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Diplomska naloga predstavlja ustvarjanje animiranega filma tako v teoriji kot v praksi. V teoretičnem delu diplomske naloge s pomočjo literature raziskujem nastanek animiranega filma skozi zgodovino v svetu in pri nas ter preučujem tehnike ustvarjanja animiranih filmov. V drugem, praktičnem delu diplomske naloge predstavljam ustvarjanje stop motion animiranega filma in končni izdelek. Idejo za ustvarjanje animiranega filma sem dobila v času študija pri predmetu Lutkarstvo. Prek diplomske naloge sem želela raziskati svet animiranih filmov in lutko prenesti iz gledališča v animirani film. Animirani film zahteva posebno tehniko ustvarjanja. Gre za ustvarjanje večjega števila risanih sličic ali fotografij, ki jih naše oko ob predvajanju v določenem časovnem premiku zazna kot gibajočo sliko. Poznamo tri vrste animacijskih tehnik, in sicer stop motion, risano animacijo in računalniško animacijo. V diplomskem delu s pomočjo različnih avtorjev predstavim igrače in pripomočke, ki so se s stoletji razvijali in omogočali razvoj animacije in pozneje filma. Prav vsi smo se v preteklosti srečali z igračami, ki so bile predhodnice animiranih filmov. Animirani film ni zgolj risanka, je mnogo več. In animirani film je eden prvih medijev, ki otroke popelje v svet umetnosti, v svet različnih kultur in ljudi. Film kot skupek različnih umetnosti in filmska vzgoja omogočata aktivno učenje na vseh področjih kurikuluma, zato sta v vzgojno-izobraževalnih procesih zelo zaželena. Številni pedagogi in drugi avtorji se strinjajo, da ima film lahko dober vpliv na otroke in mladino. Njihove teorije povzamem v predzadnjem delu diplomske naloge. Ustvarjanje animiranega filma mi je predstavljalo izziv. Zanimalo me je, kako igro z lutkami prenesti v stop motion animirani film. V praktičnem delu diplomske naloge tako podrobno predstavim ustvarjanje animiranega filma z naslovom Zaljubljeni Lojz – od prvotne ideje do razvoja zgodbe, priprave scenarija in likov in nato od samega snemanja in urejanja videa do končnega izdelka. V animiranem filmu kot like uporabim lobanje iz umetne mase, zato rešujem dilemo, komu je animirani film namenjen. Beležim odzive občinstva na njegovo likovno podobo in vsebino. V zaključku so zbrani odgovori naključnih odraslih in otrok, ki so podali mnenje ob ogledu animiranega filma. Kljub uporabi lobanj so bili odzivi občinstva dobri. Pridobljeni odgovori kažejo, da je odraslemu občinstvu pomembnejša vsebina zgodbe oziroma filma kot likovna podoba. Otroci so bili nad animiranim filmom navdušeni in si ga želeli ogledati večkrat. This thesis presents animation filmmaking, both in theory and in practice. In the theoretical part of the thesis, I use the literature to explore the origins of animation throughout history, both in the world and in Slovenia, and to examine the techniques of animation filmmaking. In the second, practical part of the thesis, I present the creation of stop motion animation and the final product. I got the idea to create an animated film during my studies in the Puppetry course. Through my thesis, I wanted to explore the world of animation and bring the puppet from theatre to animation. Animation requires a special technique. It is the creation of a large number of cartoon frames or photographs that, when played back, are perceived by the eye as a moving image over a certain period. There are three types of animation techniques: stop motion, cartoon animation and computer animation. With the help of various authors, I present the toys and gadgets that have evolved over the centuries and allowed the development of animation and later film. We have all encountered toys in the past that were the precursors of animated films. Animation is not just a cartoon, it is much more than that. And animation is one of the first media to introduce children to the world of art, to the world of different cultures and people. Film as a combination of different arts and film education enables active learning in all areas of the curriculum and is therefore highly desirable in educational processes. Many educators and other authors agree that film positively influence children and young people and I summarise their theories in the penultimate part of my thesis. Creating animated films has been a challenge for me. I was interested in how to translate puppet play into stop-motion animation. In the practical part of the thesis, I present in detail the creation of an animated film called Lojz in Love. From the initial idea to the development of the story, the script and the characters, and then the actual filming and editing of the video to the final product. I use plastic skulls as characters in the animation, so I'm solving the dilemma of who the animation is for. I record the audience's reactions to its visuals and content. In the end, I collect the answers from random adults and children who gave their opinions when they watched the animation. Despite the use of skulls, the audience's reactions were good. The answers obtained show that the adult audience cares more about the content of the story or the film than the visuals. Children were impressed by the animated film and wanted to watch it again.

V diplomskem delu so predstavljeni svet animiranih filmov in z njim povezane teme. V teoretičnem delu so na kratko opisane tri glavne tehnike animacij, in sicer risana, stop-motion in računalniška animacija. Celotno delo je osredotočeno predvsem na 2D-animacije in njihovo izdelavo. Podrobneje je razložena zgodovina animacije od začetkov pred več tisoč leti pa do danes, ko je tehnologija že mnogo bolj razvita in izboljšana. Predstavljeni so napredek animacij in izboljšave skozi leta. Najpomembnejši del animacije so zagotovo liki, ki nastopajo v njej. Analiziran je postopek načrtovanja osebnosti in oblikovnosti likov v animacijah. Pojasnjena sta tudi tema in njen pomen v animiranih filmih. Opisan je proces produkcije animiranih filmov s poudarkom predvsem na predprodukciji. Na kratko so torej razloženi še scenarij, zgodboris in animatika. Ker je izbira programske opreme pomemben del izdelave animacije, so v eksperimentalnem delu predstavljene in opisane izbrane programske opreme za izdelavo 2D animiranega filma. V eksperimentalnem delu so opisani materiali in metode, ki so bili uporabljeni v procesu izdelave in oblikovanja animacije. Razložena je izbira programske opreme ter opisana uporabljena strojna oprema. Razložen je postopek načrtovanja animacije od scenarija do zgodborisa in končnega izdelka. Rezultat dela je uspešno izoblikovan kratek animirani film na temo pomena prijaznosti, ki je v razpravi analiziran. Rezultati pa vključujejo še možnosti izboljšav animacije in gibanja likov. The diploma thesis presents the world of animated films and its related topics. In the theoretical part the three main animation techniques, namely cartoon or traditional hand drawn animation, stop motion and computer animation, are described. The whole work is focused mainly on 2D animations and their production. It also includes a detailed history of animation, from its very beginnings, thousands of years ago, until today when the technology is highly developed. The progress of animation and improvements over the years are also presented. The most important part of animation itself are certainly the characters that appear in it. The process of personality development and character design in animation is analyzed. The concept of theme is explained, as well as its significance in animated movies. The steps involved in creating animated movies are also described, with an emphasis on pre-production. The screenplay, storyboard and animatic are then briefly explained. Since the choice of software is an important part of animation production, the available software that can be used for production of 2D animation is also presented and described. The experimental part describes the materials and methods used in the process of making and designing the animation. The choice of software is explained and there is also a description of the hardware that was used. The process of planning the animation from screenplay to storyboard and to the final product is explained. The outcome of the diploma thesis is successfully created animation with the topic about the importance of kindness, which is also analyzed in the discussion. The results include the possibility of improving the animation itself, as well as the movement of the characters.

