جستجوی مقالات مرتبط با کلیدواژه « animated film » در نشریات گروه « هنر و معماری »

Javanmardan computer-animated series is one of the series produced by the order of Saba Animation Center. The first sequence of this series is produced in 13 episodes of 20 minutes. The story of this series revolves around an imaginary character named Shahab al-Din, who was the commander of the Iranian corps during the Mongol invasion of Iran and was defeated in battle due to the betrayal of one of his troops. After losing his troops, Shahab al-Din with entrance to the city called Gharan decided with the help of several people and his close friend, Murad, to forme a group called Javanmardan, and to defend the people in the face of the Mongol oppression. This animation is produced in computer three dimensions, directed by Ali Ahmadi and produced by Elham Ebrahimi. In this research, considering the period of this series, ie the Mongol invasion of Iran, which takes place in the early seventh century AH, it has been tried to examine to what extent the traditional arts coincide with the period this animation, that is, Seljuk and Khwarazmian, has been used, and in what fields has this use been more? The purpose of this study is to examine the historical realism-graphy in today’s figuration. The type of research is basic and the research method is descriptive-analytical and data collection is done in the form of library, field, observation, and interview. Due to the short life of the Khwarazmian government and the few works of that period, in addition to the art of the Khwarazmian period, the art of previous governments, especially the Seljuks, was also studied because the eastern Islamic lands between 391 and 617 AH., have a common artistic language and the art of the Seljuks, Buyid, Ghaznavids, Ghourid, Qara Khitai and Khwarazmian are mixed. In this research, the traditional arts used in the Javanmardan animation series are divided into several categories. Urban planning, architecture, architectural elements, pottery, textiles, carpets, and metalworks.The result of this research showed that in the design of this series, no attention has been paid to its historical period and only space with an Islamic attitude has been created, regardless of its geographical and historical location. In other words, an attempt has been made to use a beautiful Iranian face, and in this way, they have even used the art of more recent periods, such as Safavid and Qajar. During the comparison and study of the arts used in this series with historical examples of the sixth and seventh centuries, AH, only a few parts of the brickwork and tiling decorations, inlaid doors, urban structure, market architecture, and men’s clothing can be considered consistent with this period, although in these sections there are contradictions in the details and decorations in such a way that in some cases. Still, the existence of these works in that period cannot be ruled out with certainty, there are no obvious signs of the art of that time to represent the artistic richness of that time.

The movie directors can be considered as the key creators, as well as the main bodies accountable for movies. Therefore, having a deep knowledge and grasp of the fundamental expressive elements of cinema, becomes a crucial requirement for the directors. The directors of live-action movies or the animations can add to the expressive possibilities of both media if they deeply understand the specific potentials of these two and combine them with their artistic creativity and imagination. From the film production perspective, the main role of the director is to provide the necessary conditions in which all the production team can utilize the best of their professional skills and creativities to materialize and substantiate the goals of the project. So it can be concluded that the more extensive the role of the directors in their films or the more they can bring the production team to their thoughts, the more they can approach their mentality and concepts. The ternary stages of production are Pre-production, Production, and Post-production. One of the differences between directing Animation films and live action ones concerns the difference in the ternary stages of production. Complications of the stages of production in Animation compared with live action films are due to the presence of many production factors and artists who play different key roles. In the ternary stages of production and making an Animation film, many persons who shall be referred to later perform many different processes and those with more importance shall be investigated. Pre-production Stages such as selecting the production factors, scheduling for the production stage and provisions are carried out in the pre-production-stage, but the most important stage is creating the scenario. Writing this includes literary scenario or “screen play”, directing scenario or “script”, and making illustrative scenario “story board”. The production stage starts after the storyboard/ Leica reel (Pre-visualization) is prepared. Directing live action films after the preliminary stages, during the pre-production stage, in the production stage starts with these questions: Where should I put the camera? What should I tell the actors? What is the scene about? and etc. These are the most important questions that the directors have to answer. But in Animation films, the questions like these would be thought in advance, and in the storyboard. The aim of this research is to ‘locate’ the position of the directors in managing various stages and aspects of the production process and the ways they may supervise primary and secondary axis of the production project in a comparative study between animation and live-action films. The outcomes of this paper include: 1) Identifying and comparing the three stages of film production in animations and live-action movies; 2) Locating and categorizing the main production factors in animation and live-action films; 3) Comparing and analyzing the roles and duties of the responsible in various stages of film production and the pros-and-cons of their interaction with the director; and 4) A comparative investigation and analysis of the director’s role in supervising primary and secondary axis of production inanimation and live-action films.