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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.

Odgojne se vrijednosti uče od malena i protežu kroz cijeli život te ih djeca usvajaju u svojoj neposrednoj okolini, ali i kroz medijske sadržaje kojima su izloženi. Kako djeca danas mnogo vremena provode uz medije gledajući animirane filmove, bitno je izabrati poučan sadržaj primjeren njihovoj dobi. U ovom završnom radu analizirane su odgojne vrijednosti koje nalazimo u animiranom filmu Majstor Mato, na koji način su one povezane s dobi implicitnih gledatelja, te je istražena njihova odgojna i edukativna funkcija. Korpus su činile odabrane epizode iz prve sezone animiranog filma Majstor Mato. Animirani film, kao jedan od utjecajnijih medija, privlači najviše pažnje kod djece predškolskog uzrasta. Kroz svakodnevnu prisutnost u njihovim životima oblikuje njihove poglede na svijet i promišljanja o svijetu. Animirani film Majstor Mato ima značajnu odgojnu i edukativnu funkciju za djecu predškolske dobi, što se ostvaruje kroz promicanje pozitivnih vrijednosti, učenje o svijetu oko sebe, razvijanje motoričkih i jezičnih sposobnosti, edukaciju o sigurnosti te poticanje mašte i kreativnosti. Educational values are learned from childhood and extend throughout life, and children adopt them in their immediate environment, but also through the media content they are exposed to. As children today spend a lot of time with the media watching animated movie, it is important to choose educational content suitable for their age. In this final paper, the educational values found in the animated movie Handy Manny are analyzed, how they are related to the age of implicit viewers, and their educational and educational function is investigated. The corpus consisted of selected episodes from the first season of the animated movie Handy Manny. Animated movie, as one of the most influential media, attracts the most attention among preschool children. Through its daily presence in their lives, it shapes their views on the world and reflections on the world. The animated movie Handy Manny has a significant educational function for children of preschool age, which is achieved through the promotion of positive values, learning about the world around them, developing motor and language skills, safety education and encouraging imagination and creativity.

Tema ovog diplomskog rada je izrada oglasne kampanje i kreativnih edukativnih radionica dizajna i animacije, video i audio produkcije za djecu i adolescente. Koristeći se kreativnim tehnikama i pristupima, radionice imaju cilj pomoći djeci i adolescentima da razviju svoje sposobnosti i iskoriste svoj puni potencijal u ovim kreativnim segmentima. Ove radionice imaju kreativan i edukativan segment kako bi djeci omogućile razvijanje njihovih kreativnih sposobnosti, timskih vještina i prezentacijskih vještina. Cilj i smisao ovog diplomskog rada je predstaviti potrebu ovakvog edukacijskog programa te educirati djecu i mlade kako bi upoznali svijet kreativnosti. The theme of this thesis is to create an advertising campaign and creative educational workshops in design and animation, video, and audio production for children and adolescents. Using creative techniques and approaches, the workshops aim to help children and adolescents develop their abilities and make full use of their potential in these creative fields. These workshops have a creative and educational component to allow children to develop their creative abilities, teamwork skills, and presentation skills. The aim and purpose of this thesis are to present the need for such an educational program and to educate children and young people so that they can discover the world of creativity.

U današnje vrijeme tehnologija napreduje vrlo brzo i velikim koracima. Napretkom tehnologije ljudi i djeca izloženi su utjecaju raznih medija. Utjecaj imaju u njihovoj svakodnevici, ali i u obrazovanju. Kada povezujemo medije i djecu mislimo na animirani film koji prati djecu kroz njihovo odrastanje. Cilj je ovoga istraživanja utvrditi koliko su animirani filmovi zastupljeni u udžbenicima hrvatskog jezika za mlađu školsku dob. U radu je predstavljen Kurikulum za predmet Hrvatski jezik, a posebno područje medijske kulture. Spomenuta je televizija, film te posebno animirani film i povijest animiranog filma. Analizom udžbenika hrvatskoga jezika za mlađu školsku dob tiskani od 2019. godine do danas, prikazana je zastupljenost animiranih filmova. Glavni je cilj nastave medijske kulture filma razvoj kritičkog promišljanja učenika te razvijanje mašte. Zbog toga učitelji ne smiju zapostavljati animirani film, nego predstaviti učenicima animirani film na što kreativniji i zanimljiviji način. Nowadays, technology advances very quickly and with great strides. With the progress of technology, people and children are influenced by various media. The influence appears in their everyday life, but also in education. When we connect media and children, we think of animated films that follow children through their growing up phase. The aim of this research is to determine the extent to which animated films are represented in Croatian language textbooks for young learners. The paper presents the Curriculum for the subject Croatian language, especially focusing on the area of media culture. Television, film and especially animated film and the history of it were mentioned. An analysis of Croatian language textbooks for young learners printed from 2019 to today shows the representation of animated films. The main goal of teaching film media culture is the development of students critical thinking and the development of imagination. For this reason, teachers must not neglect the animated film, but present it to the students in the most creative and interesting way possible.

Tema rada je fantastična priča kao predložak za filmske ekranizacije. Prvi dio rada posveće je teorijskim aspektima dječjeg romana, fantastične priče i filma, nakon čega slijedi analiza odabranih filmskih ekranizacija i to: Petar Pan (1953.), Petar Pan (1988.), Petar Pan: Povratak u Nigdjezemsku (2002.), Kuka (1991.), Petar Pan (2003.), Pan (2015.) i San za životom (2004.). Cilj rada je kroz odabrane igrane i animirane filmove istražiti i prikazati sličnosti i specifičnosti pojedinih ekranizacija u odnosu na literarni predložak. The topic of this thesisis a fantastic story as a template for film adaptations. the first part of paper is devoted to the theoretical aspects of children`snovel, fantasy story and film, followed by ananalysis of selected film adaptations, namely: Peter Pan (1953), Peter Pan (1988), Peter Pan: Returne to Neverland (2002), The Hook (1991), Peter Pan (2003), Pan (2015) and Finding Neverland (2004). The aimof the paperis to exploreand show the similarities and specifics of individual screen adaptations in relation to the literary template throughselected live and animated films.

