animation phd thesis

Animatory thinking: An enquiry into tacit knowledge within animation practice

--> PhD thesis, Royal College of Art.

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Abstract or Description:	Since the invention of devices that use rapidly repeating still images to create a phenomenon of apparent motion, a tension has existed between the artistry of forming images and the mechanics of generating an illusion. In the midst of this tension is the animator, immersed inside the technology1 whilst simultaneously relying on their embodied memory of the world to guide their creative judgement. This research attempts to illustrate this liminal state of creative practice and lays out Animatory Thinking as a precondition of animation practice. Defining animation has been extensively discussed and researched (Wells 2002; Buchan 2013; Matarazzo et al . 2016; Levitt 2018; Dobson et al. 2018). A great deal of effort has been spent on segregating animation studies from film studies. Whilst my own research does not offer a new definition of animation, it does attempt to show how viewing animation practice as a design discipline can offer a new perspective to animation studies, as well as insights into tacit knowledge, temporality and embodiment as part of creative practice. Whilst personal accounts of animation practice (Williams 2009; Thomas and Johnston 1997) are well known, this thesis will argue that such accounts fail to offer a holistic embodied view, instead prioritising specific skills relating to the technology of animation. More recent work in the area of animation studies (Lamarre 2009; Torre 2017; Levitt 2018; Dobson et al. 2018) has shown how rich and complex animation practice appears when explored through academic research, but again there is only partial acknowledgement of the animator as a central node in animation practice (Ward 2018). This research approaches animation practice through the lens of design research in order to focus on the animator, with a particular focus on the tacit knowledge of animation practice. Action research methods (Lewin 1946; Kolb 1984) are used to triangulate three areas of enquiry: 1: Building experimental animation machines as an investigation into the relationship between technology and artistry in animation. 2: Exploring how theories of embodiment, tacit knowledge and design thinking can be used to describe how an animator crafts their work. 3: Observing how novice animators approach learning computer-generated imagery (CGI) animation, and how shifting focus from animation as story-telling, to animation as a means of exploring ideas of philosophy and embodiment, can reframe animation practice. Rather than following a classical research model of theory/action/reflection, I began with action, thus giving a position from which I could navigate theoretical ideas, before combining action and theory into my teaching, and then observing the effects. This research articulates a heterogeneous flow between technology and embodied memory through an animator’s tacit knowledge, defined as Animatory Thinking. Going beyond a single person making animation, this research also acknowledges the role of a wider collective community as the environment in which the animator works. Animatory Thinking lays claim to the knowledge that animators “problem-solve by synthesis” (Cross 1982: 223) through a tacitness of time existing within the animatic apparatus (Levitt 2018).
Qualification Name:	PhD
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Date Deposited:	11 Nov 2020 12:17
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Department of Art, Film, and Visual Studies  

The Department of Art, Film, and Visual Studies (AFVS) at Harvard offers a graduate program in Film and Visual Studies leading to a PhD.

The Department also offers a secondary field in Film and Visual Studies for students already admitted to PhD programs in other departments in the Harvard Kenneth C. Griffin Graduate School of Arts and Sciences.

The study of film at Harvard functions within the multi-disciplinary examination of audio-visual experience. From Hugo Münsterberg's pathbreaking forays into the psychological reception of moving images and Rudolf Arnheim’s seminal investigations of "visual thinking" to Paul Sachs’s incorporation of film into the academic and curatorial focus of the fine arts at Harvard and Stanley Cavell’s philosophical approaches to the medium, Harvard has sustained a distinguished tradition of engaging cinema and the cultural, visual, spatial, and philosophical questions that it raises. With their emphases on experimentation in the contemporary arts and creative collaboration among practitioners and critics, the Department of Art, Film, and Visual Studies (AFVS) and the Carpenter Center for the Visual Arts provide a singular and unparalleled site for advanced research in Film and Visual Studies. The program aims to foster critical understanding of the interactions between the making of and thinking about film and video, between studio art, performance, and visual culture, and between different arts and pursuits whose objects are audio-visual entities. The Carpenter Center also supports a lively research culture, including the Film and Visual Studies Colloquium and a Film and Visual Studies Workshop for advanced doctoral students, as well as lecture series and exhibitions featuring distinguished artists, filmmakers, and scholars.

Interdisciplinary in its impetus, the program draws on and consolidates course offerings in departments throughout the Faculty of Arts and Sciences which consider film and other arts in all their various countenances and investigate the place of visual arts within a variety of contexts. Graduate students may also take advantage of the significant resources of the Harvard Film Archive (HFA), which houses a vast collection of 16mm and 35mm film prints as well as rare video materials, vintage film posters, photographs, and promotional materials. The HFA furthers the artistic and academic appreciation of moving image media within the Harvard and the New England community, offering a setting where students and faculty can interact with filmmakers and artists. In early 2003, the HFA opened a new Conservation Center that allows the HFA conservator and staff to accession new films as well as to preserve its significant collections of independent, international, and silent films.