V diplomski nalogi predstavljam vprašanje preživljanja prostega časa skozi različne teoretične vidike ter s pomočjo zgodbe, ustvarjene v tehniki animiranega filma. Diplomska naloga je sestavljena iz kratkega animiranega filma z naslovom Čas ter teoretičnega dela, ki je sestavljen iz dveh delov. V teoretičnem delu se z družbenega vidika (psihološkega, sociološkega in filozofskega) dotaknem vprašanja časa in preživljanja prostega časa ter ju postavim v širši okvir. S pomočjo različnih avtorjev opišem družbo, v kateri živimo danes in se sprašujem o kvantiteti in kvaliteti časa, ki ga preživimo. Čas razdelim na dva dela, in sicer na delo ter prosti čas, s pomočjo teorije pa skušam razumeti, komu oz. čemu namenjamo čas. Pri razumevanju preživljanja časa se oprem tudi na teorijo Karla Marxa, v kateri igra delo osrednjo vlogo. Prav tako opišem, kaj se je s prostim časom dogajalo skozi zgodovino ter poudarim vpliv tehnologije v današnji družbi. Govorim tudi o položaju otrok in mladih danes. Drugi del teoretičnega dela pa se nanaša na poglavja o animaciji in animiranem filmu. Tu govorim o vrstah animiranja, o tehnikah animacije, osredotočim se predvsem na stop-motion animacijo ter govorim o zametkih in zgodovini animacije. Izpostavim pomen in vlogo animacije in animiranja pri vzgojno-izobraževalnem delu ter povem, kakšno vlogo imajo pri tem otroci in mladi. V raziskovalnem delu diplomske naloge opišem proces izdelave animiranega filma, nalogo pa zaključim z lastno refleksijo o izdelavi animiranega filma ter o vsebini teoretičnega dela. Čas je družbeno pogojen pojem, ki je abstrakten tako za otroke kot tudi za odrasle ter zajema veliko različnih perspektiv, ki so med seboj močno povezane. Zato je pomembno, da se o času sprašujemo in o njem razmišljamo, kajti ravno razmišljanje nam odpira oči. Sploh danes je čas zelo dragocen, zato je kvaliteta časa in stvari, ki jih počnemo, še toliko pomembnejša. Z animacijo oživimo določen predmet, podobo, risbo ter jim damo nek drug pomen in ustvarimo neko novo zgodbo. Z animiranim filmom pa lahko dobro povežemo umetnost, praktično znanje ter določeno družbeno vsebino. S pomočjo kratkega animiranega filma se lahko poglobimo v družben problem, ki nam z raziskovanjem postavlja nova in nova vprašanja, naša naloga pa je, da iščemo odgovore. Animacija in animirani film igrata v vzgojno-izobraževalnem delu velik pomen, tako s praktičnega kot z izobraževalnega vidika. Z zadnjega se preko vsebine filma z otroki ter mladimi pogovarjamo, iščemo skupne rešitve, izražamo mnenja, izpostavljamo kritično mišljenje, otroci pa s tem postajajo samozavestnejši. Film predstavlja idealno sredstvo za učenje vrednot, predstavlja pa tudi umetniško zvrst, s pomočjo katere lahko otrok začne graditi na pozitivnem odnosu do drugih umetniških zvrsti. S praktičnega vidika pa otroci ter mladi skozi ustvarjanje animacij razvijajo ustvarjalne sposobnosti, čut za estetiko, krepi se njihovo sodelovanje, komunikacija ter iskanje skupnega cilja. Najpomembnejše pa je zadovoljstvo, ki ga posameznik občuti ob končanem animiranem filmu. Ustvarjalnost, ki igra osrednjo vlogo v procesu izdelave filma, saj te žene h končnemu produktu, je pri tem ključna, zato bi ustvarjalni proces, torej izdelavo animiranega filma, prilagodili tudi za vrtec. Pomembna pa ne bi bila samo izdelava, ampak tudi predstavitev animiranega filma drugim, s čimer bi se navdušenje nad to umetniško zvrstjo nadaljevalo. The dissertation presents the issue of spending free time through various theoretical aspects and with the help of a story created in the technique of animated film. The thesis consists of a short animated film titled Time, and two theoretical parts. The theoretical part of the thesis provides a broader context on the issue of time and leisure from the societal point of view (psychological, sociological and philosophical). Works of various different authors help describe the society in which we live and provide the framework for questioning the quantity and quality of time that we spend. For the purpose of this thesis, the notion of time is split into two parts, namely leisure and work. With the help of theoretical works we try to pinpoint to whom or what we dedicate most of our time. In understanding the value of spending time, in which work plays the central role, we draw on Karl Marx’s theory. The thesis also endeavors to describe how the perception of time and the use of it changed throughout history, and highlights the impact of technology on today’s society. We also touch on the position of children and youth today. The second theoretical part of the thesis refers to the chapters on animation and animated films. In this part we discuss different types of animation styles, its beginnings and history, and animation techniques with a focus on stop-motion animation. The importance and the function of animation itself and its position in the educational system is emphasized alongside the role of children and young adults in it. The research part of the thesis describes the process of creating an animated film and the author's reflection on the process and the content of theoretical work. Time is a socially conditioned concept that is abstract for both children and adults and encompasses many different perspectives that are strongly intertwined. Therefore it is crucial that we ponder and question what time is, because contemplation broadens our perspective. Time is especially precious in the present day and that is why the quality of the time we use, and what we decide to spend it on, is all the more important. Animation can bring a certain object, image, drawing to life, giving them new meaning and creating new narratives. Animated film can help us connect art, practical knowledge and certain social content. With its help, we can delve into social problems, the research of which can give rise to even more questions, and our task is to search for answers. Animation and animated film play a strong role in educational work, both from a practical and educational perspective. The educational aspect of animation highlights the content and helps us communicate with children and young people, allowing them to search for common solutions, voice opinions, express critical thinking by gaining these faculties the children become more confident. Animated film is an ideal tool for learning values, but it is also an artistic genre that allows a child to start building a positive attitude towards other arts. The practical aspect allows children and young people to develop their creative abilities, a sense of aesthetics, cooperation, communication and the search for a common goal through the creation of animation. But arguably the most important part remains the feeling of satisfaction that accompanies a finished animated film. Creativity, which plays the central role in the process of filmmaking, as it drives the individual towards the final product, is a crucial skill therefore the creative process, i.e. the production of an animated film, could and should also be adapted for kindergarten. Emphasis on the presentation of the animated film to others, along with the process of its creation, would help spread the excitement and interest for this artistic genre.

