Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
160
result(s) for
"Stop motion animation"
Sort by:
Student-Generated Stop-Motion Animation in Science Classes: a Systematic Literature Review
In recent years, student-generated stop-motion animations (SMAs) have been employed to support sharing, constructing, and representing knowledge in different science domains and across age groups from pre-school to university students. The purpose of this review is to give an overview of research in this field and to synthesize the findings. For this review, 42 publications on student-generated SMA dating from 2005 to 2019 were studied. The publications were systematically categorized on learning outcomes, learning processes, learning environment, and student prerequisites. Most studies were of a qualitative nature, and a significant portion (24 out of 42) pertained to student teachers. The findings show that SMA can promote deep learning if appropriate scaffolding is provided, for example, in terms of presenting general strategies, asking questions, and using expert representations. Also, the science concept that is to be presented as a SMA should be self-contained, dynamic in nature, and not too difficult to represent. Comparative quantitative studies are needed in order to judge the effectiveness of SMA in terms of both cognitive and non-cognitive learning outcomes.
Journal Article
Puppetry, puppet animation and the digital age
\"We are going to leave the Age of Materialism and enter the Age of Virtuality. There is less and less conventional filmmaking. Nothing seems to be impossible in digital imagery. VFX Academy Award winning cinematographer Dennis Muren was among the first to consequently abandon the field of stop motion animation in favor of CGI in Jurassic Park. Nowadays puppets and dimensional animation occupy only a niche. Most people prefer the fluid animation, the texture and the challenges of digital animation. Others still acknowledge not only the craftsmanship but the uniqueness of stop-frame dimensional animation that is way beyond the standardization of CGI\"-- Provided by publisher.
Book
Stimulating Mechanistic Reasoning in Physics Using Student-Constructed Stop-Motion Animations
This article reports on a case study that aims to help students develop mechanistic reasoning through constructing a model based stop-motion animation of a physical phenomenon. Mechanistic reasoning is a valuable thinking strategy for students in trying to make sense of scientific phenomena. Ten ninth-grade students used stop-motion software to create an animation of projectile motion. Retrospective think-aloud interviews were conducted to investigate how the construction of a stopmotion animation induced the students’mechanistic reasoning. Mechanistic reasoning did occur while the students engaged in creating the animation, in particular chunking and sequencing. Moreover, all students eventually exhibited mechanistic reasoning including abstract concepts, e.g., not directly observable agents. Students who reached the highest level of mechanistic reasoning, i.e., chaining, demonstrated deeper conceptual understanding of content.
Journal Article
Abjection and Metamorphosis in the Stop-Motion Horror Aesthetics of «La Casa Lobo/The Wolf House»
In recent years, the work of Joaquín Cociña and Cristóbal León has garnered significant attention due to their unconventional approach to animation and storytelling. Deeply rooted in the political history of Chile, and particularly in the atrocities that occurred over decades in Colonia Dignidad, their debut feature film, La Casa Lobo/The Wolf House (2018), constructs a narrative of segregation, fear, and power through a lens of body horror. This paper analyzes the film by examining abjection and the various metamorphoses that occur within bodies, shaping the film's horror stop-motion aesthetics and codes. In doing so, The Wolf Housereveals a profound political commentary embedded within its interplay of intermedial and intertextual fairy-tale imagery and characters, grotesque bodily manipulation, and transbiological transformations.
Journal Article
Animation: The New Performance?
From the 1950s through the 1990s, the trope of performance was elaborated across a range of academic disciplines, providing a platform for comparing the construction of identities through mimetic embodiment in ritual, work, and everyday life. Today, as animation is being remediated through digital media, both scholars and participants in various types of online communities are beginning to use animation as a trope for human action on/in the world. This essay attempts to bring together the insights of recent scholarship in various disciplines in order to outline a general animation model, first presenting some of the characteristics of animation that allow it to draw connections between social, technological, and psychic structures, and then examining some of the ways that the models of animation and performance interact in contemporary subcultural practices.
Journal Article
Performance of Puppets’ Skin Material: The Metadiegetic Narrative Level of Animated Puppets’ Material Surface
In his book “Narrative Discourse. An Essay in Method,” Gerald Genette describes the relationship between narrative levels, and defines “metadiegetic” the level that runs parallel to the primary narrative. Genette does not specify who or what the narrator has to be in the metadiegetic narrative level; it could be also something lifeless, like an object, or a material. This observation is particularly suitable if applied to stop-motion animation technique. In this article, I suggest that in stop-motion films the superficial qualities of the materials that the puppet is composed of perform a metadiegetic narrative. Exploring the definitions of performance in both design and puppetry, and the qualities of material skin, I apply these theoretical assumptions to the analysis of animated puppets and formulate the concept of the “performance of puppets’ skin material.” The analysed performer, therefore, is neither the actor/animator/puppeteer nor the actant puppet itself, but the puppet’s material skin, and its performance is defined through qualities the viewer can haptically experience through the screen. By approaching puppets’ skin from an interdisciplinary perspective, the article provides a definition of its performance based on qualities (“functional,” “processual,” “active,” “pervasive,” “ritual,” “evocative” and “multi-dimensional”) that describe the puppets’ skin power to satisfy technical aspects of our experience of the object moving on screen, to engage our senses, allowing us to haptically experience the objects, and to stimulate our thoughts and memories. The article aims at providing a theoretical premise to the analytical approach that considers animation to be a powerful expressive material medium that opens up possibilities of analysis through design tools.
Journal Article