26:T40d,

Motion graphics (MGs) are utilized in various venues for the purposes of informing and entertaining audiences. Most graphics have intricate finishes and use complex animation to present visual explanations of subject matter (i.e. exposition) or to convey narratives. Within an MG complex animation is demonstrated by the use of dynamic virtual cameras and depth cues, the motion exhibited by the phenomenon being visually explained, and photorealistic rendering. Presently, very little empirical research exists on MGs in general or the effects of complex animation on the viewing experience associated with MGs. The goals of the quasi-experimental study presented in this article were to explore how viewers interact with expository graphics that provide visual explanations and to characterize this interaction according to a synthesis of two theories that address different aspects of the viewing experience. The results suggest that the MG viewing experience is dynamic and that complex animation can be beneficial to viewers.

27:T424,

Between 2004 and 2011, Robert Zemeckis directed or produced five films – The Polar Express, Monster House, Beowulf, A Christmas Carol, and Mars Needs Mom – which utilized performance capture technology. Zemeckis and his effects team on The Polar Express refined the existing standards of motion capture to produce the more sophisticated performance capture, which allows for the digitization of an actor’s complete performance. This article charts two competing discourses that surrounded these films: the generally negative critical reception that saw the performance capture aesthetic as uncanny and creepy, and Zemeckis’ own promotion of the technology in industry interviews. Zemeckis’ early work with the technology is contrasted with Andy Serkis’ acclaim as a performance capture star, and how both men have worked as advocates for the technology, foregrounding their claims that performance capture could enhance or even revolutionize film production and, in particular, film acting.

28:T424,

Some of Miyazaki’s mythic narratives, rendered within dreamlike figurations, are certainly not detached fantasy. The director portrays relatable human actions and a reasonable amount of setbacks during the (heroic) spectating process. Miyazaki’s animated realm infuses the audience with a bright outlook for the future. His narratives are often based upon graphical details and a calculated emplotment. The present study proposes reading Miyazaki’s animated tales by means of the audience’s internal projection onto the signs in the film frame. In this article, the narrative highlights that render Spirited Away (2001) an archetypal quest will be discussed. Finally, the article examines the narrative oscillation in Ponyo (2008). Alluding to Gaston Bachelard’s phenomenological perspective, the study aims to look into the textual aspects of the three cases, demonstrates how Miyazaki renders the film frame to exert persuasive impact upon the audience, and describes Hayao Miyazaki’s persuasive artistry.

29:T886,