Diplomska naloga predstavlja celoten proces izdelave animiranega filma za otroke od začetka do konca. Namen diplomske naloge je bil izdelati animacijo za otroke na podlagi knjižne predloge in tako spoznati celoten proces izdelave animiranega filma. Prav tako je bil namen spoznati dotično programsko opremo in se jo naučiti uporabljati. V teoretičnem delu je najprej na grobo predstavljena zgodovina animiranega filma v Sloveniji, ki je javnosti v večji meri nepoznana. Nato so opisani razvoj računalniške animacije in različne vrste animacij. Sledi predstavitev dvanajstih načel animiranja, ki so ključni za uspešno animacijo. Na koncu teoretičnega dela sledijo obširna razlaga pojma filmskega plana, predstavitev lestvice planov in kratka splošna predstavitev uporabljenih programov in pripomočkov. Na začetku praktičnega dela je opisana uporaba programov in pripomočkov, ki smo jih potrebovali za izdelavo animiranega filma. Sledi opis vseh postopkov načrtovanja animacije, vključno z izbiro ustrezne pravljice, sinopsisa, izdelavo scenarija in snemalne knjige. Detajlno so opisani postopki razvoja scen, likov in njihovega govora. Sledi najobširnejše poglavje o animiranju, kjer so predstavljeni ključni postopki animiranja, ki so bili skozi animacijo večkrat uporabljeni. Poglavje zajema animiranje hoje, govora, skoka in tranzicije, večnivojsko animacijo ter uporabo kamere. Posebej sta predstavljena razvoj in animiranje uvodne in zaključne špice. Praktični del se zaključi s poglavjem o zvoku, kjer so opisani postopki snemanja in dodajanja govora ter izbire glasbe in zvočnih učinkov. Rezultat diplomske naloge je uspešno izdelana štiriminutna animacija za otroke, ki je skupaj s scenarijem in snemalno knjigo dodana v prilogi. Thesis presents entire process of making animated film for children from beginning to end. The purpose of thesis was to create an animation for children based on a book template and to get to know the whole process of making an animated film. It was also intended to get to know the software in question and learn how to use it. In theoretical part, first, the history of animated film in Slovenia, which is largely unknown to public, is roughly presented. Then, the development of computer animation and different types of animations are described. Next is a presentation of principles of animation, that are key to successful animation. At the end of the theoretical part, there is an extensive explanation of the concept of a film plan, a presentation of scale of plans and a short general presentation of used programs and tools. At the beginning of practical part use of programs and tools we needed to make the animated film is described. Next is description of all animation planning procedures, including selection of appropriate fairy tale, synopsis, scriptwriting, and storyboard. The processes of developing scenes, characters and their speech are described in detail. What follows is the most extensive chapter on animation, where the key animation procedures, which were used several times throughout the animation, are presented. The chapter covers animation of walking, speech, jumping and transition, multilevel animation and use of camera. The development and animation of overture and credits are especially presented. Practical part concludes with a chapter on sound, which describes the procedures for recording and adding speech and also selection of music and sound effects. The result of thesis is successfully created four-minute animation for children, which is added to annex together with script and storyboard.

V tem diplomskem delu predstavljam podrobno analizo obraznih izrazov v animiranem filmu. Najprej se sprehodimo skozi osnovno znanje in razumevanje animacije, ter poglobje spoznamo tri večje tehnike izdelave animiranih filmov. Človeški obraz opišemo z različnimi proporci glave. Podrobno raziščemo tudi štirinajst glavnih mišic anatomije obraza, ter jih povežemo skupaj, da prikažemo šest osnovnih obraznih izrazov. Pri tem si pomagamo z znanjem iz medicine, ki predstavlja temelj osnovnega razumevanja. Podrobno analiziramo posamezne dele obraza, kot so oči, veke, obrvi in usta. Sproti nadgrajujemo razumevanje njihovega medsebojnega delovanja na različnih primerih. V zadnjem delu diplome sledimo mojemu osebnemu pristopu k izdelavi glave lutke in obraznih izrazov. Po vrstnem redu podrobno opišem celoten proces svoje izdelave obraznih izrazov za lutko Naluja. Cilj diplomske naloge je bila podrobna analiza in razumevanje posameznih mišic, njihovega medsebojnega delovanja in sestavljanja različnih obraznih izrazov. Želela sem razumeti perspektivo opazovanja gibanja človeškega obraza, odzivnosti na določeno dogajanje, nastale posledice, kako sploh pristopiti k razumevanju obraznih izrazov in kako gibanje narediti čim bolj realistično in gledalcu nemoteče. In this diploma work I present a detailed analysis of facial expressions in animated film. We first walk through the basic knowledge of animation and learn more about the three major techniques used for making animated films. We talk about diferent face proportions. We also explore the fourteen major muscles of facial anatomy in detail, and connect them together to explain six basic facial expressions. For this we used medical knowledge, which is the foundation of basic understanding we need for facial expressions. Through animation we analyze in detail individual parts of the face, such as the eyes, eyelids, eyebrows and mouth. We are constantly upgrading their mutual cooperation on various cases. In the last part of diploma I describe my own approach towards making the puppet's head and it's facial expressions. I describe the whole process of making in detail. The goal of the diploma thesis was a detailed analysis and understanding of individual muscles, their interaction and the composition of various facial expressions. I wanted to understand the perspective of observing the movement of a human face, responding to certain events, the consequences, how to approach the understanding of facial expressions and how to make the movement as realistic and unobtrusive as possible.

Za svojo diplomsko nalogo sem se odločila opisati proces nastajanja animiranega filma, narejenega na temo slepih in slabovidnih. Namen animiranega filma je približati svet slepih in slabovidnih ljudem, ki vidimo. V svetu, v katerem živimo, je velik del našega počutja odvisen od zunanjih dejavnikov (socialna omrežja, različne reklame ipd.). Pomembno je zavedanje, da ni vse, kar vidimo, zlato. Animirani film se ukvarja z različnimi vprašanji kot so: kako se slep človek spoprijema z različnimi tematikami, kako se sooča z vsakdanjimi opravili, razmerji z drugimi ljudmi in na splošno, kako se spoprijema s svetom in okolico in to bom tudi opisala podrobneje v diplomski nalogi. Animirani film sem želela približati slepim in slabovidnim s tem, da sem dala največji poudarek zvoku, zvočnim učinkom in spremljajočemu besedilu animiranega filma. Izbrala sem barve, ki so računalniško izračunane in prilagojene za barvno slepe ljudi. Z uporabo preprostih oblik v animaciji sem hotela doseči to, da slaboviden gledalec lažje sledi animaciji in da ga hkrati spomni na to, kako bi lahko slepa oseba narisala različne objekte. V diplomskem delu bom opisala torej celoten proces izdelave animiranega filma in uvod v temo slepih in slabovidni z opisom umetnikov in kratkem povzetku kako slepi rišejo in kaj si mislijo o tej temi. Povzela bom vse, kar je zgoraj navedeno in podrobno opisala nastanek animiranega filma. The theoretical part of the diploma work is based on the animation I did for the diploma. The animation is exploring the theme of blind and partially sighted people. The goal of the animation is to bring the experiences of blind and partially sighted people closer to mainstream tendencies visual components are integral to forming and manipulating our self image, something that blind and partially seeing people don’t necessarily focus on. The animation is exploring with what a blind person deals with on a day to day bases. How do they make new friendships and relationships, how do they deal with people and the environment that they are in, etc. To make the animation more accessible to blind people I made the sound, sound effects and script a big part o the animation. The colours were chosen with the help of a program that calculates to colours that are the most suitable for the partially blind people with a certain deseas. With the usage of all of the above and a style that is created by distinguished and simple shapes I tried to make for the impared viewer the animation easier to track. The shapes and the line also remind in certain scenes of the way a blind person would draw them. In the diploma work I will describe the process of creating the animation and introduce the theme of partially sighted and blind people by describing their work and going into depth about how blind people draw.

