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Diplomsko delo zajema celoten postopek izdelave stop motion animacije od začetka do konca. Teoretični del zajema zgodovino animacije, prvo uporabo animacije, njen razvoj, vrste animacije in njihov krajši opis ter razlago in različne vrste stop motion animacije. Praktični del diplomskega dela najprej zajema obrazložitev snovanja ideje in scenarija. Opišemo potek razvoja likov od skice do končnega lika in kakšne materiale in postopke smo uporabili za izvedbo, na kakšne težave smo naleteli pri izdelavi in kako smo jih rešili. Nato obrazložimo potek snovanja animacijske knjige in pomembnost le-te. Pregledamo, kakšna je postavitev scene in luči ter opišemo opremo, ki smo jo uporabili za izdelavo animacije. Nadaljujemo z opisom postopka animiranja in opisom težav, na katere smo naleteli ob njem, kako smo rešili napake in kakšne so rešitve problemov. Opišemo potek postprodukcije in kako smo se je lotili, opišemo postopek montaže video dela animacije ter kakšne učinke smo uporabili. Razložimo potek izdelave grafik in njihovo umeščanje, potek izdelave uvodne in zaključne špice ter potek snemanja in urejanja zvoka ter kakšno glasbo smo dodali animaciji ter zakaj. Na koncu obrazložimo še kako je potekala predstavitev otrokom, kakšni so bili njihovi odzivi ter kakšno je bilo njihovo mnenje o animaciji. Zaključimo s tem, kaj smo se naučili z izdelavo diplomskega dela in kaj bi spremenili pri nadaljnjem ustvarjanju stop motion animacij. The paper deals with the production process of stop-motion animation from beginning to end. In the theoretical part we discuss the history, first use and development of animation furthermore, different types of animation and stop-motion animation are presented and briefly described. The empirical part first presents our idea and the screenplay development process. We describe the development of the characters—from the first sketch to the final product—as well as the materials and procedures used in the production. Furthermore, we also discuss some problems we faced and explain how we solved them. In the empirical part, we likewise portray the designing process and the importance of an animation book. Additionally, we review the scene composition and lighting and describe the equipment, used in animation production. The animation process, problems that occurred in our work and solutions are presented. We introduce the post-production process, the video editing process and list the effects that were used in the production. We go on to explain how the graphics were created and used and then discuss how the opening and end credits were designed. The process of filming and sound editing was also presented. In the end, we discuss the presentation of our animation to children, what their reaction was and what they thought of the animation. In the conclusion, we review our work process and provide some suggestions on what we would change in the production process of stop-motion animation in the future.

V diplomski nalogi je zajet opis celotnega postopka produkcije stop motion animacije, tako v teoriji, kot tudi v praksi. Praktični del predstavlja glavni del naloge. Najprej je v teoretičnem poglavju predstavljeno, kaj definira stop motion animacijo, ter na kakšne zvrsti jo delimo. Nato sledi zgodovinsko ozadje s prvimi začetki in nadaljnjim razvojem animiranega filma, s poudarkom na izbrani tehniki. Zatem je najprej opisana predprodukcija, kjer se ideja razvije v likovno zasnovo, načrt in razvoj likov, načrt planov in kadrov, stil ustvarjanja in zgodboris. V produkcijskem delu so predstavljeni koraki izdelave lutke in scene, ter pri tem uporabljeni materiali in oprema. Omenjeni so tudi principi animacije, s katerimi med procesom animiranja dosegamo bolj prepričljivo gibanje. Praktični del naloge se začne s procesom načrtovanja, ki služi kot osnova za kasnejšo izdelavo. Sledi idejna zasnova z opisom likov. Nato je natančno opisan postopek izdelave vsake lutke z vključenimi popravki in raziskovanjem primernih materialov. Sledi izdelava scene in rekvizitov ter postavljanje oziroma sestavljanje vseh elementov v celoto. Navedena je pri tem uporabljena oprema. V nadaljevanju je predstavljen sam postopek animiranja. V postprodukcijskem delu je opisano, kako so zajete slike s pomočjo glasbe, montaže in obdelave združene v celoto. Naloga je zaključena z ugotovitvami, do katerih je prišlo med raziskovanjem izbrane tehnike. The diploma thesis includes the representation of stop motion animation production process, both in theory and practice. The main part of the assignment was the experimental part. The thesis begins with the theory, explaining what defines stop motion animation and how it is furthermore divided. Following is the background of animated film with the beginnings and further evolution of the selected technique. Next comes the pre-production part with the development of ideas, visual foundation and storyboard. Production part includes scene and puppet making and the use of selected tools and materials. The principles of animation are introduced as a foundation for animating the movement. The experimental part starts with brainstorming and collecting the ideas. Next comes the character profile and storyboard which serves as a visual map. The puppet making is throughout described, including the research about material. Then comes scene making with prop and set building. Animating process is shown afterwards. In the post-production part, the preparations, tools, techniques and movement all come together with added sound and editing. The thesis closes with results that were accomplished during the research of stop-motion technique.