Pojava animiranog filma u svijetu imala je značajan utjecaj na kulturu ljudi i njihov stil života. Jedno od istaknutih imena u svijetu animacije zasigurno je Walt Disney koji je imao snažan utjecaj na radove ostalih autora i izvan granica Sjedinjenih Američkih Država. Njegovo plodonosno stvaralaštvo obogatilo je animirani film zauvijek, a njegovi filmovi gledaju se i danas. Mnogi animatori počeli su slijediti njegov primjer, ali s godinama većina teži svojoj autentičnosti i istaknutom stilu. Hrvatska nije zaostajala za ostalim zemljama jer već u dvadesetim godinama prošlog stoljeća nastaju prva dva animirana filma u hrvatskoj produkciji. U pedesetim godinama 20. stoljeća dolazi do procvata animacije u Hrvatskoj. Pojavljuje se izraz Zagrebačka škola crtanog filma. Pedesete i šezdesete godine smatraju se najplodnijim razdobljem za animaciju jer u tom razdoblju Hrvatska postaje bogatija za mnoštvo animiranih filmova i izvanrednih autora, od crtača i scenografa do redatelja. Dušan Vukotić, Vatroslav Mimica, Nikola Kostelac, Boris Kolar, Vladimir Kristl, Zlatko Bourek, Zlatko Grgić, Nedjeljko Dragić te Pavao Štalter, samo su neki od nevjerojatnih animatora koji su ostavili neizbrisiv trag u hrvatskoj kinematografiji i čija se djela i danas spominju. Djelovanje Zagrebačke škole crtanog filma i radove spomenutih autora prepoznaje struka u Hrvatskoj, ali i u svijetu. Animirani film tako se, osim brojnim nagradama i priznanjima, kao na primjer nagradom „Oscar“ te nagradama na brojnim festivalima, može pohvaliti i ogromnim publicitetom. Međutim, u sedamdesetim godinama dolazi do stagnacije u kreativnosti autora. Animirani film u Hrvatskoj suočava se i s odlaskom autora u inozemstvo, dok se nekolicina odlučuje okušati u svijetu igranog filma. Dodatan udarac animaciji zadala je i financijska kriza u osamdesetim i devedesetim godinama, a u vrijeme ratnih zbivanja proizvodnja animiranih filmova se zaustavlja. Završetkom rata nastavlja se izrada animiranih filmova te se pojavljuju nove generacije autora. Cilj rada jest prikazati razvoj animiranog filma u Hrvatskoj, najznačajnije autore i njihove animirane filmove. The appearance of animated films in the world had a significant impact on people's culture and lifestyle. One of the prominent names in the world of animation is certainly Walt Disney, who had a strong influence on the works of other authors even outside the borders of the United States of America. His fruitful work has enriched the animated film forever, and his films are still watched today. Many animators began to follow his example, but over the years, most strive for their authenticity and distinctive style. Croatia did not lag behind the other countries because, already in the twenties of the last century, the first two animated films produced in Croatia were made. In the fifties of the 20th century, animation flourished in Croatia. The term "Zagreb Cartoon School" appears. The 1950s and 1960s are considered the most fruitful period for animation, because in that period Croatia became richer for many animated films and outstanding authors, from cartoonists, scenographers to directors. Dušan Vukotić, Vatroslav Mimica, Nikola Kostelac, Boris Kolar, Vladimir Kristl, Zlatko Bourek, Zlatko Grgić, Nedjeljko Dragić, Pavao Štalter are just some of the amazing animators who left an indelible mark on Croatian cinematography and whose works are still mentioned today. The work of the "Zagreb Cartoon School" and the works of the aforementioned authors are recognized by the profession in Croatia as well as in the world. In addition to numerous awards and recognitions, such as the "Oscar" award, awards at numerous festivals, the animated film can also boast of enormous publicity. However, in the seventies there was a stagnation in the author's creativity. Animated films in Croatia are also faced with the departure of authors abroad, while a few decide to try their hand at the world of feature films. The financial crisis in the 1980s and 1990s dealt an additional blow to animation, and during the war, the production of animated films stopped. With the end of the war, the production of animated films continues and new generations of authors appear. The aim of the paper is to show the development of animated film in Croatia, the most important authors and their animated films.

Danas su mediji vrlo rašireno sredstvo komunikacije koje je djeci lako dostupno, a cilj ovoga rada je proučiti kako animirani filmovi utječu na djecu predškolske dobi. Djeca u predškolskoj dobi su sve više izložena utjecaju medija i animiranih filmova. U predškolskoj dobi djeca najbolje i najviše usvajaju znanje promatrajući svoju okolinu i postupke drugih ljudi (najčešće bliskih ljudi). Vrlo često zamjenu za bliske ljude djeca pronalaze u animiranim filmovima i najdražim likovima. Animirani filmovi imaju pozitivne i negativne utjecaje na dječje ponašanje. U animiranim filmovima se pojavljuje sve više subliminalnih poruka koje također imaju utjecaj na dječje ponašanje. Bitno je da roditelji i odgojitelji u vrtiću djeci daju izabrane animirane filmove koji imaju pozitivne utjecaje na razvoj i ponašanje te da pričaju sa djecom o onome što su vidjeli. Animirani crtani su bitna stavka u djetetovu životu i njegovu razvoju. Ne smijemo zabraniti djeci gledanje animiranih filmova, već ih trebamo usmjeriti da adekvatno razumiju što gledaju i izvuku pozitivne pouke. Today, the media is a very widespread means of communication who is easily accessible to children, and the aim of this work is to explore how animated films affect preschool children. In preschool age, children acquire knowledge best and most by observing their environment and the actions of other people (most often close people). Very often, children find substitutes for close people in animated films and their favorite characters. Preschool children are increasingly exposed to the influence of the media and animated films. Animated films have positive and negative effects on children's behavior. More and more subliminal messages appear in animated films, which also have an impact on children's behavior. It is essential that parents and kindergarten teachers give their children selected animated films that have a positive impact on development and behavior and that they talk with children about what they have seen. Animated cartoons are an essential item in a child's life and development. We must not forbid children from watching animated films, but we should direct them to adequately understand what they are watching and draw positive lessons.

