Con A de animación
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Con A de animación es una revista de investigación centrada en el estudio de los aspectos teóricos, técnicos, artísticos y humanos de la producción de imagen animada. Se trata de una iniciativa pionera en lengua castellana, que sigue el ejemplo de otras revistas internacionales de prestigio, nacidas en el seno de la Society for Animation Studies.
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- Publication20 AÑOS para contar un sueño(Editorial Universitat Politècnica de València, 2012-02) Vidal, Miguel20 Años es una película dirigida por Bárbaro Joel Ortiz, que abre un nuevo estilo para el cine de animación cubano. Las primeras películas de stop-motion en Cuba nacieron bajo una estricta tradición del cine de marionetas checoslovaco y polaco; sin embargo, los tiempos van cambiando para la animación de la isla, donde un nuevo lenguaje dramático embiste el cine de stop-motion de la mano de jóvenes y nuevos talentos. 20 Años marca una diferencia. El filme se ha presentado a una gran cantidad de festivales y muestras de cine animado en todo el mundo, siendo seleccionado en 2010 por el Festival Annecy en Francia, Festival Animamundi en Brasil, Cinanima en Portugal y Animadrid, España.
- Publication20 años sin Saul Bass(Universitat Politècnica de València, 2016-05-01) Herráiz Zornoza, Beatriz; Dpto. de Comunicación Audiovisual, Documentación e Historia del Arte; Dpto. de Dibujo; Escuela Politécnica Superior de Gandia; Grupo Animación de la Universitat Politècnica de ValènciaEn este 2016 se cumplirán 20 años sin la presencia de esta figura del diseño y la animación, al que podemos atribuir el mérito de haberse convertido en el padre de los títulos de crédito cinematográficos.
- PublicationA los jóvenes animadores. I edición del Máster en Animación UPV: una experiencia compartida(Editorial Universitat Politècnica de València, 2012-02) Navarro, AdrianaEste escrito refleja la visión de una estudiante recién licenciada en BBAA que ha realizado la I Edición del Máster en Animación, para revelar una experiencia real y directa al futuro alumno que pretenda entrar en el marco artístico del mundo de la animación. Al escoger la animación como medio de expresión, es necesario utilizar una serie de habilidades: el dibujo, el timing, la acción, la pantomima, la imaginación, etc. Hemos nacido con todos los requisitos en potencia, pero algunos hay que refinarlos; otros, deben despertar de su largo letargo. Leer y observar pueden emancipar las áreas adormecidas de nuestra mente; y observar, observar y observar. Seamos "Bobs Esponjas", miremos lo inusual, las situaciones, los personajes, con una mirada nueva.
- PublicationAbstracts. English Information(Editorial Universitat Politècnica de València, 2012-02) Animación Arte e Industria, Grupo
- PublicationAdagio. La materialidad como elemento narrativo y simbólico(Universitat Politècnica de València, 2017-03-01) Gordeeff, Eliane[EN] The goal of the article is to depict how some as-pects of the material of Stop motion animation can complement and help its narrative. Theses analyses were about the short Adagio (Garri Bardin, 2000) under the concepts of semiotics, of the cinema, of the narrative and based on the interview with the director. Therefore, it was possible to see how the expression can be pre-sented by means of physical, representative and / or symbolic of the material utilization in the preparation of images. Consequently, this study expands the understanding of the aesthetic ri-chness of animation — as an art, as a technique and as a means of message.
- PublicationLa adaptación al anime de los cuentos de hadas como herramienta de japonización: el caso de Belle(Universitat Politècnica de València, 2024-03-04) Vicent-Ibáñez, Mireya; Antona-Jimeno, Tamara; Bonaut-Iriarte, Joseba[EN] The adaptation of fairy tales allows stories to be kept alive over time. Nowadays, it can also be a tool of Japanization by allowing elements of Japanese culture to be introduced into originally Western stories. This research explores that use of fairy tale adaptation through an analysis of the anime Belle, based on the classic story Beauty and the Beast. Through a comparative analysis with Disney's popular animated version, the most relevant divergences between the two works have been identified. Thus, it has been shown how Belle introduces specific concepts and ideas that allow us to approach a specific imaginary about Japan and its culture.
