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Daisy Yan Du's edited collection I Chinese Animation and Socialism i , the first English-language book on the subject, brings together Chinese animators' behind-the-scenes accounts of their art and industry. I Chinese Animation and Socialism i consists of chapters written by animation practitioners from diverse professional backgrounds, including animators, a photographer, a composer, an animation voice actress and a screenwriter, and it also incorporates interviews conducted by Du. The book comes out of an animators' roundtable forum, "Chinese Animation and (Post)Socialism", which Du organized at the Hong Kong University of Science and Technology in April 2017. [Extracted from the article]

Entering the new era of the Industrial Revolution 4.0, we have grown used to the technology in education and, in particular, learning languages. The study aimed to explore and describe the use of Cartoon Story Maker, a digital comic software, in writing practice. It focuses on comparing the difficulties students experience in writing using Cartoon Story Maker and without the media. Besides, students’ responses were also investigated. The methods used included observation, planning, implementation, analysis, and data presentation. Data were obtained from the compositions and questionnaires of 30 students of STMIK STIKOM Indonesia. The findings showed that some problems did not occur repeatedly. Moreover, the students gave positive responses on the use of the software in writing practice because they could relate the writing experience to their real life. [ABSTRACT FROM AUTHOR]

Sanctuary on Marian Hill in Levoča is undoubtedly one of the most important Marian Shrines in Slovakia. Especially in the last four decades, it has received more attention not only in Slovakia, but also in Europe and Worldwide. In 1984 it was declared as Basilica Minor, in 1995 it was visited by Pope John Paul II, in 2005 it was included in the European Marian Network association and in 2019 it hosted members of the European Marian Network on the occasion of their seventeenth regular session. The European Marian Network links twenty Marian Shrines the same as the number of decades in the Rosary. The best known Sanctuary of almost each European country was chosen - also The Sanctuary of Our Lady of the Visitation in Levoča. The Sanctuary Rectors and Animators meet each year at regular sessions to know each other better and to understand better the needs of the millions of pilgrims or visitors. In the sketched context, the article presents the Marian Hill in Levoča focusing on its active presence among twenty most important Marian Shrines in Europe in 2005 - 2019 (presents its latest and rather global history). [ABSTRACT FROM AUTHOR]

The aims of this study is to find out TEYL students’ perception and experience in using Cartoon Story Maker and Comic Life in creating short story for young learners and to identify their obstacles and problems in using those applications. This qualitative study has been conducted in a TEYL class in one English Department in West Java. The sample of the study consisted of thirty students. Questionnaires and interviews were used as data collection techniques in this study. The questionnaires were used to collect evidence from students about their experience and perception towards the use of CSM and Comic Life in creating short story for young learners. The questionnaires used in this study focus on exploring students’ experience and perception toward the use CSM and Comic Life in creating short story for young learners, whereas interview was used to explored more the data about obstacles faced by the students in using CSM and Comic Life. The data collected from the respondents were gathered together to be analyzed using qualitative analysis of interactive models. The results of this study are TEYL students have positive perception toward the use of CSM and Comic Life in creating short story for young learners, CSM is easier and more suitable to use than Comic Life in creating story for young learners, and the obstacles faced by students are choosing appropriate template for young learners, writing text in text tool or bubble, and record the voice in audio bubble. [ABSTRACT FROM AUTHOR]