Sredinom dvadesetog stoljeća Walt Disney je bio najpoznatiji animator na svijetu te je sva ostala animacija tog vremena nastajala pod njegovim utjecajem. Unatoč Disneyjevom monopolu nad animacijom, Per Åhlin je razvio vlastiti stil i izražaj u svojim animiranim filmovima. Njegovi filmovi nastavak su švedske povijesti animiranog filma koja je započela s animatorima kao što su Victor Bergdahl. Značajke Disney stila su antropomorfizirane životinje koje žive u idealnom, aseksualnom svijetu. Likovi izgledaju slatko i imaju avanture. Nema nikakve kritike društva ili stvarnih problema. Svijet je realističan u smislu da se likovi nalaze da konkretnim lokacijama i kreću se na realističan način. Stil Pera Åhlina je suprotnost Disneyjevom stilu. Åhlinovi likovi su uglavnom stilizirani ljudi. Njegova animacija je pojednostavljena, što se još naziva i reduciranom animacijom. Likovi se kreću na nerealistične načine, mijenjaju se i iskrivljuju. Åhlinovi filmovi kritiziraju društvo. On kritizira kapitalističko društo i njegovu potrošnju, opsjednutost novcem i alijenaciju. On kritizira i zagađenje. Njegovi filmovi mogu se usporediti s filmovima Zagrebačke škole crtanog filma. Zagrebačka škola bila je grupa animatore koji su radili animirane filmove u Zagrebu u drugoj polovici dvadesetog stoljeća. Njihove filmove obilježava stiliziran, jednostavan stil, reducirana animacija te kritika i satira društva. Åhlinova djela relevantna su i danas, a za svoje filmove je primio brojna priznanja. During the middle of the 19th century, Walt Disney was the world's most well-known animator. At that time, all other animation was made under the influence of his style. Despite Disney's monopoly, Per Åhlin developed his own style and approach to animation. Åhlin's movies films were a continuation of Sweden's history of animated film which had begun with animators such as Victor Bergdahl. The Disney style is characterized by anthropomorphic animals which live in an ideal, asexual world. The characters look cute and go on adventures. There is no social criticism or real issues. The world is realistic – the locations are physical places and that characters move in realistic ways. Per Åhlins style is, however, the complete opposite to Disney's. Åhlin's characters are, for the most part, stylized humans. His animation is simplified, which is also called “reduced animation.” The characters move in unrealistic ways, they change and morph. Åhlin's films are also criticisms of society. He criticises capitalist society and its consumption, money obsession and alienation. He also criticizes pollution. Åhlins work can be compared to the work of the Zagreb school of animated film. The Zagreb school was a group of animators who made animated films in Zagreb in the second half of the 20th century. Their movies are characterized by a stylized, simplified style, reduced animation and criticism and satire of society. Åhlins work remains relevant to this day, and he has received numerous prizes for his films.

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.

Predrasude, stereotipi i diskriminacija svijet čine netolerantnim mjestom. Mediji su jedni od posrednika u komunikaciji pa tako i u prenošenju vrijednosti. Animirani film djetetu je jedna od privlačnijih vrsta medija, a svoje nadahnuće često pronalazi u bajci. Cilj je ovoga rada objasniti koju ulogu imaju mediji u djetetovu životu te uputiti na postojanje stereotipa u animiranim filmovima. Analizom različitih stereotipa u odabranim popularnim dječjim animiranim filmovima, istaknut će se važnost obrazovanja odgojitelja na području medijske kulture. U tom kontekstu potrebno je odabirati filmove s manje stereotipnih sadržaja, a koji će upućivati na prave moralne vrijednosti što je u konačnici i cilj svake umjetnosti., Prejudice, stereotypes, and discrimination make the world an intolerable place. Media act as an intermediary in communication, and thus partake in the proliferation of values. Animated movies are one of the most favourable types of media amongst the children and they often draw inspiration from fairy tales. The aim of this paper is to explain the role of media in children’s life and highlight the presence of stereotypes in animated movies. The importance of educating preschool teachers on media culture will be highlighted by means analysis of different stereotypes in popular animated movies. With that in mind, it is important to select those movies with less stereotyping content, and which shall thus promote true moral values, which is, after all, the purpose of the all art.

Tema ovoga rada je jesu li Oddbodsi primjeren animirani film za djecu. U radu je spomenut film, njegovi rodovi, što je animirani film, njegove vrste te što je animacija. Također je spomenuta i povijest animiranog filma u hrvatskoj te što su zapravo Oddbodsi i što oni poručuju. Danas je film samo jedno od sredstava priopćavanja, a glavno obilježje svakog filma je slika pokreta. Animirani film je film u kojem se pojedinačne slike, crteži ili ilustracije fotografiraju kadar po kadar. Glavni element animiranog filma je animacija. Animacija je slika u pokretu, oživljavanje neživoga. Animaciju susrećemo svuda oko nas. Animirani filmovi su često namijenjeni mlađoj publici, odnosno djeci vrtićke i predškolske dobi. Djeca se, gledajući animirane filmove, susreću sa raznim situacijama kroz koje pojedini likovi prolaze te na koji način ih oni rješavaju. U mnogo situacija likovi koriste opasne predmete kako bi savladali druge likove ili se koriste tučom, šamaranjem i sl. Jedan od animiranih filmova, u kojem se služe raznim prethodno spomenutim predmetima i fizičkim načinima, je animirani film Oddbods. U ovom radu je provedeno istraživanje, u kojem se ispitala primjerenost, odnosno neprimjerenost animiranog filma Oddbodsi na djecu, upućenost roditelja i odgojitelja na opasne scene iz animiranih filmova, te utječu li animirani filmovi na ponašanje djece. Anketiranjem 20 roditelja i 20 odgojitelja vidjelo se kako su upoznati sa animiranim filmom Oddbods, smatraju da nije primjeren za djecu te da ne može biti koristan djeci. Svjesni su nasilnih scena iz animiranih filmova, te djeca u velikom broju oponašaju svoje najdraže likove. Are Oddbods a suitable animated movie for kids is the theme of this final work. Movie, its genres, its types, what is animated movie and what is animation is mentioned in this work. Also the history of animated movie in Croatia, what Oddbods really are and what are they saying is mentioned. Today, movie is one of the means of communication and the main feature of each movie is movement image. Animated movie is a movie in which individual images, drawings or illustrations are made photographing frame by frame. The main element of animated movie is animation. Animation is an motion image or a revival of the inanimate. We find animation all around us. Animated movies are often intended for younger audiences, ie kindergarten children and children of preschool age. Watching animated movies, children meet with various situations through which individual characters go and the way how are they solving them. In many situations characters use dangerous objects to overpower other characters or they fight, slap and etc. One of the animated movies in which are used various previously mentioned objects and physical methods is the animated movie The Oddbods. In this work, research was conducted. Research includes appropriateness or inappropriateness of animated movie Oddbods on children, parental and kindergarten educators awareness of dangerous scenes from animated movies and does animated movies make an affect on children's behavior. Result of surveying 20 parents and 20 kindergarten educators is that they are familiar with animated movie Oddbods and they consider that it is not suitable for children and it can't be useful for them. They are aware of the violent scenes from animated movies and most of the imitate they favorite characters.