- PublicationAlma en suplicio. La Medusa animada de Ray Harryhausen(Editorial Universitat Politècnica de València, 2013-02) Ferri Gandía, Manuel[EN] This article makes an important contribution to the growing number of publications about stopmotion animator Ray Harryhausen, stressing his task as a character creator, particularly the Gorgon Medusa that appeared in the film Clash of the Titans (Desmond Davis, 1981). The article firstly focuses on the myth of Medusa, her representation in classical art and also at audiovisual media prior to her appearance on Harryhausen's movie. Secondly, the paper will be centered on the relation between the author and his character, delving into the main aspects of its creative development. The final part is intended as a guide on the character seen by other artists in various media, with emphasis on those work that reflect Ray Harryhausen's design.
- PublicationÁmár, un cortometraje de Isabel Herguera(Editorial Universitat Politècnica de València, 2011) López Izquierdo, María Angeles; Dpto. de Dibujo; Facultad de Bellas Artes; Grupo Animación de la Universitat Politècnica de València[ES] Ámár ejerce un poder de atracción desde la antesala de su crédito inicial. Con la inmersión en otra realidad, viajamos a otro espacio donde la música, el sonido de la ciudad, las imágenes y los movimientos nos atrapan
- PublicationAmore d’invierno, de Isabel Herguera(Editorial Universitat Politècnica de València, 2015-05-18) Garcia Rams, María Susana; Dpto. de Dibujo; Facultad de Bellas Artes; Grupo Animación de la Universitat Politècnica de València[EN] Isabel Herguera is a visual artist, Basque by birth and cosmopolitan by experiential evolution. Her birthplace gives her a trace of identity, of the rooted people, and of the female who knows her position and placement in the world. Her look has been enriched in each of her trips, loaded with personal and professional experiences, which she has managed to unite and distill through animation to get always a different product, with its own flavor, yet combining her creative role with other tasks like managing festivals and teaching. Her latest short, Winter Love, is also a story about ties, where two people from different worlds meet in a place transformed through emotion and nostalgic memory of what it used to be. A short film where Isabel — as Marta, the protagonist of the film— is true to her destination: art, life and her freedom to love.
- PublicationAnálisis del equilibrio gráfico-narrativo presente en la experiencia interactiva de los videojuegos(Universitat Politècnica de València, 2020-03-23) Sancán Lapo, Milton Elías[ES] En este artículo se analizarán los conceptos que resultan de la combinación de narrativa interactiva y realismo gráfico en videojuegos. Su revisión es importante debido a la presencia de software como los motores de videojuegos o “game engines” que desde 1998 están al alcance de desarrolladores y público entusiasta. Muchos son gratuitos, sencillos de usar y con recursos para aprendizaje como videotutoriales. Sin embargo, se halló que estudios acerca del equilibrio gráfico y narrativo en videojuegos son escasos. Para este análisis se revisó documentación teórica, declaraciones de profesionales vinculados a la industria, y ejemplos de narrativa interactiva direccionada al entretenimiento en géneros de ficción y desde eventos reales. Se concluye que únicamente la narrativa o únicamente el realismo no activa una mejor experiencia global en videojuegos. A ese equilibrio se suma factores visuales y de interacción; cada uno con un peso diferente pero necesario según la temática y los objeti
- PublicationAnimación de guerrilla(Universitat Politècnica de València, 2016-05-16) Torrecillas, Mario[EN] Last October premiered in Spain El rey de la Habana, the latest film by Agustí Villaronga. Its opening credits were created by PDA (Pe-queños Dibujos Animados). Although the co-llective is mainly engaged with workshops for children worldwide, its leader Mario Torrecillas combines this task with other professional crea-tions. Throughout the following writing, Mario himself reveals how came the process of desig-ning and animating these opening credits
- PublicationLa animación en bucle como dibujo vivo. Las repeticiones de Francis Alÿs(Universitat Politècnica de València, 2020-03-23) Castellano San Jacinto, Tania[EN] Francis Alÿs, a Belgian living in Mexico for more than thirty years, is a contemporary artist with a performance-based career, where he also includes a simple type of animation. The interaction between his animated films and the rest of his work place the first ones in an intertwined territory, letting them connect to other artistic registers, as well as transforming them by extending their possibilities within drawing. This relation makes their categorisation difficult, so that they avoid rigid classifications. Lastly, the fact that all selected animations are structured as loops generates a particular type of viewing, in which spectator plays both with dispossession and the illusion of control of the image.
