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A Reader In Animation Studies by Jayne Pilling

By Jayne Pilling

Cartoons―both from the vintage Hollywood period and from extra modern function movies and tv series―offer a wealthy box for distinct research and research. individuals draw on theories and technique from movie, tv, and media experiences, paintings historical past and feedback, and feminism and gender studies.

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2 ‘Reality’ effects in computer animation of underlying physical properties and processes. This is impossible because of the extreme mathematical complexity. For instance, to fully simulate the shape of a tree would involve mathematically ‘growing’ every leaf, every brunch, every piece of bark; and to fully simulate the colour of a tree’s surface a programmer has to consider every other object in the scene, from grass to clouds to other trees. In practice, computer graphics researchers have resorted to solving particular local cases, developing a number of unrelated techniques for simulation of some kinds of shapes, materials and movements.

L. Carpenter, A. Fournier and D. Fussell, ‘Fractal Surfaces’, Communications of the ACM(1981). Geoffrey Y. 3 (1984): 21–30; Geoffrey Y. 3 (1985): 297–304. Geoffrey Y. 3 (1984): 19. William T. 3 (1983): 91–108. Nadia Magnenat-Thalman and Daniel Thalman, ‘The Direction of Synthetic Actors in the Film ‘Rendezvous a Montreal’, IEEE Computer Graphics and Applications, December 1987. M. Carignan, Y. Yang, N. Thalmann and D. 2 (1982): 99–104. K. Anjyo, Y. Usami and T. 2 (1982): 111–120. Steve Neale, Cinema and Technology (Bloomington: Indiana University Press, 1985), 52.

31 These privileged signs of realism overcompensate for the inability of computer graphics researchers to simulate fully such ‘real scenes’. 2 ‘Reality’ effects in computer animation Conclusion In the twentieth century, new technologies of representation and simulation replace one another in rapid succession, therefore creating a perpetual lag between our experience of their effects and our understanding of this experience. A reality effect of a moving image is a case in point. As film scholars were producing increasingly detailed studies of cinematic realism, film itself was already being undermined by three-dimensional computer animation.

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