Figurativni repertoar i imaginarij Zlatka Boureka (1929. – 1918.) iznimno je kompleksan segment hrvatskoga stvaralaštva likovnih, primijenjenih i kazališnih umjetnosti te animiranoga filma. Njegov kreativni rukopis odlikovao je prepoznatljiv sardonični, hedonistički i groteskni karakter upotpunjen specifičnom mogućnošću naracije fantastičnih i erotskih sadržaja te trajnom fascinacijom rodnim krajem – Slavonijom. Za razumijevanje tog opusa i rukopisa valja uzeti u obzir kako je autor često volio istaknuti da nije pismen nego rismen. Bourekova široka likovna erudicija počiva na poznavanju klasične tradicije plastike, počela japanskoga teatra lutaka, njemačkog ekspresionističkog slikarstva i grafike, a iznimno su mu bliske poetike koje su odredile Neue Sachlichkeit, metafizičko slikarstvo, moderno talijansko kiparstvo i nadrealizam. Skulptura, to jest razmišljanje o skulpturi, animiranje volumena (animirani film), stavljanje u pokret (lutkarsko kazalište), trajno je odredila Bourekovo kreativno razmišljanje i interese. U tom smislu izlaganje će razmotriti genezu kiparstva Zlatka Boureka i njegovo koreliranje s drugim medijima u kojima je ostvario velik doprinos., The figurative repertoire and imaginarium of Zlatko Bourek (1929–1918) represents an exceptionally complex segment of the Croatian visual and applied arts, theatre and animated film. His creative manuscript was of a recognisable sardonic, hedonistic and grotesque character, supplemented by a specific narrative of fantastic and erotic nature, as well as by lasting fascination with his native Slavonia. In order to comprehend his oeuvre and manuscript, it ought to be taken into account the fact – as the author himself frequently stressed – that he could only draw, not write. Bourek’s learnedness in visual arts rests upon his mastering the classic tradition of sculpture, the principles of the Japanese puppet theatre, and the German expressionist painting and print art. He felt a particular closeness to the poetics that had defined the Neue Sachlichkeit, metaphysical painting, modern Italian sculpture and surrealism. Sculpture or rather the rethinking thereof, animation of volume (animated film), and putting in motion (puppet theatre) – permanently determined Bourek’s creative thinking and interests. In this sense, the speech will offer an analysis of the genesis of Zlatko Bourek’s sculpture and his correlation with other media, in which his contribution is remarkable as well.

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.

Predrasude, stereotipi i diskriminacija svijet čine netolerantnim mjestom. Mediji su jedni od posrednika u komunikaciji pa tako i u prenošenju vrijednosti. Animirani film djetetu je jedna od privlačnijih vrsta medija, a svoje nadahnuće često pronalazi u bajci. Cilj je ovoga rada objasniti koju ulogu imaju mediji u djetetovu životu te uputiti na postojanje stereotipa u animiranim filmovima. Analizom različitih stereotipa u odabranim popularnim dječjim animiranim filmovima, istaknut će se važnost obrazovanja odgojitelja na području medijske kulture. U tom kontekstu potrebno je odabirati filmove s manje stereotipnih sadržaja, a koji će upućivati na prave moralne vrijednosti što je u konačnici i cilj svake umjetnosti.

Animirani film svojim porukama utječe na razvoj ljudi od rođenja te kreira njihova prvotna uvjerenja koja nerijetko ostanu ustaljena unatoč odrastanju. Zbog navedenog, mlade djevojke, prateći svoje animirane uzore iz djetinjstva koji su često prikazani stereotipno, smatraju kako je važno imati mršavo tijelo kakvo je prikazano upravo u animiranim filmovima. Rodni stereotipi nisu ograničeni samo na ženske likove, nego i na muške likove koji se često prikazuju kao mišićavi i snažni. U ovom radu se željelo istražiti jesu li u najgledanijim dugometražnim animiranim Disneyevim filmovima prisutni rodni stereotipi te u kolikoj mjeri. U 10 najgledanijih Disneyevih animiranih filmova 1990-ih i 2010-ih godina analizirali su se glavni likovi te njihove fizičke, psihološke i kulturološke osobine. Također, istraživanjem se željelo provjeriti jesu li navedeni animirani filmovi zadovoljili Bechdel test, tj. jesu li u filmu barem dvije ženske osobe imenovane, jesu li razgovarale međusobno te je li tema razgovora bila nevezana za muškog lika. With its messages, the animated film influences the development of people from birth and creates their original beliefs, which often remain stable despite growing up. Because of the above, young girls, following their animated role models from childhood, who are often portrayed stereotypically, believe that it is important to have a lean body as shown in animated films. Gender stereotypes are not limited to female characters, but also to male characters who are often portrayed as muscular and strong. The aim of this paper was to investigate whether and to what extent gender stereotypes are present in the most watched animated Disney feature films. The 10 most-watched Disney animated films of the 1990s and 2010s analyzed the main characters and their physical, psychological and cultural characteristics. Also, the research wanted to check whether the mentioned animated films met the Bechdel test, ie whether at least two women were named in the film, whether they talked to each other and whether the topic of conversation was unrelated to the male character.

On one hand, conceptual metaphors represent a significant aspect of the human conceptual system in the sense that they help us understand abstract concepts. On the other hand, animated films have had a certain significance in people’s lives as well and they represent a productive framework for recognizing the way in which we relate source domains to target domains. The purpose of this thesis was to examine, through the analysis of selected animated films, whether conceptual metaphors could be found in animation, and if so, in what way. Ten films that were chosen for the analysis primarily dealt with themes related to family, friendship, love, and emotions. A total of 27 conceptual metaphors were found within the corpus. Four target domains were isolated: ‘time’, ‘love’, ‘emotion’, and ‘life’. A total of 230 metaphorical expressions were gathered and presented. The results show that the most frequently occurring metaphorical expressions were those related to target domains ‘time’ and ‘love’. S jedne strane, konceptualne metafore predstavljaju značajan aspekt ljudskog konceptualnog sustava u smislu da nam pomažu razumjeti apstraktne pojmove. S druge strane, animirani su filmovi također imali određeni značaj u životu ljudi te predstavljaju produktivan okvir za prepoznavanje načina na koji izvorne domene povezujemo s ciljnim domenama. Svrha ovog rada bila je istražiti, kroz analizu odabranih animiranih filmova, mogu li se i na koji način, konceptualne metafore pronaći u animaciji. Deset filmova koji su odabrani za analizu obrađuju teme prvenstveno vezane za obitelj, prijateljstvo, ljubav i emocije. Unutar korpusa pronađeno je ukupno 27 konceptualnih metafora. Četiri ciljne domene bile su izdvojene: ‘vrijeme’, ‘ljubav’, ‘emocija’, i ‘život’. Ukupno je prikupljeno i predstavljeno 230 metaforičkih izraza. Rezultati pokazuju da su se najčešće pojavljivali oni izrazi koji se odnose na ciljne domene ‘vrijeme’ i ‘ljubav’.