- PublicationAnimación en entornos inmersivos: ampliación de las teorías de la autenticidad en contextos educativos, históricos y políticos(Universitat Politècnica de València, 2024-03-04) Rall, Hannes; Weber, Wibke; Harper, Emma[EN] This paper examines and discusses potential factors that may trigger authenticity in animated immersive environments. Our discussion draws upon three forms of authenticity, categorized as objective, constructive or symbolic, and existential authenticity. To explore these ideas, we present three case studies drawn from the authors own research deploying immersive media in different contexts (educational, historical, and political). The aim is to interrogate how authenticity is conceived and constructed on three levels authenticity of narrative, authenticity of environment, and authenticity of action during the design and production process. We start by defining the concept of authenticity with reference to previous work within the fields of journalism and tourism, and then explore its specification in animated virtual reality through the case study discussion. One important conclusion from our analysis is that authenticity markers are needed to enable users to verify the information presented and trust the educational content.
- PublicationAnimación en la Filmoteca del IVAC. Algunos jalones significativos en su programación(Editorial Universitat Politècnica de València, 2013-02) Hurtado Álvarez, José Antonio[EN] The Film Archive of IVAC has always considered animation as a cinematic universe that should have a strong presence in its programming. Throughout its history, it has organized periodically cycles and retrospectives: Aardman Animation, Bill Plympton, Jan ¿vankmajer, etc. The Valencian Film Archive has even collaborated with festivals, screening programs from Ani_Mar - Prix Miquel Guillem, or Animadrid. Through these initiatives, we have tried to cover the maximum extent possible the vast space of the animation, both from a geographical and historical points of view. It should be noted that when this article will be published, the IVAC will be gone, integrated into a new institution, with a considerable reduction in staff and budget, which will be a serious detriment to the operation of what is known historically Valencia Film Archive.
- PublicationLa animación española en 2012(Editorial Universitat Politècnica de València, 2013-02) Viñolo Locuviche, Samuel[EN] After a four years period of intense economic crisis, 2012 begins to crack part of the fortress that Spanish animation had shown so far, seeing disappear very quickly some of the companies and the industry flagship events, while removing of much state aid the movies threaten to affect even deeper to all the visual arts in the years ahead. In addition and as a sign of hope, 2012 is also a good year for many animated feature films that got an excellent answer countless commercial and international praise. The following article aims to point out very quickly what were the main lines that have characterized the Spanish animation in 2012.