Film je eno izmed didaktičnih sredstev, s katerim se učenci srečujejo na vsakodnevni ravni, čeprav nezavedno, tako v šoli kot doma. Pomembno je, da otrok film razume in se iz filma uči. Vse skupaj je med drugim tesno povezano in velikokrat prepleteno z poukom književne vzgoje, saj je film velikokrat narejen prav po literarnih predlogah. Tukaj nastopi pomembna vloga učitelja, saj mora učenca pripraviti, da se bo v najboljši meri poistovetil z besedilom in iz njega potegnil najboljši literarni užitek za nadaljnje ustvarjanje, saj je ravno zaznavanje, razumevanje in vrednotenje literarnega besedila in vseh literarnih, vizulnih in zvočnih segmentov tisto, kar učencu ponudi podlago za razumevanje animiranega filma. Spoznanje, da sta didaktika mladinske književnosti in didaktika animiranega filma tesno povezani in se združujeta v novo didaktiko animiranega filma, je bilo uporabljeno in povzeto že v dveh magistrskih nalogah, kjer so analize pokazale, da brez poznavanjs književne vzgoje ne moremo zaznati vseh segmentov, ki so uporabljeni v animiranem filmu. V svoji nalogi predstavljam, kako sta filmska vzgoja in književna vzgoja med seboj povezani. Pri tem sem se osredotočila in predstavila pomen filmske vzgoje za otroke, ter kako in na kakšen način je ta povezana s poukom književne vzgoje, ki je podlaga za razumevanje animiranega filma. Poleg opisa filmske in književne vzgoje, sem v nalogi podrobno opisala tudi ustvarjanje animiranega filma, komponente, tehnike in pomen animiranega filma za otroke. Ker je film dandanes v OŠ še vedno premalo uporabljen, ali pa je uporabljen zunaj pouka, bom v magistrski nalogi z metodo razvijanja zmožnosti, zaznavanja, razumevanja in vrednotenja otroškega/animiranega filma, raziskala učinkovitost na novo ustvarjene metode na razvijanje recepcijskih zmožnosti. Pri tem bom usmerjala učence na prezrte signale filmske govorice: na področju dramskega besedila (scenarija) animiranega filma, na področju vizualnih, likovno-kinestetičnih segmentov in na področju zvokovnih segmentov. Film is one of the didactic methods which students subconsciously encounter on a daily basis, in school and at home. It is important that a child understands film and is able to learn from it. Everything is closely related to and intertwined with literary education, since films are often based on literary material. Teachers have to prepare students to identify with the text as best they can and benefit from literary pleasure that will enhance their creativity, therefore the role of the teacher is crucial. Perception, comprehension and evaluation of literary texts and all literary, visual and auditory segments constitute the basis for understanding animated film. The findings that state children’s literature didactics and the didactics of animated films are closely related and constitute a new didactics of animated film, were used and summarized in two dissertations. The analyses show that we are unable to detect all segments used in animated films, if we do not possess knowledge of literary education. The dissertation shows how film and literary education are related to each other. It focuses on and presents the importance of film education for children and how this is related to literary education, which is the basis for understanding animated film. In addition to the description of film and literary education, the dissertation also provides a detailed description of creating animated films, as well as the components and techniques of animated films, and their importance for children. Nowadays, film is still underused in primary schools, or it is only used outside of the classroom. The dissertation therefore uses the methods of developing abilities, perception, comprehension and evaluation of animated film in order to research the efficiency of the newly developed method for developing reception abilities. The students will be directed towards overlooked signals of film language: in the field of dramatic text (screenplay) of animated film visual, art and kinaesthetic segments, and auditory segments.

Diplomsko delo obravnava animirani film Skrivnost iz Kellsa [The Secret of Kells] ter literarno adaptacijo v slikaniški obliki. Osredinja se na vprašanje ali oziroma kakšne razlike se pojavijo pri podajanju zgodbe prek dveh različnih medijev. V ta namen so v teoretičnem delu najprej opredeljeni ključni pojmi, nato pa predstavljeni literarna in medmedijska teorija. Literarna teorija je povzeta po delu Evropska pravljica Maxa Lüthija, osnova za medmedijsko teorijo pa je naratologija Matevža Rudolfa. Animirani film in slikanica Skrivnost iz Kellsa temeljita na zgodovinskih in mitoloških elementih, zato je predstavljena tudi intertekstualnost, kot jo opredeli Marko Juvan. V empiričnem delu sta animirani film in slikanica analizirana, teoretične postavke so aplicirane na primer, sledi še primerjava del. Kljub temu da sta obe deli izšli leta 2009 izpod rok istih ustvarjalcev, pri podajanju zgodbe prek različnih medijev prihaja do razlik, ki so opisane v nadaljevanju. The thesis concentrates on animated movie The Secret of Kells and its literary adaptation in a form of a picture book. The thesis concentrates mostly on the differences (if they exist) between stories that are introduced by two different types of media. For this reason the theoretical part consists of presentation of the key concepts, which is followed by literary and intermedia theory. Literary theory is based on the work of Max Lüthi, The European Folktale and the basis for intermedia theory is narratology as presented by Matevž Rudolf. Both, animated movie as well as picture book, are founded on historic and mythological elements, therfore a chapter on intertextuality, based on the work of Marko Juvan, is included as well. In the empirical part, the animated movie and picture book The Secret of Kells are analyzed, theory is aplicated to the case and both works are compared. Even though both works were presented in the 2009 by same authors, some differences exist between both works that are presented through different media. Those differences are presented in the following thesis.

V diplomski nalogi sem opisal proces izdelave animiranega filma Lubinna, moje potovanje na Mars. Osnovna ideja filma izhaja iz opazovanja sodobne družbe, ki je ne vidim distopično, temveč kot realen prikaz prihodnosti.?V prvem delu sem se ukvarjal z opredelitvijo in zgodovino animiranega filma ter z nastankom sodobne animacije. Pogledal sem veliko filmov, ki so me navdihnili za prizore in dogodke v filmu. Na podlagi pridobljenih informacij, izdelanega zgodborisa in animatica, sem se lotil opisovanja ustvarjalnega procesa, tehnik, posebnih učinkov, zvoka in ostalih podrobnosti. Pri izdelavi filma sem veliko eksperimentiral z različnimi tehnikami, ki bi lahko funkcionirale s futuristično vsebino zgodbe. Opisal sem tudi, komu je ta film namenjen in kaj je cilj tega filma. Končni izdelek je kratek domišljijski animirani film, ki si ga potencialni gledalci lahko interpretirajo na svoj način in jih lahko spodbudi k razmišljanju o prihodnosti naše civilizacije. In the thesis, I described the making process for the animated film Lubinna, My Trip to Mars. The basic idea of this film stems from my observation of a modern society, which I do not see as a distopic, but as a realistic vision of the future. In the first part I was dealing with the definition and the history of animated films, and also with the emergence of the contemporary animation. I have also watched a lot of movies that inspired me for many scenes and events in the movie. Based on the acquired informations, storyboard and animatic, I began to describe the creative process, the techniques, the special effects that I have used, the sound, and other details. While making this film, I experimented a lot with various techniques that could work with the futuristic content of the story. I also described to whom this film is intended and what is the purpose of the film. The end product is a short imaginative animated film, which potential viewers can interpret in their own way, and it is encouraging them to think about the future of our civilization.