Students and faculty in Film and Visual Studies are also eligible to apply to the Harvard Film Study Center for fellowships which are awarded annually in support of original film, video, and photographic projects. Established in 1957, the Film Study Center provides production equipment, post-production facilities, technical support, and funding for nonfiction works that interpret the world through images and sounds. Among the many important films to have been produced at the Film Study Center are John Marshall's The Hunters (1956), Robert Gardner's Forest of Bliss (1985), Irene Lusztig's Reconstruction (2001), Ross McElwee's Bright Leaves (2003), Peter Galison and Robb Moss’s Secrecy (2008), Ilisa Barbash and Lucien Castaing-Taylor's Sweetgrass (2009), Véréna Paravel and J.P. Sniadecki’s Foreign Parts (2011), Véréna Paravel and Lucien Castaing-Taylor’s Leviathan (2013) and De Humani Corporis Fabrica (2022), Stephanie Spray and Pacho Velez’s Manakamana (2014), Mati Diop’s Atlantiques (2019), Ernst Karel and Veronika

Kusumaryati’s Expedition Content (2020), and Joana Pimenta and Adirley Queirós’ Dry Ground Burning (2022).

Images:  Instructions for a Light and Sound Machine  (2005), directed by Peter Tscherkassky, from a print in the collection of the Harvard Film Archive.

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Animated Experientia : Aesthetics of Contemporary Experimental Animation

• Lilly Marie Husbands
• Film Studies

Student thesis : Doctoral Thesis › Doctor of Philosophy

Date of Award	2014
Original language	English
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Supervisor	(Supervisor) & (Supervisor)

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Desktop theater : automatic generation of expressive animation

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Stable, Robust, and Versatile Multibody Dynamics Animation

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Stable, Robust, and Versatile Multibody Dynamics Animation. / Erleben, Kenny .

T1 - Stable, Robust, and Versatile Multibody Dynamics Animation

AU - Erleben, Kenny

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BT - Stable, Robust, and Versatile Multibody Dynamics Animation

CY - Department of Computer Science, University of Copenhagen (DIKU)

Home » Blog » Dissertation » Topics » Animation » Animation Dissertation Topics (28 Examples) For Your Academic Research

Animation Dissertation Topics (28 Examples) For Your Academic Research

Mark May 2, 2020 Jun 5, 2020 Animation No Comments

We are aware that searching for a right and interesting dissertation topic becomes a nightmare for students. If you are also stuck in finding the best animation dissertation topics, you have visited the right site. We offer a list of animation dissertation topics, which can be worked on. The research topics on animation and project […]

We are aware that searching for a right and interesting dissertation topic becomes a nightmare for students. If you are also stuck in finding the best animation dissertation topics, you have visited the right site. We offer a list of animation dissertation topics, which can be worked on.

The research topics on animation and project topics on animation are also included to help you in choosing a topic that you find interesting. You can also check the film dissertation topics to get more ideas on conventional and digital media. The list of animation dissertation topics includes all the latest and modern time topics.

Animation dissertation topics

To study how to illustrate the solution of a problem through images.

Analyzing the new areas related to illustration.

Examining the concept of digital illustration – a thematic analysis.

To investigate the ethics that an illustrator should always follow while fulfilling role and responsibilities.

A literature review on the advanced narrative illustration.

Exploring the evolution and development of 3D in printing.

To study the concept of animation editing and formatting.

How is the internet facilitating the film making?

Examining the role of social networking in society.

What is the role of visual effects in video album?

Studying the stop-motion and matte painting in live-action.

An analysis of creating photo-realistic objects in computer programming.

To investigate the mobile game, growth, and technological advancement.

Analyzing the concept of secure payment gateways.

Explaining the importance of Disney to the lives of young children in the 21st century.

Comparing and contrasting the unrealistic beauty as portrayed in the Disney films.

Studying the code development and technology development in Art Making.

Evaluating the technology art and culture in America.

A literature review on hypermedia – interaction and artwork.

Exploring the field of animation studies and its development in the past 10 years.

Evaluating the animation as a means of enhancing the learning of individuals with special needs.

Studying the integration of animation in learning fundamentals of entrepreneurship.

An analysis of the animal production testing model based on design-oriented learning.

Examining the area of emotional semantic recognition of visual scene in flash animation.

To investigate the concept of development 3D animated story as interactive learning media.

An evaluation of the squash and stretch in 3D animated short films.

Studying the animation as a visual indicator of positional uncertain in geographic information.

An assessment of the effects of animation and pictographs on viewer engagement.