U radu se razmatraju mogućnosti korištenja animiranoga filma u kontekstu odgoja i obrazovanja na primjeru crtanoga filma „Snježno kraljevstvo“. Definiran je film kao medij koji ima veliki utjecaj na djecu, a poseban je naglasak na crtanom filmu kao podvrsti animiranoga filma. Analiziran je crtani film „Snježno kraljevstvo“ s obzirom na filmska izražajna sredstva, te su izdvojene poruke filma koje mogu odgojno utjecati na djecu. Film je kontekstualiziran i s obzirom na specifičnosti dječje recepcije filma, a navedene su i aktivnosti koje mogu djeci predškolske dobi olakšati razumijevanje filma kao cjeline. U radu su navedeni osvrti filmskih kritičara i prosječnih gledatelja objavljenih na specijaliziranim internetskim stranicama koji govore u prilog popularnosti ovoga crtanoga filma među djecom, ali i odraslima.

Tema ovog rada je animirani film u nastavi medijske kulture kod djece mlađe školske dobi, a posebno animirani film Štrumpfovi. U radu su predstavljeni Nastavni plan i program te Kurikulum za predmet Hrvatski jezik, posebno za medijsku kulturu. Spomenut je film, povijest filma u svijetu i u Hrvatskoj, te posebno animirani film, njegova povijest u svijetu i u Hrvatskoj. Pisac Pierre Culliford kao kreator Štumpfova omogućio je njihovu pojavu na televiziji. Anketiranjem učenika od prvog do četvrtog razreda osnovne škole vidjelo se jesu li djeca mlađe školske dobi upoznata sa Štrumpfovima. Jesu li gledali filmove u kojima se oni pojavljuju. Gdje su ih gledali te kako su se osjećali gledajući te filmove. Njih 121 od ukupno 123 ispitana učenika upoznato je sa Štrumpfovima, najviše njih se s njima susrelo kod kuće, a mali broj ih je gledao u školi, njih 18 nije znalo navesi niti jednog lika, a velika većina osjećala se sretno gledajući filmove u kojima se pojavljuju Štumpfovi. The topic od this paper is an animated film in teaching of Media culture for younger school children and especially the animated film The Smurfs. The paper presents the Curriculums for the subject Croatian Language, especially media culture lectures. It is written about film, especially the animated film, its history in the world and in Croatia. Writer Pierre Culliford, as the creator of the Smurfs, made it possible for them to appere on television. The survey of students from the first to the fouth grade of primary school showed whether childern of younger school age were familiar with the Smurfs, where they watched them and how they felt watching those movies. 121 od the 123 students surveyed were familiar with the Smurfs, most of them met them at home, a small number watchd them at school, 18 did not know how to name any characters, and the vast majority felt happy watching the Smurfs appear.

Ovaj rad bit će posvećen zvuku za animaciju. Govorit će o nastanku samoga zvuka, koje sve vrste zvuka postoje, kada i kako je postao iznimno važan dio animiranog filma te kakvu zapravo ulogu ima u istome. Ukratko će se opisati i oprema tijekom povijest koja se koristila za snimanje zvukova i njihovu obradu. Pristup temi temeljit će se uglavnom na teoretskom znanju rada na animiranome filmu i praktičnom dijelu koji će se baviti cjelokupnim procesom produkcije zvuka i njegovom prilagodbom animaciji. animirani film, zvuk, proces, oblikovanje, produkcija, animacija

Medijska pismenost važna je kompetencija 21. stoljeća. Potreba za medijski pismenim pojedincima raste kako se i mediji razvijaju. Učenike razredne nastave posebno je važno medijski opismenjavati. Oni su skupina koja je izložena medijskoj manipulaciji i zato ih je potrebno naučiti kritički razmišljati o medijima, prepoznavati lažne informacije i tako izbjeći opasnosti medija i medijski nametnutih noviteta. Provedenim istraživanjem željeli smo ispitati promišljanje studenata završnih godina učiteljskoga studija o medijskoj pismenosti na primjeru animiranoga filma. U provedenom istraživanju sudjelovalo je 76 studenata četvrte i pete godine učiteljskoga studija sa Sveučilišta u Splitu, Zadru i Zagrebu. Rezultati dobiveni istraživanjem pokazuju kako se studenti smatraju djelomično kompetentnima za medijsko opismenjavanje učenika razredne nastave, smatraju važnim djecu razredne nastave osposobljavati za medijsku pismenost te prepoznaju mogućnosti animiranoga filma za medijsko opismenjavanje učenika u svojoj budućoj praksi. U konačnici, ovim radom želi se ukazati na važnost medijske pismenosti u odgoju i obrazovanju, kao i na mogućnosti medijskoga opismenjavanja na primjeru animiranoga filma., Media literacy is an important 21st century competency. The need for media literate individuals is growing as the media evolves. It is especially important to educate primary school students in the media. They are a group that is exposed to media manipulation and it is necessary to teach them to think critically about the media, to recognize false information and thus avoid the dangers of the media and media imposed trends. With the conducted research, we wanted to examine the thinking of final year students of teacher education on media literacy on the example of animated film. The method of work used in the research is a quantitative method of online poll research. In this research are participated 76 students fourth and fifth year teachers' studies from universities in Split, Zadar and Zagreb. The results of the research show that students consider themselves partially competent enough for media literacy of primary school students, consider it important to train primary school children for media literacy and recognize the possibilities of animated film for media literacy of students in their future practice. Ultimately, this graduate thesis seeks to emphasize the importance of media literacy in education and the possibility of media literacy on the example of an animated film.

Prvi dio ovog rada je teorijski, gdje je opisan glavni procesi za izradu animiranog filma, zatim je opisana povijest 3D animacija i povijest programa Blender, koji je zadužen za 3D modeliranje i animiranje u ovome filmu. Nadalje su spomenuti i ostali programi pomoću kojih je izrađen animirani film, a to su Photoshop, u kojemu je kreiran plakat za sami film te DaVinci Resolve 16 u kojemu je sastavljen cijeli film, dodani zvuk i glazba te efekti. Većina posla odvija se u programu Blender jer tu sama kreacija i modeliranje zahtjeva najviše vremena te nakon toga sama kompozicija scene i animiranje modela i kamere. U drugom dijelu opisan je sami proces izrade animiranog filma, gdje je sve detaljno objašnjeno uz odgovarajuće slike pomoću kojih je sve objedinjeno. Dakle prvi dio se ne dotiće samog filma koji se ovdje izrađuje, nego se sami film opisuje u drugom dijelu rada. First part of my final paper is theoretical, where I have described the main process for creating the animated movie, then I wrote about the history of 3D animations and the history of Blender which is responsible for 3D modeling and animation in this movie. Furthermore I mentioned the other programs with which I created the animated movie and those programs are Photoshop, in which I created the poster for the movie and DaVinci Resolve 16 in which I composed the entire movie, added sounds, music and effects. Most of the work is done in Blender because it's here where the creation and modeling requires the most time and after that the composition of the scene, animation of the model and lastly camera. In the second part I described the process behind creation of the animated movie, where everything is explained in great detail with appropriate images that incorporate everything together. Therefore the first part doesn't include the animated movie that is being made, but the second part of my final paper includes the exlanation of the process.