Predšolsko obdobje je najpomembnejše za razvoj govora, zato je treba posebno pozornost nameniti načrtovanju in izvajanju jezikovne dejavnosti v vrtcu. Pomembno vlogo pri tem ima vzgojitelj predšolskih otrok, ki avtonomno izbira, s katerimi vsebinami, sredstvi, metodami in oblikami dela bo razvijal otrokovo jezikovno zmožnost. Film kot umetniška zvrst lahko vzgojitelju omogoča nov pristop dela v vrtcu, tudi na jezikovnem področju. Magistrsko delo je sestavljeno iz teoretičnega in empiričnega dela. V teoretičnem delu sem predstavila razliko med govorom in jezikom, opisala govorni razvoj predšolskega otroka in opredelila jezikovno zmožnost ter poudarila dejavnike, ki vplivajo na njen razvoj. Podrobneje sem opisala filmsko vzgojo in animirani film ter poudarila, zakaj je treba filmsko vzgojo in z njo film vključiti v načrtovanje jezikovne dejavnosti. V zadnjem poglavju teoretičnega dela sem povezala animirani film in razvijanje jezikovne zmožnosti. V empiričnem delu magistrskega dela so predstavljeni rezultati kvalitativne raziskave, kjer sem poskusila ugotoviti, zakaj bi bilo dobro filmsko vzgojo uvesti že v vrtec, kakšen vpliv ima animirani film na otroke, katere so prednosti in slabosti uporabe animiranega filma v vrtcu, kateri so kriteriji za izbor kakovostnega animiranega filma ter katera učna sredstva in metode dela filmske vzgoje uporabljati za spodbujanje otrokove jezikovne zmožnosti. Na koncu pa želim odgovoriti na vprašanje, ali lahko z animiranim filmom razvijamo jezikovno zmožnost. Izvedla sem štiri intervjuje, in sicer z vzgojiteljico, ki vodi filmsko vzgojo v javnem vrtcu, s knjižničarko Mestne knjižnice Ljubljana, ki v svoje delo vpeljuje elemente filmske vzgoje, s strokovno sodelavko Kinodvora in z vodjo programa Filmska vzgoja in mlada občinstva v javnem zavodu Kinodvor. The pre-school period is the most important period for speech development, therefore it is very important that linguistic activities in kindergarten are very carefully planned and carried out. A kindergarten teacher has a very important role in this area because he/she has an autonomous choice with which activities, means, methods and forms of work will he/she encourage the child`s speech development. Film as an artistic genre can be used by a kindergarten teacher as a new approach to working in kindergarten, including in the field of language. This master`s thesis includes a theoretical and an empirical part. In the theoretical part, I represent the difference between speech and language, describe the speech development of preschool children, define linguistic ability and highlight the factors that influence its development. I describe the film education and animated movie in detail and emphasize why film education and film should be included in the planning of language activities. In the last piece of the theoretical part, I link the animated movie and the development of linguistic abilities. In the empirical part of my master`s thesis, I represent the results of my qualitative research. I try to determine why we should include film education in kindergarten, what influence an animated movie has on children, what are the advantages and disadvantages of the usage of animated movie in kindergarten, what are the criteria for a quality animated movie and which teaching aids and methods of film education should be used to encourage child’s speech development. In the last part, I try to answer the question whether animated film can encourage speech development or not. I carried our four interviews with a kindergarten teacher, responsible for the film education in a public kindergarten, a librarian of Mestna knjižnica Ljubljana, who implements elements of film education in her work, a professional associate in Kinodvor and the director of the Film Education and Young Audiences Program at the Public Institution Kinodvor.

Magistrsko delo se osredotoča na intermedialno razmerje med uglasbenim besedilom in animiranim filmom, in sicer na primeru Čikorje an' kafe. To je kantavtorska pesem Iztoka Mlakarja, ki je bila podlaga istoimenskemu kratkemu animiranemu filmu Dušana Kastelica. Mlakarjeva prej pripovedovana kakor péta pesem ni klasičen primer literature gre za besedno umetnost v ozkem stiku z glasbo, ki je ravno tako uporabljena kot izrazno sredstvo. Vrstno bi jo lahko umestili med šanson in popevko. Mlakarjeva izvedba se na vsebinski ravni in v zvočnem smislu ohranja v mediju kratkega animiranega filma, zato lahko govorimo o soobstoju dveh medijev znotraj istega umetniškega dela (intermedialnost v ožjem smislu). Obenem pa se besedilo Mlakarjeve pesmi ob prenosu v novi medij razširja vizualno (in posledično kontekstualno). O cikoriji (kavnem nadomestku) zdaj ne samo poslušamo, ampak jo tudi vidimo. Kakšno, kdaj, kje, kolikokrat in kakó, je izbral Kastelic sam, zato moremo prenos pesmi v gibljivo filmsko sliko razumeti tudi kot samostojno umetniško delo, uresničitev režiserjeve vizije. Svojo vsebino in obliko je torej kantavtorska pesem na novo vzpostavila tako, da je izrabila možnosti, ki jih ponuja t. i. ciljni medij, v našem primeru kratki animirani film (intermedialnost v širšem smislu). Zanimalo nas je zlasti, kaj se v spremenjenih medijskotehnoloških pogojih dogaja s kantavtorsko pesmijo oz. kako ciljni medij, tj. kratki animirani film, ki prinaša spremenjene medialne pogoje, vpliva na izraznost (načine predstavljanja) in vsebino izhodiščnega medijskega izdelka, tj. kantavtorske pesmi. This master's thesis focuses on the intermedial relation between lyrics set to music and an animated film on the example of Čikorja an' kafe [Chicory 'n' Coffee]. The latter is a song by singer-songwriter Iztok Mlakar, on which the animated short film of the same name, directed by Dušan Kastelic, is based. Mlakar's song, more narrated than sung, is not a classic example of literature it is verbal art closely linked with music, which has likewise been used as a means of expression. Genre-wise, it could be categorised between a chanson and a pop song. Mlakar's performance has been preserved in the medium of an animated short film, both content-wise and acoustically, which is why one could speak of a coexistence of two media within the same work of art (intermediality in the narrower sense). Simultaneously, the lyrics of Mlakar's song are being expanded visually (and consequently contextually) by being transferred to a new medium. Now we are not only hearing about chicory (a coffee substitute), but seeing it too. Kastelic himself decided in what form it would appear, as well as when, where, how many times and in what way, which is why the transfer of the song to a moving image can be seen as an independent work of art, a realisation of the director's vision. The singer-songwriter song has therefore established its content and form anew by taking advantage of the possibilities offered by the so-called target medium, in this case the animated short film (intermediality in the broader sense). The main point of interest was what happens to a singer-songwriter song under altered media and technology conditions or how the target medium, i.e. the animated short film which brings about altered medial conditions, influences the expressiveness (modes of presentation) and contents of the source media product, i.e. the singer-songwriter song.

