Con A de animación - No 09 (2019): Marzo 2019: Anime y videojuegos

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https://riunet7pre.upv.es/handle/10251/118476

Tabla de contenidos



Editorial

  • Editorial


Reseñas

  • Mirai: el pasado que nos define
  • Cuphead y el futuro de la industria audiovisual
  • Isla de perros: Japón según Wes Anderson


Reportajes

  • Los recursos cinematográficos de Final Fantasy y la narrativa transmediática de Final Fantasy XV
  • Sin clímax, sin inflexión, sin sentido. Introducción al Yaoi
  • El videojuego independiente o "indie games" made in Spain


Perfiles

  • Sara Carramiñana, o cómo salir de la zona de confort: realizando animación 3D en Japón
  • La experiencia de animadores españoles creando anime en Japón. Entrevista con Abel Góngora


Espacios expositivos

  • Entrevista a José Luis Farias, director de 3D Wire - Animación, videojuegos y new media


Producción

  • El particular proceso de producción de un anime. La combinación perfecta de tradición y tecnología digital
  • Las microexpresiones emocionales y de historia


Firma invitada

  • Entendiendo la programación visual en el desarrollo de videojuegos


Investigación

  • “Branding”, autoría y adaptación transmedia en los productos oficiales de Studio Ghibli: el “estilo Miyazaki” en los videojuegos de la saga Ni No Kuni (2011-2018)
  • Transgresión, fusión y posibilidad peligrosa. Las claves gráficas de Ghost in the Shell
  • Configuración narrativa en la franquicia “crossmedia”de Berserk
  • Morfología de la no-narrativa en la animación
  • La profesionalización del cortometraje de animación en España. Situación actual
  • Josep Escobar: la imaginación desbordante de un pionero de la animación
  • El sueño de Frida: la animación como elemento de diferenciación visual y narrativa

Browse

Recent Submissions

Now showing 1 - 5 of 20
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    El sueño de Frida: la animación como elemento de diferenciación visual y narrativa
    (Universitat Politècnica de València, 2019-03-14) Gordeeff, Eliane
    [EN] This article has the objective to analyze how a stop motion animation can be used to represent specific moments of a live-action narrative: dreams, memories, thoughts and hallucinations of the character, what it means, its diegetic imaginarium. However, the appropriations of other visual means for the representations of environments and emotions are also observed. The analysis were made based on the animated sequence of Frida Kahlo’s dream, as well as on the scene in which she cuts her hair, from the film by Julie Taymor Frida (2002). A thought about the animated image and its representation (as part of a story in filmed image) is developed in accordance with the narrative and cinema concepts: visual rhetorics and the similarity of the animation of puppets with the theater, as well as cultural matters.
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    Josep Escobar: la imaginación desbordante de un pionero de la animación
    (Universitat Politècnica de València, 2019-03-14) Pagès, Maria
    [EN] Although Josep Escobar is well known as the creator of the comic strip characters of Zipi and Zape or Carpanta, he was one of the Spanish Animation pioneers. Even though he had a fruitful career in the Animation field, that lasted more than fifteen years, his animated works are unknown by public at large. To fill that gap, this article aims to make a journey through the several contributions he made to the Animation language, which inherited his experience in apparently such uneven fields like the comic strip, the mechanics of the gag, the dissemination of Animation technique, the creation of characters, the animated documentaries and the film direction.
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    La profesionalización del cortometraje de animación en España. Situación actual
    (Universitat Politècnica de València, 2019-03-14) Navarro Álvarez, Adriana
    [EN] This article overviews the professionalization of the Spanish short animated film on this decade. The changes occurred in this period, such as the multiplication of the broadcast and exhibition windows and the flourishing of animation schools, make these short films to keep occupying an anomalous place within the cinematographic sector. Considered just a hobby and a learning practice, apart from the main industry, this phenomenon is currently delving into revision. Based on interviews and surveys conducted by experts in the sector, it can be glimpsed the new direction of short film in this country. This research illustrates the difficulties and contradictions confronted by these films, such as the lack of regulation by the Administration, the lack of commercial dimension and the legitimacy of this production at the film industry.
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    Morfología de la no-narrativa en la animación
    (Universitat Politècnica de València, 2019-03-14) Wazarus, Iris
    [EN] The morphology is the study of the form, which allows us to locate, recognize and classify our environment. The objective of this text is to explore the narrative morphology in order to determine what the non-narrative structure is, based mainly on Understanding Animation by Paul Wells (2007 [1998]); Film Art : An Introduction by Bordwell and Thompson (1995 [1979]); and Movement as Meaning in Experimental Cinema by Daniel Barnett (2017 [2008]). In addition, six different non-narrative configurations are proposed, based on cinematographic discourses that defied the narrative canons like Vertov’s Kino-eye, the visual music, the structuralists and Peleshyan’s distance montage.
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    Configuración narrativa en la franquicia “crossmedia”de Berserk
    (Universitat Politècnica de València, 2019-03-14) Villa Gracia, Alberto Daniel
    [EN] The crossmedia narrative in the Japanese cultural industry is a phenomenon that adapts the same story through different formats, such as comics, animation films and series or video games, among others. Although the content tends to be similar, each medium has certain characteristics. The manga is a static graphic medium, while anime is an audiovisual medium, which creates an illusion of movement; however they lack interactivity on the part of readers or spectators. Instead, video games provide the audience with the possibility of interacting with the characters and elements of those stories. This article tries to find out the similarities and differences of the formal narrative aspect in a specific case: the manga of Kentaro Miura, Berserk (1988), its last cinematographic adaptations, that have relaunched the franchise, and the video game that followed that trilogy.