicals, particularly those produced by the Freed unit in the 1940s and 1950s, with RKO’s Astaire-Rogers films in the 1930s trailing not far behind. Yet almost every other Hollywood studio, whether major, minor, or independent, made cycles of musicals during the studio era. Paramount Pictures, through its Bing Crosby and Bob Hope Road films, provides a significant contrast to the MGM Freed unit among the large studios in the prosperous 1940s, while Walt Disney Productions, through its animated musicals in the 1950s, offers a rare example among independent studios during the dismantling of the studio system. Taken together, these two case studies present a cross-section of production and reception practices through the height of the classical Hollywood era and into the immediate postclassical period. I will use these two prominent cycles of film musicals to examine the dynamic relationship that existed between the industrial and cultural conditions of the entertainment industry and the film musical's aesthetic style and content. This study will work alongside the existing literature to create a more complete and historically grounded understanding of the American film musical in the classical Hollywood era.
I Heart Arabic : online "working procrastination" resources for Arabic language learners
(2014-05) Thong, Claire Mei Li; Lee, Gloria
Reaching proficiency in Arabic requires a lengthy commitment, and as a result, it is important that students have access to resources that will help them maintain their motivation to learn. Many students are motivated to study because they want to experience the culture of Arabic-speaking countries; however, although the situation is improving, cultural awareness in Arabic language curricula at the elementary level has traditionally been overshadowed. While there are an abundance of online resources available for languages such as Spanish and Japanese that have a consistently strong focus on culture, there are very few comparable online resources for introductory-level Arabic language learners. To address this gap in the resources available to Arabic language learners, I created a website and accompanying social media system called I Heart Arabic. It is directed at introductory students of Arabic and aims to promote cultural awareness, introduce multiple forms of colloquial Arabic, and challenge negative stereotypes of the Arab world. In short, it provides what I have termed "working procrastination" to students of Arabic. "Working procrastination" acts as a break from the rigors of studying Arabic grammar and vocabulary. By focusing on Arab culture in a light-hearted manner, I Heart Arabic can re-motivate students of Arabic language, allowing them to return to their daily studies refreshed and re-energized.
Loose bodies
(2010-05) Akers, Madeleine Ruth; Howard, Donald Wayne; Lewis, Richard; Stein, Laura
My thesis film for the Master of Fine Arts degree is a 10-minute documentary entitled Loose Bodies. It traces my mom's recovery from knee replacement surgery, meanwhile exploring her relationship to her knees through interviews and archival footage and my own relationship to my body's ability to move. The film contains three animated sequences, using the Renaissance anatomical drawings of Andreas Vesalius. This report is an account of the filmmaking process from initial idea to finished film.
A personal investigation Into stop-motion animation
(2016-05) Krauss, Michael James; Isackes, Richard M.; Bloodgood, William
Stop-motion animation has been a part of the great pantheon of filmmaking since its birth in the early twentieth century. Whether we have seen its existence in sections of live action films, or fully produced stop-motion features, it is undeniable that the medium has had a powerful impact on the entertainment industry as a whole. However, in the post Frozen world, computer generated films and television shows reign supreme, forcing stop motion to the edges of the filmmaking universe. This paper aims to examine why, in a world rife with animated films and projects, we do not see more stop motion features and series being created, in comparison to similar projects in computer-generated and hand drawn animation, despite the seeming resurgence of the medium in certain forms. It also seeks to explore what makes stop-motion so special and unique among the plethora of forms of filmmaking. It also is an investigation into the process of designing, producing, shooting, and editing a stop motion short in order to gain a better understanding of why these films are not being produced more often. This thesis led me in a vastly new direction of knowledge from my studies as a scenic designer for theatre. However having certain skill sets proved to be beneficial, such as drafting and model building — two skills that would not be needed in other forms of animation. I also expanded my knowledge by educating myself in animation skills and technology, specifically the use of DSLR cameras and Dragon Frame Animation Software. Upon the completion of this massive undertaking, I developed a much stronger understanding of the difficulties that come with creating and producing a stop-motion film, especially when the project is a passion project when funding and time are both issues with the overall production of a film’s cost. These factors led me to a greater understanding that while the medium allows for an elevated level of charm and understanding by the audience of the skills and craft required to produce, sometimes the pros simply are not enough to outweigh the cons of producing a feature film.
Ten sounds I cannot hear
(2022-11-29) Arumbakkam, Aishwarya; Reynolds, Ann Morris; Hubbard, Teresa, 1965-
My report will look at the making of my most recent body of work entitled Ten sounds I cannot hear. I will discuss each individual work through the process of their making, elaborating on my motivations, doubts, and decisions. The report will interweave written text with images of the works on view, and in the studio.