Copyright of Grafía is the property of Universidad Autonoma de Colombia, Facultad de Ciencias Humanas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Background: Building on partnerships with Indigenous communities and with the support of the Northern Ontario School of Medicine, faculty created groundbreaking, authentic cultural immersion curriculum designed to foster culturally safe interpersonal skills and cultural understanding. However, structural barriers to the teaching of clinical communication skills for culturally safe care to Indigenous patients persisted. To address this challenge, faculty collaborated with Indigenous animators on the co-creation of a new teaching modality of Simulated Cultural Communication Scenarios. We evaluated student learning experience, the faculty teaching experience, the attainment of teaching goals, benefits, and areas for improvement for this approach. Methods: We piloted 9 Simulated Cultural Communication Scenarios with 64 medical students and 17 tutors. We collected quantitative and qualitative data regarding their experiences and perceptions of the new curriculum. The quantitative data was statistically summarized, and the qualitative data was coded and thematically analyzed. Results: The emergent themes indicate that co-created Simulated Cultural Communication Scenarios support the acquisition of culturally safe clinical skills because the modality fosters authentic, safe, context rich, and anti-oppressive patient dialogue with Indigenous animators. Recommendations for optimizing the sessions included ensuring tutors have a deep understanding of the significance of cultural safety in patient care. As the pedagogy is different from the familiar standardized clinical skills sessions, tutors and students benefit from education on the pedagogical approach. Conclusion: Simulated Cultural Communication Scenarios, co-created with cultural insiders and academic educators, represent an authentic education approach to teaching culturally safe clinical encounters. The findings contribute to our understanding of translating social accountability into the clinical setting. [ABSTRACT FROM AUTHOR]

This article offers further reflections on a chapter I published in the anthology Experimental Animation: From Analogue to Digital. I begin by exploring the reticence artists and critics have shown in attempting to define what experimental animation is, and I then offer a way to provide a definition without delimiting what it is or can be. Subsequent to this, three additional traits of experimental animation are added to the original list of defining features that were published in the original article. They are as follows: the subversion of unchecked assumptions about filmic experience, a willingness to potentially alienate viewers, and the application of symbolism in which viewers might not be able to discern the artist's original intentions. Following this, the unique relationship experimental animation has with the commercial realm (notably in idents, title sequences and music videos) is also considered. Finally, the conclusion points towards the experimental animator's creative process as a further avenue of exploration. [ABSTRACT FROM AUTHOR]

The Bride Stripped Bare by Her Bachelors, Even (1915–1923), also known as The Large Glass, is one of Marcel Duchamp's most complex works and has elicited a wealth of scholarly suggestions as to its meaning and sources of inspiration. Nevertheless, although it is recognized that Duchamp's early practice as a maker of cartoons paved the way for an oeuvre replete in wit and wordplay, the inspiration Duchamp drew from well-known French caricatures received almost no attention. To fill this void, the present article proposes that The Large Glass was based on the caricature A New Game of Rings, issued by Charles Vernier on the eve of the 1848 presidential elections for the Second Republic. Upon close inspection, Vernier's satirical cartoon suggests not only the composition of The Large Glass, but also themes that are central to Duchamp's oeuvre: games, absurdity, and hilarity; chance, whether uncontrolled or controlled; and the dichotomy between male and female, reality and idea. Moreover, the political scenario presented in the mid-nineteenth century caricature had considerable relevance for the situation of the Third Republic when Duchamp created his work. Thus the tragicomedy of the Bride and her Bachelors represented in The Large Glass may be said to epitomize the changing relationship between Marianne – the female personification of the Republic – and the French people during the turmoil of the First World War. [ABSTRACT FROM AUTHOR]

We present a new framework for sketch-based modeling and animation of 3D organic shapes that can work entirely in an intuitive 2D domain, enabling a playful, casual experience. Unlike previous sketch-based tools, our approach does not require a tedious part-based multi-view workflow with the explicit specification of an animation rig. Instead, we combine 3D inflation with a novel rigidity-preserving, layered deformation model, ARAP-L, to produce a smooth 3D mesh that is immediately ready for animation. Moreover, the resulting model can be animated from a single viewpoint --- and without the need to handle unwanted inter-penetrations, as required by previous approaches. We demonstrate the benefit of our approach on a variety of examples produced by inexperienced users as well as professional animators. For less experienced users, our single-view approach offers a simpler modeling and animating experience than working in a 3D environment, while for professionals, it offers a quick and casual workspace for ideation. [ABSTRACT FROM AUTHOR]