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Association for Chinese Animation Studies

Animation in postsocialist china: visual narrative, modernity, and digital culture , ph.d. dissertation, by weihua wu, city university of hong kong, hong kong, 2006. 272 pp..

By Shaopeng Chen

Weihua Wu’s PhD dissertation examines how literature, arts, social text, and the circumstances of new media form what he calls “digital cinema,” “computer graphics,” the “cultural interface,” ”visual effects,” and “new animation” in a postsocialist China, by using an interdisciplinary approach that includes visual anthropology, film history, literary criticism, and cultural studies and by taking into account the relationship among image, narrative and modernity beneath the crust of Chinese postsocialist culture. Wu’s primary concern is to explore the relations between “Chineseness of modernity” and “digitalization of visuality” works in various media and multimedia platforms. He argues that the digitalization of animated filmmaking (mainly Flash animation) in China becomes not only a new beat for a new generation, but also a refracting social mirror, the digital narrator of a prominent contemporary cultural zeitgeist, and a paradigm of China’s version of the hyperreality encompassing increasingly visually-centred cultures around the world.

The dissertation includes five chapters and a conclusion. Chapter One introduces the historical background of Chinese animation, which plays a vital role in understanding contemporary China. This chapter also reviews how the concept of “fine arts film” ( meishu dianying ) has been improperly used in socialist China. Wu first reviews the visual history of Chinese animation within a broader social and cultural context. He then analyses how English-language critics and Chinese scholars interpret Chinese animations (especially those created before the 1990s) respectively. Then the discussion moves to the conceptualization of the Chinese School of animation in terms of issues like the national style ( minzu fengge ), ideological homogeny, cultural consciousness, and nationalization. Wu also examines the interplay between the Chinese School animations, which mainly target children, and Hollywood and Soviet animation aesthetics. Afterwards, Wu discusses the notion of meishu dianying as a catachresis of Chinese cinematic animation.

Chapter Two focuses on the reconceptualization of the Chinese School, its aesthetic practice, and its second historical rise and fall in the post-Cultural Revolution new era. Wu argues that the cultural identity defined in relation to the “Chinese School of meishu dianying ” constitutes a narrative paradigm and an institutionalized form of spectatorship. Wu first reviews animation production between 1976 and 1980 (after the end of the Cultural Revolution). This period showed three mainstream narratives: the expression of patriotic little heroes, minority subjects, and didactic fairytales. Wu goes on to consider the international reputation of the Chinese School and its main artistic forms. Afterwards, Wu analyses how visual representations of the Chinese School have been impacted by the broadcasting of imported commercial animation works in China since 1982. He also considers how the changing economic terrain has contributed to the above transformations. This changed social discourse has directly lead to a cultural dislocation, which destabilizes a unified and discourse-based recognition of animation spectatorship and thwarts the assumption of cultural autonomy in this market economy.

Chapter Three focuses on the cultural implications of the reconfigured animation industry that was gradually institutionalized as a state discourse under globalization, and offers a mapping of the prevalent models and local development of industrialized Chinese animation. In Wu’s view, the development of Chinese animation is divided into two parts: the New Era (from the end of the Cultural Revolution to 1989) and the post-New Era (after 1989). He also calls the post-New Era a post- meishu dianying or post-animation era, which is a profound process of redefinition and examination with links to a restructured visual system, animation discourses and cultural landscapes. Wu then reviews early experimental computer animation in China since 1990, which in the following years led to increasingly elaborate children-oriented melodramatic animated TV series. He argues that the above works were characterised by a marriage of convenience between bureaus of political authority and a still-fragile industrializing animation sector. Afterwards, Wu discusses the diversification of animated subjects and state-sponsored control strategies such as the gradual establishment of a TV screen quota system and national animation bases, for the purpose of promoting the industrialization of a domestic animation sector. Emphasizing issues of oriental spectacle, tradition, homogeneity, and the pastiche of ethnic bodies, Wu focuses on the problematic of visual modernity by introducing several case studies like The Lotus Lamp ( Baolian deng , directed by Chang Guangxi, 1999). 

Chapter Four opens up a theoretical critique of the emergence of Chinese independent animation, including Flash animations, experimental animations, and computer graphic creations, which pays more heed to the porous boundaries between the overlapping concerns of the national style ( minzu fengge ) and the folk ( minjian , which means among the people) discourses. Wu begins with an introduction to the social and economic background in which Chinese independent animation emerged after the late 1990s. Wu argues that independent animation can be considered a reflexive individual resistance to mainstream styles and values, a sense of free expression, and an often-unabashed link with consumer society. He analyses the minjian discourse as a starting point for exploring the cultural significance of independent animation in terms of the latter’s originality and transformation. Wu moves on to discuss the emergence of independent animation in China, which was encouraged by the arrival of digital technology. He maps out the convergence and divergence among notions of “films animated by personality,” “individual animation,” and “independent animation.” Afterwards, Wu proposes that independent animation negotiates the aesthetic boundaries between an illusion of the present (social reality) and a nostalgia for the past (Chinese School), which is buttressed by computer graphics. He concludes that digitization and the status of the culture industry in China offer independent animators some flexibility to fulfil their dreams of self-expression, despite the dominance of an industrialized animation market.