U današnjem društvu mediji su sastavni dio naših života te upravo zbog toga imaju veliki utjecaj na djecu, odnosno na njihov razvoj te odgoj i obrazovanje. Masovni mediji, film i televizija, mogu biti poticajni model djetetu ako se koriste na pozitivan i ispravan način. Kroz film i televiziju dijete usvaja različita znanja o govoru i izražavanju te razvija komunikacijske, intelektualne i logičke sposobnosti, izgrađuje estetsku kulturu, vizualnu i auditivnu percepciju, a pritom također usvaja moralne i emocionalne vrijednosti. Ovaj završni rad istražuje utjecaje televizije i filma na dijete predškolske dobi. U radu se ukratko obrađuju masovni mediji, konkretno film i televizija te različite vrstefilmova. Naglasak je pritom na animiranom filmu koji je prvenstveno namijenjen djeci. Rad donosi i kratki pregled povijesti hrvatskog animiranog filma. Također se govori o konkretnim animiranim sadržajima koje današnja televizija nudi djeci kao i mogućim utjecajima tih sadržaja na ciljanu dobnu skupinu. Detaljnije se obrađuje odnos djeteta i filma te se govori o tome što film i televizija omogućuju djetetu i koju ulogu u tome imaju roditelji i odgojitelji djeteta. Postoje različiti odnosi djeteta i televizije te različito razumijevanje onoga što se prikazuje na televiziji, što ovisi o djetetovoj dobi. Različiti autori navode mnoge pozitivne, ali i negativne utjecaje filma i televizije na djecu predškolske dobi. Jedan od glavnih pozitivnih utjecaja je onaj na djetetov govor i njegovo govorno izražavanje, kao i mogućnost izražavanja kroz glazbenu, likovnu i dramsku umjetnost. In today's society, the media are an integral part of our lives and that is why they have a great impact on children, and their development and upbringing and education. Mass media, film and television, can be a stimulating model for a child if used in a positive and correct way. Through film and television, the child acquires different knowledge of speech and expression and develops different abilities: communication, intellectual, logical, emotional, moral and aesthetic, as well as his visual and auditory perception. This final paper explores the influences of television and film on the preschool child. The paper briefly deals with the mass media, specifically film and television, and various types of films. It also deals with animated film that is primarily intended for children and the history of Croatian animated film are also covered in order to get an insight into the first animated films. It also talks about what today’s television specifically offers children from animated series and how those series can affect children. The relationship between the child and the film is discussed in more detail, where it is discussed what film and television enable the child and what role the child's parents and educators play in all this. There are different relationships between a child and television and a different understanding of what is shown on television depending on the child's age. Various authors cite a lot of positive, but also a lot of negative influences of film and television on preschool children. One of the main positive influences is the one on the child's speech and his speech expression, as well as the possibility of expression through music, fine and dramatic arts.

Filmski lik je strukturalna sastavnica filma. Osnovno obilježje filma je slika u pokretu. Vodeći među djecom je animirani film, budući da uvodi djecu u još nepreživljeni svijet koji je prepun zabave i avanture. Analizom animiranih filmova: Snjeguljica i sedam patuljaka, Pinokio, Merida Hrabra i Izvrnuto obrnuto, utvrdit ću povezanost između prikaza likova u animiranim filmovima i njihove karakterizacije. Iako se u ljudi često vode izrekom „odijelo ne čini čovjeka“, zaključila sam da se filmska umjetnost animiranog filma u potpunosti služi vanjskim prikazom kao važnom sastavnicom predstavljanja određenoga lika. Filmska slika opisuje lika baš onakvim kakav je i ostavlja malo mjesta za maštanje. Svaki je analizirani lik u ovome radu pokazao potpunu povezanost unutarnje i vanjske karakterizacije. Općenito se filmski animatori time služe kako bi upotpunili vrlo bogat emocionalan život likova. Iako je u književnim djelima karakterizacija direktno i otvoreno napisana, film se služi mnogim drugim obilježjima stvaralačkog oblikovanja, poput glazbe, pokreta tijela, boje, odjeće i sl. Glazba je nerazdvojno povezana s pričom filma i zbog toga je njezin ključan integracijski element. Uveliko je prisutna i podijela likova na pozitivne i negativne, pri čemu se koristi karakteristična crno-bijela karakterizacija. Pozitivni likovi su pretežno prikazani u svijetlim tonovima toplih boja, dok su negativni prikazani u tamnim i hladnim bojama. Simbolika boja kod prikaza likova može se analizirati i na drugačiji način osim podijele na negativne i pozitivne tj. mogu iskazivati i neke druge osobine. Cilj ovoga rada je analizirati prikaz likova u animiranim filmovima s obzirom na njihovu karakterizaciju. Okarakterizirat ću likove koji se dovoljno dugo pojavljuju u filmu i svojevrsno utječu na radnju filma. Pod karakterizacijom mislim na vanjski i unutarnji opis lika. Nakon toga, izvest ću zaključke vođene istraživačkim pitanjima i opisati povezanost unutarnje karakterizacije i vanjskog prikaza lika. The film character is a structural component of the film. The basic feature of the film is the image in motion. Leading among children is an animated film as it introduces children to an unexperienced world full of fun and adventure. By analyzing animated films: Snow White and the Seven Dwarfs, Pinocchio, Brave and Inside Out, I will determine the relationship between the portrayal of characters in animated films and their characteristics. Although in real life people are often guided by a a saying: „A suit doesn't make a man“, I have concluded that the film art of animated films is entirely a servant of external portrayal as an important component of the representation of a particular character. The film image describes the character exactly as he is and leaves little room for imagination. Each character analyzed in this paper showed a complete connection between internal and external characterization. In general, film animators use this to complete the very rich emotional life of the characters. Although characterization is written directly and openly in literary works, the film uses many other features of creative design, such as music, body movements, color, clothing, and more. Music is inextricably linked to the story of the film and is therefore its key integrative element. The division of characters into positive and negative is also widely present, using the characteristic black and white characterization. Positive characters are mostly shown in light tones of warm colors, while negative ones are shown in dark and cold colors. The symbolism of colors in the representation of characters can express some other characteristics. The main aim of this paper is to analyze the portrayal of characters in animated films with respect to their characterization. I will characterize the characters who appear in the film long enough and in a way influence the plot of the film. By characterization I mean the external and internal description of a character. I will then draw conclusions guided by research questions and describe the connection between internal characterization and external character representation.