Three hundred and sixty degrees : a celebration of costume technology
(2015-05) Robertson, Emily Ann; Glavan, James; Ortel, Sven; Habeck, Michelle
Three Hundred and Sixty Degrees: A Celebration of Costume Technology was an immersive theatrical installation piece that integrated physical costume pieces, three hundred and sixty degree projection mapping, digital storytelling, and an original musical composition comprised of sounds found in a costume shop. The purpose of the story was to give an artistic overview of the essential steps in a garment's creation. It allowed the audience to view and experience the evolution of how a theatrical costume is constructed, beginning with the designer's rendering, then moving into the muslin half-drape, the paper pattern, the fitting, the pattern pieces cut in real fabric, and ending with the completed garment. The installation also focused on the role played by historical undergarments (created here in half scale) as the building blocks of costume construction.
Tiny textiles : an exploration of surface design for small-scale fabrication at the 1/6th scale
(2023-04-20) Thorson, California; Arevalo, David; Dawson, Kathryn; Acosta, Nanette; Buchanan, Jason
The purpose of this MFA Thesis study is to examine surface design techniques for small-scale fabrication, specifically for stop motion animation at the 1/6th scale. Within the stop-motion industry, “surface design” refers to the use of embroidery, airbrushing, laser-cutting, stenciling, and other techniques to alter the surface look of a textile. Since purchasing textiles at the 1/6th scale is nearly impossible, the ability to alter pre-existing fabrics to give the “illusion” of textiles at a reduced scale is necessary for small-scale fabrication. Furthermore, since most small-scale fabrication skills are passed either through oral or apprenticeship arrangements, very little about this art form has been written down. As such, this thesis will serve to fill a gap in the field by conducting three case studies in the surface design of tweed, brocade, and denim, as well as engaging in a practical project in the form of costume work for a short stop-motion film, all of which will serve as a template for further people practicing small-scale fabrication.
What is the best automated metric for text to motion generation?
(2023-04-25) Voas, Jordan Guy; Mooney, Raymond J. (Raymond Joseph)
There is growing interest in generating skeleton-based human motions from natural language descriptions. While most efforts have focused on developing better neural architectures for this task, there has been no significant work on determining the proper evaluation metric. Human evaluation is the ultimate accuracy measure for this task, and automated metrics should correlate well with human quality judgments. Since descriptions are compatible with many motions, determining the right metric is critical for evaluating and designing meaningful training losses for supervising generative models. This paper systematically studies which metrics best align with human evaluations and proposes new metrics that align even better. Our findings indicate that none of the metrics currently used for this task show even a moderate correlation with human judgments on a sample level. However, for assessing average model performance, commonly used metrics such as R-Precision and rarely used coordinate errors show strong correlations. Several recently developed metrics are not recommended due to their low correlation compared to alternatives. Additionally, multiple novel metrics which exhibiting improved correlation and potential for future use.
Why “Go Vote” is not enough an animated short about stuff they didn’t teach you in Texas civics class
(2023-04-21) Tomforde, Lucille Blair; Gorman, Carma
Political parties, celebrities, non-profits, and prior generations have only one message for members of Gen Z: “Go Vote.” It’s not bad advice, but it doesn’t acknowledge the realities of voter suppression and gerrymandering in Texas, nor does it help young Texans understand why their votes never seem to make a difference. Worse, civics education in Texas schools is intentionally designed to conceal how and why Texas’s voting laws and systems, such as winner-take-all ballots and redistricting, maintain minority rule. I have created an animated short called Bop or Flop, whose humorous game-show format is designed to fill important gaps in Texas civics education and alert Gen Z Texans to how gerrymandering shapes political outcomes in Texas. "Bop or Flop: Old vs. New Gerrymanderers" highlights the lunacy behind America's continued use of a system created two hundred years ago by contrasting the moral and technological evolutions made in other dimensions of American life with the systems politicians use to draw redistricting maps, which have stayed largely the same. With the explicit intent to connect with young Texans, “Bop or Flop” shows how issues that Gen-Z voters care about (e.g., women’s autonomy, LGBTQIA+ rights, the environment, etc.) are affected by Texas’s redistricting process, and satirizes the “values” of legislators who deliberately subvert the principle of majority rule by redrawing districts to maintain their hold on power. I envision this segment as the first in a series of animations highlighting how structural and systemic inequities in the Texas political process negatively impact young Texans’ lives.