Chapter Five focuses on Chinese Flash animation and its connection to digital culture and the postmodern aesthetic practice in China. Wu begins with an introduction of FlashEmpire.com, which is the first website devoted to Chinese Flash animation and the original locus of Chinese Flash culture. He divides Flash animation into two categories: functional Flash and aesthetic Flash. Afterwards, Wu examines Flash animation aesthetics and their development in China. Considering Flash culture in China as part of a much wider trend incorporating various forms of creative expression, he believes that with few exceptions, both aesthetic Flash (as an expression of an individual’s creative identity) and functional Flash (as a commercial design tool) have yet to achieve maturity or to become multicultural practices in China. Wu then moves to Chinese Shanke (flash animator), discussing issues of Shanke subculture, Flash-animated music videos, avant-garde dramatists, ideological image, and poetry in Flash animation production. Afterwards, Wu interprets the representative works of the first generation of Flash animators such as Rock ’N’ Roll on the New Long March (Jiang Jianqiu, 2001), Xiaoxiao Movies (Zhu Zhiqiang) and People from the Northeast Are All Living Lei Fengs (Babylon, 2001) in terms of these films’ digital identities and postmodern aesthetics. Lastly, He analyses the second and third generation Flash animators’ creative characteristics (2002 to 2004), which transferred from a primary interest in aspects of personal self-examination and experiments with narrative form in the context of a new media environment to a prevalent desire to find mainstream acceptance and commercial success.

Weihua Wu’s dissertation offers a comprehensive and systematic study of animation in postsocialist China, especially of Chinese Flash animation as an important new media subculture in a historical conjuncture and a global context. This project is thus timely in addressing significant new areas of Chinese animation, a field that is badly in need of theoretical support.

Shaopeng Chen is a Film Studies PhD student in University of Southampton, UK. He is sponsored by the China Scholarship Council (CSC). He holds a MA degree in Animation Arts from Nanjing University of the Arts (China), but his research covers both Chinese animation and live-action Chinese film. Previously, he taught animation production courses at Nanjing Normal University of Special Education. His research interests include style of animation character, general aesthetics in animation, film industry in China, government policies of Chinese culture creative industries, the cartoon brand in the Chinese animation industry, and new generation cinema animation in China.

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We have 11 animation PhD Projects, Programmes & Scholarships

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animation PhD Projects, Programmes & Scholarships

Artificial intelligence for virtual characters in computer graphics and computer animation, phd research project.

PhD Research Projects are advertised opportunities to examine a pre-defined topic or answer a stated research question. Some projects may also provide scope for you to propose your own ideas and approaches.

Self-Funded PhD Students Only

This project does not have funding attached. You will need to have your own means of paying fees and living costs and / or seek separate funding from student finance, charities or trusts.

Facial identification from digital avatars

Funded phd project (students worldwide).

This project has funding attached, subject to eligibility criteria. Applications for the project are welcome from all suitably qualified candidates, but its funding may be restricted to a limited set of nationalities. You should check the project and department details for more information.

Randomization and AI Methods for Large Sparse Linear Systems Arising from Applications - A Hybrid Approach through Schur Complements

Morphology, motion, and mechanics of vertebral joints in fish, research degrees at uca, funded phd programme (students worldwide).

Some or all of the PhD opportunities in this programme have funding attached. Applications for this programme are welcome from suitably qualified candidates worldwide. Funding may only be available to a limited set of nationalities and you should read the full programme details for further information.

Arts Research Programme

Arts Research Programmes present a range of research opportunities, shaped by a university’s particular expertise, facilities and resources. You will usually identify a suitable topic for your PhD and propose your own project. Additional training and development opportunities may also be offered as part of your programme.

PhD Opportunities in Art, Media Arts and Design

Funded phd programme (uk students only).

Some or all of the PhD opportunities in this programme have funding attached. It is only available to UK citizens or those who have been resident in the UK for a period of 3 years or more. Some projects, which are funded by charities or by the universities themselves may have more stringent restrictions.

Human Motion Analysis using Computer Vision and Deep Learning

Color science ph.d., visual memes and viral images: analysis, discourse, politics, film: an ecology of light, understanding eye-hand coordination in object interception - a computational modelling approach.

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Animation & Visual Effects: Master's Thesis Projects

• Last Updated: May 30, 2024 3:47 PM
• URL: https://libguides.academyart.edu/animation-visual-effects

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