Prevajanje osebnih lastnih imen predstavlja pogosto enega največjih izzivov pri sinhronizaciji animiranih filmov. Od prevajalca ne zahteva le kompetentnosti s področja poznavanja jezikovnih prvin ter kulturnih značilnosti izhodiščnega in ciljnega jezika, temveč mora biti prevajalec do podrobnosti seznanjen tudi z značajem posameznih likov in s filmskim ozadjem, zlasti ko gre za film, ki je nastal na osnovi knjižne predloge. Hkrati zahteva prevajanje za sinhronizacijo od prevajalca dober občutek za ritem in smisel za preprosto, vendar ustvarjalno izražanje ter predvsem sposobnost docela vživeti se v svet otrok. Namen magistrske naloge je predstaviti in analizirati prevodne različice imen animiranih junakov v slovenski, nemški in angleški sinhronizaciji madžarskega animiranega filma Vuk režiserja Dargay Attile. Za prevajanje osebnih lastnih imen obstaja veliko različnih strategij in pristopov. V magistrskem delu smo analizo osebnih lastnih imen opravili na podlagi prevajalskega modela avtorja Lincolna Fernandesa. Ugotavljali smo, katere strategije so prevajalci uporabljali pri prevajanju osebnih lastnih imen v slovenski, nemški in angleški različici madžarskega animiranega filma Vuk. Prevode osebnih lastnih imen smo med sabo primerjali, pri čemer smo iskali podobnosti in odstopanja. Če se nam določena prevodna rešitev ni zdela primerna, smo podali še predloge za izboljšave. Prevodne različice osebnih lastnih imen, ki smo jih v empiričnem delu magistrske naloge analizirali, smo na podlagi slušnega vtisa izpisali iz že obstoječe uradne nemške in angleške sinhronizacije madžarskega animiranega filma Vuk. Animirani film Vuk še ni bil preveden v slovenščino, zato smo ga v celoti prevedli, in sicer iz izvirnega, tj. madžarskega jezika. Pri tem smo upoštevali tehnike ter pogoje, ki jih narekuje prevajanje za sinhronizacijo. Translation of personal names often represents one of the greatest challenges for synchronisation of animated movies. It requires from the translator not only to have competence in the field of knowledge of language elements and cultural characteristics of the source and target language, but also to be familiar with the personality of individual character and film background in detail, especially when it comes to a movie, which was created on the basis of a book. At the same time, translation for synchronisation requires from the translator a good sense of rhythm and a sense of simple but creative diction, and mostly the ability to fully identify with the world of children. The purpose of the master's thesis is to present and analyze translation versions of the names of animated heroes in Slovene, German and English synchronisation of Hungarian animated movie Vuk of the director Attila Dargay. There are many different strategies and approaches to translation of personal names. In this master's thesis, we have analysed personal names on the basis of translation model developed by Lincoln Fernandes. We determined which strategies are used by translators in translating personal names in Slovene, German and English version of Hungarian animated movie Vuk. Translations of personal names were compared to each other, while we were looking for similarities and deviations. In case a certain translation solution did not seem appropriate, we made further suggestions for improvements. Translation versions of personal names, which were analysed in the empirical part of the master's thesis, were written out on the basis of auditory impression from the existing official German and English synchronisation of the Hungarian animated movie Vuk. Animated movie Vuk has not yet been translated into Slovene, so we have fully translated it from the original, i.e. Hungarian language. In doing so, we took into account the techniques and terms dictated by the translation for synchronisation.

V tej diplomski nalogi smo raziskovali pozitivne in negativne vplive risank na otroke. Začeli smo z zgodovino televizije, tako svetovno zgodovino kot zgodovino televizije na Slovenskem. Na isti način smo pregledali tudi zgodovino risank. Raziskovali smo otrokov razvoj, predvsem tiste vidike, ki so izpostavljeni vplivom risank, kot so morala, jezik, domišljija in učenje. Sledilo je raziskovanje negativnih in pozitivnih vplivov, ki jih imajo risanke na otroke, kar je tudi naš glavni problem te naloge. Ugotovili smo, da imajo risanke veliko negativnih vplivov, predvsem na področju nasilja, oglaševanja, stereotipov in fizičnega zdravja. Pozitivna stran risank pa je predvsem učenje tujih jezikov preko tujejezičnih risank ter mnogi moralni nauki, ki jih ustvarjalci risanih filmov poskušajo posredovati svojim gledalcem. S pomočjo različnih virov smo prišli do zaključka, da risank ne moremo preprosto označiti kot negativnih oziroma pozitivnih. Risanke se med seboj tako razlikujejo, da so tudi njihovi vplivi popolnoma drugačni. Risankam, ki vsebujejo negativno vsebino, ki so polne nasilja, nestrpnosti in negativne nastrojenosti, ne moremo pripisat drugačnih vplivov kot negativnih. Vendar pa je veliko ustvarjalcev, ki hočejo mlajše gledalce skozi risane zgodbe in filme naučiti človeških vrednot in življenjskih lekcij ter jih tudi soočiti z manj lepimi trenutki, ki jih doživljamo vsi. Najsi bodo vplivi pozitivni ali pa negativni, pa je to, ali bodo imeli vpliv na otroke, povsem odvisno od staršev, katerih naloga je, da nadzorujejo količino in vsebino risank ter jim videne vsebine razlagajo. Metode, ki smo jih uporabljali pri pisanju te naloge, so predvsem preučevanje različnih člankov preko spleta ter prebiranje različnih knjig, ki so povezane s to tematiko. Za zaključek smo opravili tudi intervju z vzgojiteljico, ki že vrsto let varuje otroke v vrtcu, ter jo povprašali o njenih izkušnjah, ki jih ima z risankami. In the bachelor’s thesis, we researched positive and negative effects of cartoons on children. We began with the history of television, the universal and Slovenian as well. In the same way, we reviewed the history of cartoons as well. We researched the child development, mostly the perspectives which are exposed to the effects of cartoons, such as morality, language, imagination, and learning. The research of negative and positive effects of cartoons on children followed. The latter is also the main problem of the thesis. We ascertained that the cartoons have a lot of negative impacts, mostly in the field of violence, advertisement, stereotypes and physical health. The positive side of cartoons is mostly learning foreign languages through foreign language cartoons, and many moral teachings, which the creators of the animated films try to mediate to their viewers. By means of several sources, we came to the conclusion that we cannot simply classify the cartoons as negative or positive ones. Cartoons differ, so their effects are entirely different. The cartoons which include negative contents, which are filled with violence, intolerance and negative stance, cannot be attributed other effects than negative ones. However, there are a lot of creators who want to teach younger viewers some human values and life lessons through the cartoons and also confront them with less beautiful moments, which we all experience. Whether the effects are positive or negative, the fact is that it is up to parents, whether the cartoons will influence the children. The task of parents is to control the quantity and contents of cartoons and to explain the seen contents. The methods we used in writing this bachelor’s thesis are mostly studying various articles through the web and reading various books which are connected with the topic. In conclusion, we also performed the interview with a kindergarten teacher who has been responsible for taking care of children for many years. We asked her about her experience she has had with the cartoons.