- PublicationLa animación española en el escaparate internacional. Crónicas desde Stuttgart y Annecy(Universitat Politècnica de València, 2016-05-16) Álvarez Sarrat, Sara; Herráiz Zornoza, Beatriz; Navarro Álvarez, Adriana; Dpto. de Comunicación Audiovisual, Documentación e Historia del Arte; Dpto. de Dibujo; Facultad de Bellas Artes; Escuela Politécnica Superior de Gandia; Grupo Animación de la Universitat Politècnica de València[EN] The Spanish animation has had an exceptio-nal showcase in 2015: for the first time two of the biggest International animation festivals, the Trickfilm Festival Stuttgart, (Germany)and the veteran Festival International du Film d’Animation in Annecy (France), agreed to invite Spain for showing its production in ani-mation. Adriana Navarro, Sara Álvarez and Beatriz Herraiz and tell us the highlights from both festivals
- PublicationLa animación experimental en el territorio de los afectos(Universitat Politècnica de València, 2017-03-01) Traslaviña, Cecilia[EN] This article is based on my great interest in expe-rimental animation for several years. It has been the focus of interest in my classes at the Faculty of Arts of the Javeriana University in Bogotá, since it has opened the door to understand the multiple expressive possibilities of animation in relation to the arts. In the same way, it has been very enri-ching in my practice as a teacher and animator, to have met many animators from different corners of the world both in festivals and as guests we have had in the university to discuss and stimulate crea-tion from the margins. In the documentary series of three chapters Perpetuum Mobile, which I did with my colleague Mauricio Durán, we gathered some of these discussions, exploring the multiple possibilities of creation that the animation has, and at the same time, this documentary has been configured as a starting point for several investiga-tions as the one I address in this text. This is a reflection on experimental animation from the perspective of affection and sensation, in contrast to traditional ways of seeing focused especially on the plot of the films in a rational way, leaving aside aspects of sensorial character that can enrich our relationship with the world. It is an invitation to be carried away by aspects such as color, materials, sound, rhythm and movement at the moment of seeing this type of animations.
- PublicationAnimación republicana: entre la transmedialidad y la radicalización ideológica(Universitat Politècnica de València, 2021-03-10) Aguilar, Santiago; Cabrerizo, Felipe; Marquesán, Ana; Lorente, Cristina[EN] The recent recovery of the presumable oldest preserved Spanish cartoon short film, Francisca, la mujer fatal (K-Hito, 1933), thanks to the work of the Zaragoza Cinemateque in collaboration with the Spanish Film Library, allows us to inquire into the first serious attempt to settle at animated industry in Spain: the short-lived Spanish Cartoon Society (SEDA), which was created in Madrid thanks to Joaquín Xauradó and supported by a bunch of cartoonists from satirical magazines and political newspapers —akin to "the other 1927 generation”—, such as K-Hito, Antonio Got, Fco. López Rubio, Antonio Bellón or Manuel Alonso Moyano. During SEDA’s scarce two years of duration, these artists lit up a filmography composed of Un drama en la costa (Joaquín Xauradó, 1933), El rata primero (K-Hito, 1933), Francisca, la mujer fatal (K-Hito, 1933) and Serenata (Fco. López Rubio, 1934), all them relevant due to their pioneering nature.In the following pages we will meet Francisca’s main makers, whose work as animators was overshadowed by their own comic trajectory before and after SEDA, as well as their films, lost due to their meager printing and distribution —if they ever had—, as well as their preservation chances. This essay will also attend the framework that led to the business attempt, as well as the tense social and political context, and SEDA’s soon end due to the decease of Joaquín Xauradó, its main director, in the run-up to the Civil War.
- PublicationAnimaciones traumatizadas. La imagen dialéctica benjaminiana en Flee (2021)(Universitat Politècnica de València, 2023-03-21) Martín Sanz, Álvaro[EN] Flee (Jonas Poher Rasmussen, 2021) is an animated documentary that presents the story of Amin, an Afghan refugee who is forced to leave his country when the Taliban regime comes to power. The aim of this article is to carry out a textual analysis of the film that studies its original use of different types of animation to represent subjective memories. Then, it theorises the relationship between animations with traumatic content and a generation of the dialectical image proposed by Walter Benjamin. Finally, the use of archival material and how it maintains a dialogical relationship with the aforementioned traumatised images is discussed.
- PublicationAnimaFICX y la animación 2D en el 55FICX Gijón(Universitat Politècnica de València, 2018-03-01) Fernandi Martínez, Samuel[EN] Gijón International Film Festival is known for its careful selection of independent films, hence the nickname of Spanish Sundance. Its programming has always included notable titles of the most avant-garde animation, both short films and feature films. Since its 50th edition in 2012, the festival has a specific section of animated films: AnimaFICX. On the occasion of this CAA issue, we review five of the titles present in this Anima-FICX that use the 2D technique. Press play!