Contemporary first language curricula such as the Australian Curriculum: English strongly advocates the teaching of multimodal digital literature in the form of film in which understanding how characterisation is developed is a key task in comprehending and composing literature. In printed literary work, characterisation relies on the only semiotic resource-language to directly or indirectly depict a character's personality. However, in digital multimodal literature such as film, language is only one among many resources including actions, body language, sound, cinematography, and lighting that all negotiate their shared roles to contribute to the characterisation process. This paper discusses the pivotal role of gesture in the characterisation of Coraline, the central character in a stop-motion animation adaptation of the novel with this name. The paper proposes a framework for examining attitudinal meanings in gesture from the perspective of systemic functional linguistics, which was applied to analyse the deployment of Coraline's gesture during points of tension in the movie. The analysis indicates that gesture and co-occuring speech by the character never realise the same kinds of attitudinal meanings. Even when the two semiotics converge, gesture always has more attitudinal meaning commitment (i.e., Graduation) than language. These findings call for a conceptual renovation in first language education curricula. The pivotal role of body language should be given the status it deserves if digital multimodal literature education is to be taken seriously as indicated in the curriculum.

During the course of their profession, teacher candidates are required to develop course materials in line with their course content. Development of course materials by teachers using their pedagogical content knowledge and technology is highly important in terms of providing an effective learning environment. The aim of the present study was to determine the extent to which science teacher candidates can use their Technological Pedagogical Content Knowledge (TPCK) while developing their course materials with the incorporation of stop motion animations. During the study, the survey method was used as a quantitative research method. The research population consisted of 62 teacher candidates from the Department of Science Teaching at the Manisa Celal Bayar University during the 2015-2016 academic year. The SPSS 18.0 software package was used for data analysis. Suggestions were made based on the results of the study.

V magistrskem delu preučujemo, ali bo stop animacija kot ena od mnogih tehnik animacije preživela. Obravnavamo zgodovino stop animacije, njen razvoj in vzporedni razvoj tehnologije, potrebne za izdelavo stop animacije. Preučujemo tudi 4 animirane filme, izdelane z različnimi tehnikami, njihovo izdelavo, priljubljenost pri gledalcih, čas in potrebno tehnologijo za ustvarjanje teh filmov. Preučujemo še dva animirana filma, prvi je izdelan s tradicionalno animacijo, drugi pa z stop animacijo, ki so čez čas predelani v računalniško animacijo. Preučujemo, zakaj je ta pretvorba postala vseprisotna in popularna, na katero občinstvo cilja in ali se občinstvo odzove na te predelave. Za pridobitev ustreznih rezultatov smo uporabili anketo, ki je usklajena z rezultati anket in različnih raziskav, objavljenih na svetovnem spletu. Na koncu smo se odločili, da tudi sami ustvarimo stop animacijo, da bi iz prve roke izvedli, ali je povprečen uporabnik sposoben ustvariti dobro stop animacijo z vidika financ, potrebne tehnologije in porabljenega časa. Končni rezultati bodo pokazali, kakšna je verjetnost, da se stop animacija popularizira pri povprečnih uporabnikih in ali bo preživela kot ena izmed tehnik animacije. Main goal of this master's thesis is to find out if the stop animation will survive as one of many animation techniques. It will study the stop animation history, its evolution and the development of technology that allows simpler and faster application of the techniques needed to create a stop animation. We will look at four animated motion pictures created with different animation techniques, their profit, popularity with viewers, time and technology needed to make them. We will also look at two animated movies (one created with traditional animation, the other with stop animation) that were later re-created as computer animations.We will deal with the issue of computer animation re-creations becoming popular and omnipresent, what its target audience is and audiences reaction to these re-creations. A poll was made to get the best possible results mixed with results of other polls and researches on the internet. Lastly, the author created a stop animation to see if the average user is capable to make a good stop animation considering finances, technology and time needed to make it. The end result will show the potential of stop animation becoming popular with average users. That will show if stop animation will survive as one of animation techniques.

The purpose of this thesis is to explore distinct techniques of capturing motion in still and animated photography. It also concentrates on describing the history, types and use of stop motion animation in the field of movie production, music, computer games and marketing communication. Practical part deals with the production process of short stop motion animations and its implementation to the communication strategy of a bachelor project called Kapustové Zelí.

Using the stop motion technique, the Drama Workshop in English students created visualisations of the most common love metaphors in English. The project was based on the research by Ivana Živić and Ivana Marinić called Love Metaphors in English and Croatian Blogs.

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