Filmska vzgoja je vzgoja, ki obsega različne oblike in metode dela s filmom, ki potekajo zunaj in tudi znotraj vzgojno-izobraževalnega procesa. V okviru teh metod in oblik dela poteka obravnava animiranega filma, ki je ena izmed oblik animacije. Vključevanje filma v pouk predstavlja bolj aktualen in zanimiv vzgojno-izobraževalni proces, ki omogoča pridobitev kakovostnejšega znanja. Učenci pa se morajo za to, da bi to znanje pridobili, najprej naučiti aktivnega gledanja filmov. Na ta način bodo opazili vse podrobnosti, ki so pomembne za interpretacijo filma, saj je slednja zelo pomemben element filmske vzgoje. Omogoča, da učenci prepoznajo sporočilo filma in kaj vse vpliva na njegovo vsebino. Učenci so tako sposobni razlikovati med dobrim in slabim filmom. Kljub številnim prednostim, ki jih prinaša filmska vzgoja, je ta v šolah še vedno zelo slabo zastopana. Več dejavnosti na tem področju izvaja Vzgojno-izobraževalni program Slon. Ta organizira izobraževanja učiteljev in tudi različne delavnice animiranega filma za otroke. Učitelji lahko tako pridobijo ustrezne kompetence, ki jih potrebujejo za pouk filmske vzgoje, učenci pa svoja dela predstavijo na različnih festivalih animiranega filma, kar jih dodatno motivira. S filmsko vzgojo se odpira nov vidik poučevanja, ki bo v prihodnje vse bolj aktualen in prepoznaven. Zato sem v svojem magistrskem delu raziskala, ali uporaba produktivne metode ustvarjanja animiranega filma vpliva na zaznavanje in razumevanje vloge in pomena posameznega segmenta animiranega filma ter s tem posredno na razvijanje recepcijske zmožnosti za gledanje filmov oziroma risank. Prav tako sem raziskala, kakšne so sposobnosti učencev za izdelavo animiranega filma. Film education is an education that comprises different forms and methods of working with a film, that are taking place inside and outside the educational process. Within this work methods and forms takes place a discussion about the animated film, which is one of the forms of animation. The integration of film into teaching classes represents a more relevant and interesting educational process, which enables the acquisition of knowledge of a better quality. In order to obtain this knowledge, students primarily have to learn how to actively watch films. This way they will notice all the details that are important for the interpretation of the film, since the latter is a very important element of film education. It enables that students recognize the messages of the film and everything that impacts its plot. Students are therefore capable to distinguish between a good and bad film. Despite numerous advantages of film education it is still very poorly represented in schools. More active in this field is the Educational programme Slon that organizes educational programmes for teachers and different animated film workshops for children. This way teachers can gain proper competences they need for teaching film education, and pupils can participate at different festival of animated film, which provides them with additional motivation. Film education opens up a new perspective on teaching that will be increasingly relevant and recognizable in the future. Therefore, I made a research in my master's thesis, whether the use of productive method of creating animated film affects the perception and understanding of the role and importance of each individual segment of an animated film and thus indirectly affects the development of a receptive ability to watch films or cartoons. I also researched the abilities of pupils to create an animated film.

V diplomskem delu bo predstavljena problematika prevajanja oziroma sinhronizacije animiranih filmov, namenjenih otrokom kot glavni ciljni publiki. Primerjani in analizirani so bili predvsem frazemi in frazni glagoli, ki se pojavijo v animiranem filmu Neverjetni, saj lahko zaradi svoje posrednosti pomembno vplivajo na razumevanje zgodbe. Frazni glagoli se zelo pogosto pojavljajo v pogovornem jeziku izvirnega jezika, občasno tudi frazemi in oboji imajo posredni pomen, kar pomeni, da je iz pomena njihovih sestavin običajno težko razbrati njihov dejanski pomen. V filmu Neverjetni je treba upoštevati še dejstvo, da so glavna publika otroci. Primerjava in analiza sta bili narejeni s pomočjo transkripcije besedila, zapisane na podlagi slišanega v izvirniku in slovenski sinhronizaciji. Namen analize je bil ugotoviti, ali je prevajalec kljub posrednosti našel ustrezne rešitve v posameznih primerih glede na ciljno publiko in ali so pomembno vplivale na razumevanje zgodbe. Analiza je pokazala, da frazni glagoli v večini primerov niso predstavljali tovrstnih težav. Več težav so predstavljali frazemi, namesto katerih je zaradi lažjega razumevanja ciljne publike bila v ciljnem jeziku večinoma uporabljena ustreznica. The graduation thesis discusses the issues of translating or dubbing the animated movies, intended specially to children. Compared and analyzed were mainly phrasal verbs and idioms that appear in the animated film The Incredibles, since because of their indirect meaning they can have a significant impact on the understanding of the story. Phrasal verbs very often appear in the spoken original language and sometimes idioms as well and both have an indirect meaning, which means that through the meaning of their elements it is usually difficult to recognize their actual meaning. In the film The Incredibles it is also necessary to take into account the fact that the main audience are the children. The comparison and analysis were made by using the transcription of the text, written on the basis of the speech in the original and translation. The purpose of the analysis was to determine whether the translator despite their indirect meaning had found the proper solutions in individual cases, according to the target audience and whether it had a significant impact on understanding of the story. The analysis showed that the phrasal verbs in most cases did not constitute such problems. However, idioms had caused more problems, thus for the target public's better understanding of the story in the target language was mostly used their actual meaning.