Ovaj rad usmjeren je na utjecaj medija i animiranih filmova na ponašanje djece mlađe školske dobi. Rad ukratko govori o animiranim filmovima, utjecaju medija na dječje ponašanje, ulozi roditelja u medijskom odgoju te strukturi i obradi animiranog filma u nastavi medijske kulture. Unutar rada provedeno je istraživanje čiji je cilj proučiti, istražiti i utvrditi jesu li roditelji upoznati s animiranim filmovima koje svakodnevno gledaju djeca te utjecaj animiranih filmova na dječje ponašanje. Istraživanje je provedeno online, a u njemu su sudjelovali roditelji učenika razredne nastave koji pohađaju Osnovnu školu „August Harambašić“ u Donjem Miholjcu. This work focuses on the influence of media and animated films on the behavior of young school children. The briefly discusses about animated films, influences of the media on children's behavior, the role of parents in media education and the structure and processing of animated film in the teaching of media culture. Within the paper, research has been proven to study, investigate, and determine whether parents are familiar with animated films that children watch on a daily basis that influence animated films on children’s behavior. The research was was conducted online, and it was attended by parents of primary school students who attend Primary school „August Harambašić“ in Donji Miholjac.

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.

Kao jedan od najzastupljenijih oblika medija u današnje vrijeme, film pruža odraslima i djeci užitak, no i u odgojno-obrazovnom procesu ima potencijalno važnu ulogu. Godine 1922. Hrvatska započinje stvarati vlastite animirane filmove u obliku reklamnih filmova. Djeca gledajući animirane filmove razvijaju maštu, a s obzirom na to da su često likovi u animiranim filmovima osmišljeni kao nadnaravni junaci, djeca se poistovjećuju s istima i uživljavaju se u ulogu istih. Bogaćenju i razvoju Zagrebačke škole animiranoga filma svojim radom i stvaralaštvom doprinio je i hrvatski scenarist, filmski redatelj, animator, karikaturist, ilustrator i strip crtač Joško Marušić. Filmovi Riblje oko i Neboder Joška Marušića ostvarili su uspjeh na međunarodnoj razini. Prvi hrvatski domaći animirani film Duga, napravljen prema pripovijetkama Duga i Alkar autora Dinka Šimunovića, Jošku Marušiću je donio posebnu nagradu žirija na festivalu u Annecyju za najbolji animirani film i nagrada kritike u Oberhausenu. Posebnost Marušićevoga umjetničkog izražavanja u stvaranju filmova jest to što njegovi filmovi naizgled su namijenjeni djeci, ali po svojoj grotesknoj i ponekad nasilnoj tematici primjereniji su za zreliju dob., As one of the most common forms of media today, film provides adults and children with pleasure, but it also has a potentially important role in the educational process. In 1922, Croatia began making its own animated films in the form of commercials. Children develop an imagination by watching animated films, and since often the characters in animated films are designed as supernatural heroes, children identify with them and enjoy the role of the same. Croatian screenwriter, film director, animator, cartoonist, illustrator and comic artist Joško Marušić also contributed to the enrichment and development of the Zagreb School of Animated Film with his work and creativity. His films Fish Eye and Skyscraper have achieved international success. The first Croatian domestic animated film Duga, based on the stories of Duga and Alkar by Dinko Šimunović, brought Joško Marušić a special jury award at the Annecy Film Festival for the best animated film and criticism award in Oberhausen. The peculiarity of Marušić's artistic expression in making films is that his films are seemingly intended for children, but due to their grotesque and sometimes violent themes, they are more suitable for a more mature age.

Bitanga TV, putopisna serija "Kroz pustinju i prašinu" u petnaest epizoda opisuje začudne i stvarne događaje iz života umjetnice koji imaju elemente fantastike.

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.

Cilj ovog rada je proučiti i istražiti kako animirani filmovi utječu na djecu u dobi od 1 do 7 godina. Moderno je doba i djeca su svakodnevno izložena medijima pa tako i animiranim filmovima. Ova vrsta zabave može imati pozitivne i negativne utjecaje na djecu predškolske dobi i mogu utjecati na dječje ponašanje. Animirani filmovi imaju zabavnu svrhu, ali se i sve više koriste u edukativne svrhe. The aim of this work is to explore how animated films affect children aged 1 to 7 years. In this modern age children are exposed media daily, including animated films. This type of entertainment can have positive and negative effects on preschoolers and can affect children's behavior. Animated films have a fun intention, but also more and more educational purpose.

U ovom radu govorit će se o nastanku prvog animiranog filma te kako se animirani film razvijao kroz povijest u američkoj i hrvatskoj kulturi i kakav učinak animirani film može imati na gledatelje. Nadalje, objasnit će proces razvijanja animiranog filma od ideje do konačnog proizvoda te će biti predstavljen kratki animirani film „Želja“.

Tema ovog rada su animirani filmovi u nastavi medijske kulture, a posebno na animiranim filmovima o Tomu i Jerryju. U radu su predstavljeni dijelovi Kurikuluma nastavnog predmeta Hrvatski jezik za osnovne i srednje škole, a detaljnije je proučen dio Kurikuluma u kojemu je opisana predmetna sastavnica Hrvatskoga jezika – Kultura i mediji. Uz Kurikulum nastavnoga predmeta Hrvatski jezik, proučen je i Nastavni plan i program za osnovne i srednje škole te dijelovi o nastavi medijske kulture za prva četiri razreda osnovne škole. U radu je spomenut i film te njegove izražajne sastavnice kao i njegova povijest u svijetu i u Hrvatskoj. U radu su navedene vrste filmova, a posebice je istražen i predstavljen animirani film te njegova povijest. Nakon poglavlja o animiranome filmu, slijedi analiza animiranih filmova o Tomu i Jerryju te pregled nekih epizoda. Unutar ovoga rada provedeno je i istraživanje kojemu je cilj bio utvrditi jesu li učenici mlađe školske dobi upoznati s likovima Toma i Jerryja, gledaju li i razgovaraju li o tim filmovima na nastavi medijske kulture, gledaju li filmove o Tomu i Jerryju u svoje slobodno vrijeme te kakvi su njihovi dojmovi o istima. Istraživanje je provedeno u dvjema osnovnim školama iz Osijeka: Osnovna škola Dobriše Cesarića te Osnovna škola Augusta Šenoe. U istraživanju je sudjelovalo 123 učenika od prvog do četvrtog razreda osnovne škole. Na temelju dobivenih rezultata može se zaključiti kako je većina učenika upoznata s animiranim filmovima o Tomu i Jerryju te ih gledaju u svoje slobodno vrijeme. Međutim, vrlo mali postotak ispitanika te je iste filmove gledalo u školi i razgovaralo sa svojim učiteljima ili učiteljicama o njima. Topic of this paper was animated films in the teaching of media culture, and especially on animated films about Tom and Jerry. The paper presents parts of the Curriculum of the subject Croatian language for primary and secondary schools, and a more detailed part of the Curriculum describes the subject component of the Croatian language - Culture and Media. In addition to the Croatian Language Curriculum, the Curriculum for primary and secondary schools and sections on the teaching of media culture for the first four grades of primary school were also studied. The paper also mentions film and its expressive components, as well as its history in the world and Croatia. The paper lists the types of films, and in particular, the animated film and its history are researched and presented. The animated film chapter is followed by an analysis of animated films about Tom and Jerry and an overview of some episodes. Within this paper, a study was conducted to determine whether younger schoolchildren are familiar with the characters of Tom and Jerry, whether they watch and talk about these films in media culture classes, whether they watch films about Tom and Jerry in their free time, and what are their impressions of them. The research was conducted in two primary schools from Osijek: Dobriša Cesarić Elementary School and August Šenoa Elementary School. The study involved 123 students from the first to the fourth grade of primary school. Based on the obtained results, it can be concluded that most students are familiar with animated films about Tom and Jerry and watch them in their free time. However, a very small percentage of respondents watched the same films at school and talked to their teachers about them.

