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Abstract Exploring the optimization of communication strategies for animation films in the context of cross-cultural communication, this research integrates the Internet of Things (IoT) and convolutional networks. The research constructs a collaborative filtering (CF) movie recommendation model based on a graph convolutional neural network (GCN) and investigates its application in cross-cultural communication. The fusion of IoT and convolutional networks in movie communication is also analyzed, and the effectiveness of the proposed GCN-CF model is validated through comparative experiments. The results indicate that, compared to other models, the GCN-CF model achieves the lowest Root Mean Square Error (RMSE) on the MovieLens 100 K and MovieLens 1 M datasets, with values of 0.8762 and 0.8275, respectively. Compared to traditional models, the GCN-CF model exhibits significantly superior performance in terms of RMSE, with reductions ranging from 0.6 to 5.2%, highlighting its heightened detection accuracy and overall performance. Moreover, the performance of the GCN-CF model is enhanced after introducing attention mechanisms and auxiliary information on both datasets, showing an improvement of 0.4% compared to the scenario without these additions. This data demonstrates the effectiveness of attention mechanisms and auxiliary information. Finally, the research presents an animation film communication strategy based on IoT and convolutional networks, offering novel insights for film production and communication, along with positive implications for cultural exchange and the advancement of the global media industry.

This visual essay has links with Miller's El Duende one-canvas process painting by utilizing a different methodology and form with the use of four short films Into the Earth, Medicine Walk, Fireside Creatures and Whispers. The author screened these films in a range of settings to broaden conversation and dialogue about the Wild Elders therapy group's working process. From these discussions she created this visual essay as a series of photographs and written text. It leads the viewer through key visual elements mapping the journey of individual and group transformation and growth. The essay concludes that by sharing the source material via animated filmmaking, the author has found new ways of extending the therapeutic reach of environmental arts therapy where visual landscapes of interconnection with Nature inspire creative acts of participation as well as personal and collective change. It offers the reader a process whereby they too can walk alongside elders. [ABSTRACT FROM AUTHOR]

Backgrounds play an important role in the animation films and the process of artistic creation, which is one of the most important means of dramatic influence and used as a component in the animation film because it emphasizes the composition and highlight aesthetic aspects in addition to the possibility of giving the effects of perspective and color effects.The backgrounds raise the dramatic value of the entire film. The background also determines the time of events when the background is seen without the need to mention characters. The backgrounds also indicate the quality of the animation film, whether historical, religious or political. The scenes of the film drama faces, works to highlight the character and emphasizes the dramatic meaning because it acts as an environment on which moving scenes animation.Backgrounds play an important role in the animation films and the process of artistic creation, which is one of the most important means of dramatic influence and used as a component in the animation film because it emphasizes the composition and highlight aesthetic aspects in addition to the possibility of giving the effects of perspective and color effects.The backgrounds raise the dramatic value of the entire film. The background also determines the time of events when the background is seen without the need to mention characters. The backgrounds also indicate the quality of the animation film, whether historical, religious or political. The scenes of the film drama faces, works to highlight the character and emphasizes the dramatic meaning because it acts as an environment on which moving scenes animation.Although the "Dramatic Direction of Backgrounds in Animation" has not been modernized, the background has been influenced as an element of the film, influenced by the age of applied technology specifically designed for animated film or other graphic arts in the form of computer programs with wide potential Other prospects have opened in an unprecedented animated film including the background

Two empirical studies, i.e., preliminary study and main study, were included in this research. In the preliminary study, we developed a prototyped animated e-book system (PAES) that incorporated animation films into an e-book and examined how females and males reacted to design features provided by the PAES. The results from the preliminary study showed that gender differences significantly affected students' reactions to the PAES. Accordingly, the main study attempted to develop an animated e-book system (AES) that could accommodate gender differences based on the results from the preliminary study. The results from our main study showed that gender differences had no significant effects on students' learning performance and learning perceptions though females and males demonstrated different learning behavior. In other words, both females and males could equally benefit from the AES. Briefly, the major contribution of this research was to provide guidance on how to develop an animated e-book from a gender difference perspective. Such guidance can help designers to develop a versatile animated e-book that can support the needs and preferences of both females and males. [ABSTRACT FROM AUTHOR]

The uncanny valley (UV) hypothesis, which predicts that almost but not fully humanlike artificial characters elicit negative evaluations, has become increasingly influential. At the same time, the hypothesis has become associated with many computer-animated films that have aimed at high realism. In the present investigation, we tested whether semirealistic animated film characters do in fact elicit negative evaluations. Fifty-four participants were asked to evaluate five matched film excerpts from each of cartoonish, semirealistic, and human-acted films. Mixed model analyses were conducted to reduce the effects of participant and stimulus related confounds. Explicit selections made after the experiment confirmed that participants associated semirealistic film characters correctly with the UV. Semirealistic animated characters also received higher eeriness ratings than the other film characters. In particular, two semirealistic films ‘ Beowulf’ and ‘ The Polar Express’ were selected the most often explicitly, and ‘ Beowulf’ also received higher eeriness ratings than any other film. Somewhat unexpectedly, cartoonish characters received the highest strangeness ratings and (after confound correction) the lowest likability ratings. Taken together, the present findings demonstrate that semirealistic animated film characters are more eerie than cartoonish characters or real actors, and hence provide evidence for the existence of the UV in animated film characters. [ABSTRACT FROM AUTHOR]