Pomembno didaktično sredstvo pri pouku v osnovni šoli je lahko tudi film. Stari rek pravi, da slika pove več kot tisoč besed. Pouk je tako bolj dinamičen in zanimiv. Omogoča doseganje različnih vrst ciljev in izvajanje različnih aktivnosti. Prikazuje preteklost, sedanjost in celo pogled naprej. V nalogi sem opredelila pomen filmske vzgoje v drugem triletju, vpliv filma na otroke, predstavila sem različne metode dela pri filmski vzgoji, od metode prikazovanja, pogovora do metode pisanja in risanja. Posebno pozornost sem namenila animiranemu filmu in procesu njegovega nastajanja. Izpostavila sem tudi najpomembnejše komponente animiranega filma, način vrednotenja, različne tehnike animacije … Vsaka uporaba filma pri pouku zahteva čim boljše usposabljanje učiteljev za filmsko vzgojo oz. uporabo filma pri pouku, tako način predvajanja kakor tudi vsebinsko razlago. Tudi pri nas poteka letno več filmskih festivalov animiranega filma za otroke. Uporaba tega učnega medija zahteva tudi potrebno tehnično opremo šol, kar je v današnjem času velikokrat nedosegljivo zaradi pomanjkanja finančnih sredstev. Menim, da bi bilo potrebno to vrsto medija čim prej uvrstiti v vzgojno-izobraževalni proces, saj omogoča hkratno razvijanje različnih sposobnosti ter spodbuja miselne procese ter predstave. Ravno zaradi premajhnega poznavanja filma, sem se tudi sama odločila, da se z njim bolje seznanim. Zato sem v svojem magistrskem delu raziskala, kakšno je poznavanje animiranega filma ter njegovega nastajanja med učenci drugega triletja izbrane OŠ. Raziskavo sem izvedla na osnovi primerjave polstrukturiranih intervjujev, pred in po PMUAF (produktivna metoda ustvarjanja animiranega filma). In primary school, a movie can be an important didactic resource. As the old saying goes, a picture is worth a thousand words. It makes the lesson more dynamic and interesting. It allows fulfilling various types of educational goals and carrying out different activities. It also shows us the past, present and even a glance into the future. In my thesis I defined the meaning of movie education in the second triennium, and the impact of movies on children. I also presented different methods of work during movie education-from showing methods to the methods of writing and drawing. I put special attention to animated movies and the making of them. I also exposed the components of animated movie, different techniques, the ways of valuation, etc. Every usage of a film - the way of showing it and the content explanation - during the lesson also demands better education of teachers, so they can properly use a film as a tool. Animated movie festivals are also known in Slovenia. The usage of this teaching medium requires a proper technical equipment in schools, which is nowadays unattainable due to the lack of financial resources. I think that this kind of media should be used in early stage of education because it simultaneously enables different capabilities and also encourages the mind processes and the perception of children. It is precisely because of my lack of knowledge of film and filmmaking that I’ve decided to dig a little further into the whole process of making it. That is why my master’s degree thesis focuses on the knowledge of understanding and creating animated films amongst the pupils of the second triennial in selected Primary Schools. The research was done on the basis of comparing half structured interviews before and after PMUAF (productive method of animated filmmaking).

V pričujočem delu smo podrobneje predstavili sinhronizacijo filmov raziskovali smo proces sinhronizacije in pogoje, ki jih sama sinhronizacija zahteva. V primerjavi s podnaslavljanjem, ki prav tako spada k avdiovizualnemu prevajanju, smo odkrili kar nekaj slabosti in prednosti sinhronizacije. V teoretičnem delu smo se osredinili na sinhronizacijo animiranih filmov, kar je tesno povezano s prevajanjem za otroke. Primerjali smo sinhronizacijo animiranih in igranih filmov. V empiričnem delu smo se osredinili na primerjalno analizo sinhronizacije animiranega filma Obuti maček in igrano-animiranega filma Alvin in veverički 3, pri čemer smo bili pozorni na prevajanje lastnih imen in prevajanje kulturno zaznamovanih izrazov ter zvrstnost jezika v izvirniku in prevodu. V sklopu analize smo ugotovili, da je prevod animiranega filma prilagojen ciljni publiki, saj so lastna imena prevedena v slovenščino, kulturno zaznamovani izrazi pa so prilagojeni ciljni publiki. Prevod igrano-animiranega filma se od animiranega filma razlikuje zgolj v tem, da osebna lastna imena niso prevedena v slovenščino. In the graduation thesis we presented the dubbing films in detail. We researched the dubbing process and required conditions for the dubbing process. In comparison with subtitling which is also a part of audiovisual translation we discovered some advantages and disadvantages of dubbing. In this theoretical part we also focused on the dubbing animated films, which is closely linked with the translating for children. At the end of the theoretical part we compared the dubbing animated films and live-action films. In the practical part we used the comparative analysis to compare the original and dubbed animated film Puss in Boots and the original and dubbed live-action/animated film Alvin and the Chipmunks 3. The analysis focuses on three different fields: translating proper names, translating culture-specific terms and varieties of language in the original and in the translation. The analysis has shown that the translation of animated film is adapted to the target audience, because the proper names were translated into Slovene and culture-specific term were adapted to the target audience. The translation of live-action/animated film differs from the animated film only in the translation of personal names, which were not translated.

Animirani film v Sloveniji je slabo raziskano področje. Gradiva je zelo malo in tudi nasploh se o animiranem filmu malo govori. Vprašanje je, ali lahko govorimo o animiranem filmu v zvezi z umetnostjo ali je to le zabava za otroke. Namen te naloge je podati splošen pregled animiranih filmov in zajeti vsa področja ustvarjanja animiranih filmov pri nas. Poleg iskanja kakovostnih viškov so cilji te naloge tudi ugotoviti vzroke, zakaj ljudje ne poznamo animiranih filmov, ki so nastali v Sloveniji. Je razlog v tem, da nimamo dostopa do njih ali imamo tako skromno produkcijo animiranih filmov ali oboje? V pričujoči nalogi so klasificirane in opredeljene tehnike animiranega filma in označeni zgodovinski prelomi tako v svetovnem kot v slovenskem prostoru. V posebnem poglavju je zbranih sedemnajst avtorjev in animatorjev, katerih animirani filmi so dosegli vidne rezultate. V poglavju Značilnosti izbranih animiranih filmov iz Slovenije je strnjenih petindvajset likovno ovrednotenih filmov, ki so pomembni v časovnem in tehničnem smislu uvrstitve v zgodovino animiranega filma na Slovenskem. Šele v zadnjih letih je čutiti porast produkcije animiranih filmov, predvsem zaradi razvoja novih tehnologij in vse številčnejših festivalov, ki vključujejo animirani film. Razlogi, da je kultura animiranega filma v Sloveniji slabo razvita, so v dejstvu, da animirani film še vedno ni vključen v izobraževalni sistem, da državne ustanove nimajo posluha za podporo avtorjem animiranih filmov, in v še vedno prisotnem splošnem mnenju, da je animirani film le risanka za otroke. Posledica maloštevilne produkcije v zgodovini animiranega filma v Sloveniji je tako tudi nizka stopnja kvalitete filmskih animacij. The Slovenian animated film is a field that has not been explored very much in depth. There is little material available and it is not a well-known topic in general. The main question is whether it is possible to categorise the animated film as belonging to the domain of art or rather as being mere entertainment for children. The aim of this thesis is to provide an overview of animated films and encompass the entire spectrum of animated film production in Slovenia. Besides underlining its highlights, this thesis also attempts to explain the reasons for the relatively low level of public familiarity with this kind of films in our country. Is it because such films are not widely available, is it due to their moderate production, or both? The thesis classifies and defines animation techniques next to indicating the crucial milestones in the world and in Slovenia. A separate section is dedicated to seventeen authors and animators who achieved visible results. The section, titled 'Characteristics of selected Slovenian animated films', presents twenty-five artistically assessed films, which are important from the chronological and technical viewpoint regarding their placement in the history of animated film in Slovenia. The last years, however, show an increase in the production of animated films, which is mainly due to the development of new technologies as well as numerous festivals that include the animated film. The reasons for the moderate development of the animated film culture lie in the fact that this field does not feature in general education, that state institutions are not willing to support the artists, and moreover in the widespread belief that this genre produces only cartoons for children. The consequence of poor production in the history of the animated film in Slovenia is, among others, a low quality level of film animations.