The purpose of this study is to analyse the cause and effect relationship between the emotional labour, burnout, organizational commitment level and turnover intention of animators. In line with the study purpose, data is collected with survey forms. Survey forms are applied to animators working in the accommodation business in Antalya between August-September 2019 by professional interviewers. 400 animators selected with convenience sampling form the study sample. As a result of the structural equation model analysis conducted to analyse the cause and effect relationship between continuous variables obtained from the data, statistically significant findings were obtained. Study results are presented based on these findings. Lastly, recommendations are provided in line with the results. [ABSTRACT FROM AUTHOR]

Recently, on August 20, 2020, Dr. Jorge A. Flores Ochoa passed away. He has been a fundamental figure in Cuzco and Peruvian anthropology due to his multiple merits as a researcher, professor, engaged intellectual and tireless cultural animator. This text reviews his main research themes and interests, in particular his notable contributions and constant study of Andean pastoralist societies and, associated with this, his studies regarding the management of Andean agro-ecological complexity. The article then moves to his research on Cuzco's colonial and republican art and material culture, his ethnography of the city's and region's religious celebrations, his broader contributions to the anthropology of the city of Cuzco and his interpretations and analysis on the history and importance of contemporary Cuzco Incanism. [ABSTRACT FROM AUTHOR]

Copyright of Kepes is the property of Universidad de Caldas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article examines the works and sexual behavior of U.S. contemporary artist and animator Jacolby Satterwhite. Topics discussed include his art installation "En Plein Air: The Music of Objective Romance" at the San Francisco Museum of Modern Art in California in 2017, his engagement in the discipline of bondage, sadomasochism, and masochism, and the role of his mother, Patricia, in his three-dimensional animation video "Healing in My Heart."

Scholars of popular geopolitics ponder how and why cultural media become important commentaries on real-world events. Cultural geographers are wrestling with technology that mediates the experience of consuming popular culture. I bring these two literatures into dialogue by explaining how audiences and animators of the popular animated cartoon Archer are linked. I begin by outlining the cultural materiality of the animated cartoon through an assemblage-based framework where Archer's political satire emerges from the relationship between writers, audiences, animators and nonhuman animation technologies. Second, I use this framework to analyse how Archer responded to a real-world event: the rise of the Islamic State in 2014. I show how fans interpreted this decision and conclude that the geopolitical meaning of satirical cartoons – and their ability to resonate and affect audiences – should be understood as a socio-material effect that is emergent, unpredictable and relational. [ABSTRACT FROM AUTHOR]

Alan Cholodenko (New Jersey, 1940) is not only one of the most important theorists in animation, but he has made animation a way of understanding life. There is no art without 'anima', without the desire to breathe life; nor is there animation that is not, basically, 'lifedeath', a (re)animated life. With a post-structuralist thought, following his mentors Jean Baudrillard and Jacques Derrida, Alan Cholodenko has built a solid philosophy of animation around the idea of 'animatic apparatus', an essential term to understand the revolution that involves the imaging technologies that support current science, culture and society. 'The animator as an artist, the artist as an animator", an essay as personal as it is penetrating, exposes the fundamental axis of his thinking about drawing as a seductive and deconstructive gesture. [ABSTRACT FROM AUTHOR]

Copyright of Adult Education Discourses / Dyskursy Młodych Andragogów is the property of University of Zielona Gora and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Adult Education Discourses / Dyskursy Młodych Andragogów is the property of University of Zielona Gora and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on Harry Reade, The Sydney Waterfront and the Cuban Revolution by Max Bannah.

The article offers information related to work and life of John Knecht, American filmmaker. He has been active in making experimental and avant-garde film and video since the 1970s. Most of his better-known work is animated, including "The Possible Fog of Heaven" and "The Poxiox Series." It mentions "The Beacons of Aerolith: A Requiem," a nine-minute silent film that provides a useful entry into Knecht's long career as a filmmaker and then video artist.

Copyright of Przeglad Sejmowy is the property of Kancelaria Sejmu and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)