Why promote text‐based drama for live animation?

Nowadays the literary education has to deal with the deep impact and omnipresence of mass media in the lives of children. Through those media and without any doubt, animation plays a central role in the non formal education of children. In our opinion, cartoons feed the intertext of children in many ways. First of all, they provide a literary tradition through references to tales, folktales and also books in a process similar to the literature. When the audience knows the reference retrieves the information he knows and adds which it receives, which may be the direct recall of a story, its reconstruction, parody, etc. When the audience does not know this information tries to insert it into a recognizable system such as the system of traditional tales, fantasy novels, etc. The latter process also helps to build knowledge about the same story. Second, the cartoon characters allude often to literary tradition without using directly the story but referring to the characteristics (the love drama of Romeo and Juliet, for instance). Sometimes these references focus on characteristics of nameless characters, but with a long tradition in literature (the knight or the princess) and can be used to "save" the reader some efforts about the decoding or in order to be parodied.Third, the animation also provides children a catalog of literary resources that expands with increasingly sophistication of current drawings.

2018

AbstractThe objectives of this research are to find out whether or not using animated film in writing narrative text is effective and to know how far was the effectiveness of using animated film in writing narrative text. Related to the subject of the study, the researcher used pre-experimental method. The research was conducted at SMPN 4 Singkawang in Academic Year 2017/2018. The population in this reseach was the eighth grade students of SMPN 4 Singkawang. The total number of population was 233 students. The sample was VIII C class which consists of 32 students. The researcher used t-test in order to check whether the use of animation film in writing narrative text is effective. The result of this research showed that using animated film is effective to improve students’ writing skill. It was proven by the mean score of pre-test to post-test from the students writing narrative text shows significant improvement (59.25 to 78.18). From the t-test result, it can be seen that the effe...

Lecture Notes in Computer Science, 2012

Computer-based highly interactive drama involves different authoring approaches, compared to linear media. Underlying design principles needs to be understood in order to guide the authoring process, to teach authors and to design better systems. This paper identifies a fundamental design principle termed Structural Writing that underlies some of the most generative approaches in interactive drama. A theoretical description of this principle is proposed, which leads to a general architecture for interactive drama that may help authors and researchers to design systems that better exploit the principle of structural writing.

The Routledge Handbook of English Language and Digital Humanities. , 2020

We are in an age of media transition in which the textual is increasingly integrated with other semiotic modes and old and new media interact in a complex relationship. This chapter examines the evolving technology of whiteboard animation as a relatively new digitally mediated multimodal storytelling form that exemplifies the complexity of the convergence between old and new media. Some whiteboard animation videos rely on the material practices of drawing and photography, whereas others mimic the material, using digital animation software and video to generate a story. The most common elements of whiteboard animation are the visualisation of a whiteboard as the canvas, the illustrator’s hand in the field of view and a marker drawing out the story. In the last decade, do-it-yourself (DIY) software programmes have emerged allowing ordinary people to tell their stories through whiteboard animation using libraries that include pre-drawn characters, stock images, music, drawing implements and hands. Whiteboard animation is a multimodal storytelling form that is increasingly used to educate, inform, advertise and entertain. This chapter investigates the little-studied form of whiteboard animation to uncover the persuasive power of digital storytelling and reveal how technological transformations can inform storytelling practices. To develop frameworks for understanding the affordances that digital technologies bring to stories, this research explores narrativity and narrative discourse as social, rhetorical and multimodal. Through the lens of multimodality and rhetorical narratology, setting, time, point of view and voice are analysed in commercial and DIY whiteboard animation examples, paying attention to material practices of production and multimodal narrative development, as well as the complex relationship between speaker, audience, message and medium. This research on whiteboard animation looks to understand the intersection between technology and storytelling and contributes to digital humanities scholarship that looks to understand the implications of technology, writing and narrative.

2010

Language Circle: Journal of Language and Literature

The teaching writing is still in need of interesting teaching media to support its pedagogy as teaching writing is associated with difficult subject to be taught. Prior researches have been conducted on teaching writing area and the result suggested conducting more study on teaching writing effectively. This study attempts to fulfill the gap and takes teaching media as the focus of the research. This article investigated the employment of animated films as a teaching medium in the teaching of narrative writing tests, as well as if they are still effective in supporting the learning process. The sample of the research was taken from the students of a Junior high school in Parepare, Indonesia which was chosen purposively. Online Google Forms was employed as research tools for the study, and the questionnaire and test writing were used to collect data. Quantitative analysis was used in analyzing the data gathered. Regarding the research result, the data revealed that there is differenc...

Journal of Film and Video, 2011

The article offers a cross-media definition for animation, arguing that animation can be defined across history based on common traits that exist in puppet theatre, flip-books, film, television and digital media.

AAAI 1999 Fall Symposium on Narrative Intelligence

Definitions For the clarity and accuracy of this study, we would like to give some definitions of the terms that will be used throughout this study. By narrative, we mean a certain type of artistic and social expression, where a kind of imitation of real events is involved (Genette 1969). ...

Philosophy Compass, 2009

This essay is a survey of positions on the relation between texts and performances in theater. It proposes a simple framework within which to compare and evaluate these positions. The framework also allows us to see a pattern of thinking that reflects the historical fact of the importance of the literary tradition in theater. The essay points out certain challenges facing the positions surveyed and concludes with a brief sketch of the most recent views that have been put on offer. The latest positions re-situate the literary theater as a species of the more general phenomena of theatrical performance. Even before the unprecedented flourishing of literary theater in Western European culture that began in the middle of the 1800s, philosophical discussions of the nature of theatrical performance were not typically about theater or theatrical performance itself. Instead, they were grounded in the perception of theatrical performance as a practice whose primary function is connected to other forms of art and dependent upon the products of those other forms, most especially on what is produced by the arts of writing. Other functions, when recognized at all, were accorded secondary status, and dealt with as marginal cases. This attitude towards theater was only solidified by the successes of the literary theater. There is still older precedent for this attitude. At the beginning, in Aristotle, the notion of 'drama' had ambiguous application: did it refer to features of a form resembling dance and music or to features of its own form of 'making'? Moreover, Aristotle answered this question ambiguously, by holding that the defining characteristic of drama is dialogue. But does this mean a kind of speaking or a kind of writing? Most Medieval, Renaissance, and modern authors have taken Aristotle to hold that if any writing is in dialogue we have drama, otherwise we have some other form of written poetry. So the relevantly contrasting classes came to be not theater and other forms of public performative presentation, but drama as a form of writing in contrast with other forms of writing. The stage was set for views that were to become dominant once the literary theater came on the scene.

In this paper, we describe a recent evolution in thinking about our digital tool called Watching the Script (WtS), which was designed for actors, directors and theatre researchers. In its original conception, WtS was centred on the text. We conceived of text primarily as a material object; speeches were visualized as impenetrable integral units delineated typographically by speech-headings of characters speaking; movement in the stage view was linked to entire speeches, with only one action permitted per speech. Text was privileged and its virtual manifestation was a literal visualization of its material manifestation in print. In contrast, our new design re-conceives text as one of a set of material phenomena occurring in time and space that together express theatrical action. The system’s new, navigable three-dimensional stage view accommodates a variety of phenomena linked directly to the line of action; the text, which is linked to the stage view only through the line of action,...