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.

Kada govorimo o animaciji u Hrvatskoj, kao najistaknutija institucija koja je pridonijela prepoznatljivosti hrvatskih autora u svijetu ističe se produkcijska kuća Zagreb film, osnovana 1953., koja je tijekom šest desetljeća proizvela više od dvije tisuće animiranih, dokumentarnih, edukativnih i igranih filmova te reklamnih spotova i čijoj povijesti pripada globalno prepoznatljiv fenomen Zagrebačke škole crtanog filma, čiji su predstavnici tijekom svog djelovanja osvojili više od četiri stotine nagrada i priznanja, među kojima posebno mjesto imaju prestižna nagrada Američke filmske akademije Oscar za najbolji animirani film, dodijeljena 1962. Surogatu Dušana Vukotića, kao i tri nominacije za Oscara – 1964. za film Igra Dušana Vukotića, zatim 1973. za Tup-tup Nedeljka Dragića i 1980. za film Lutka snova u režiji Boba Godfreyja i Zlatka Grgića.

Audio description (AD) provides an opportunity for blind and visually impaired individuals to access the visual aspects of one specific scene. This master’s thesis considers AD characteristics and analyses professional AD in animated film trailers. The main aims are to discover and search for typical and possible adequate AD elements with identification of similar patterns in the professional and non-professional AD transcripts. The theoretical part introduces the field of audio-visual practice with the main target audience of blind and visually impaired community. A particular emphasis is given to the process of creating AD materials, linguistic elements, production techniques, typical features and general guidelines. An additional section offers an insight into performing options and unique AD practice skills and competences. In the second part, the selected professional audio descriptions from animated movie trailers are transcribed and analysed in the terms of AD guidelines and other identified features. The thesis establishes the main characteristics of AD texts by non-professionals and compares and identifies their choice of descriptions. The further comparison gives the emphasis on the main correlation between the professional and non-professional AD transcripts. For this purpose, the analysis consists of three main categories: characters actions, reactions, movements setting, scenery, viewpoints and background scenes. Particular focus is put on general-specific and subjective-objective markers, where the intent is to identify the potential AD elements in accordance with the professional AD guidelines and highlight the participants’ textual examples, suggestions, level of details, interpretative patterns, the involvement of specific objects and similar patterns included in the AD transcripts. Magistrsko delo obravnava značilnosti avdiodeskripcije (AD) in analizira tipične primere avdiodeskriptivne metode v uvodnikih animiranih filmov. Osrednji namen dela je ugotoviti podobnosti in razlike profesionalnih in neprofesionalnih AD, poiskati potencialne AD elemente ter raziskati podobne vzorce v neprofesionalnih AD transkripcijah. Teoretični del opredeljuje opis in predstavitev avdio-vizualne dejavnosti, kjer v ospredje postavljamo metodo avdiodeskripcije oziroma zvočni opis vidnih elementov. Tematika obravnave opredeljuje posebno, unikatno metodo približevanja filmske, gledališke, kinematografske in ostale umetnosti slepim ter slabovidnih osebam. Teoretična poglavja dodatno opredeljujejo tehnike nastajanja AD materialov, tipične značilnosti, znanja in kompetence, splošne smernice ter mednarodne projekte. Področje animiranih filmov se globalno nanaša na mlajše generacije, ki se s tovrstnimi aktivnostmi identificirajo in nadgrajujejo jezikovne zmožnosti, z AD pa se dodatno vključujejo v sistem enakih možnosti v družbi. Raziskovalni del se nanaša na izbrane profesionalne uvodnike animiranih filmov, kasneje pa na zapisane neprofesionalne AD zapise. Analiza pokriva identificirane značilnosti AD, posebnosti zapisov in ostale identificirane kategorije, npr. vizualne podobe, fizične reakcije, vrednotenja, živalske skupine, barve, imena, oblike, dimenzije. V glavnini so izpostavljene naslednje kategorije in podkategorije: (a) osebe (b) dogajanje, reakcije, premikanje, zorni kot in smer (c) okoliščine, ozadje in scena. Izpisani vzorci in primeri so analizirani tudi po sistemu splošno-specifično in subjektivno-objektivno. Pri neprofesionalnih AD zapisih so udeleženci raziskave študentje oz. nestrokovnjaki AD, ki nimajo specifičnih znanj in kompetenc. Analiza teh zapisov izpostavlja omenjene kategorije in dodaja primerjalno študijo, pri tem pa v ospredje postavlja potencialne AD opise, nivo specifičnosti, izpostavljene unikatne zapise, podobne vzorce opisovanja in ključne razlike ali pomanjkljivosti, ki jih povezuje z glavnimi AD smernicami. Zaključna analiza nakazuje dodatne možne raziskave ali projekte in poziva na nujnost ozaveščanja AD, kar bi hkrati omogočalo enake receptivne možnosti za celotno moderno družbo.

Ovaj se rad temelji na teorijskom i praktičnom istraživanju vezanom uz animirani film i na mogućnostima njegove primjene u aktivnostima s djecom predškolske dobi u svrhu razvijanja njihove kreativnosti. Prvi dio rada odnosi se na teorijsko istraživanje područja animiranog film (definicija animacije i animiranog filma, razvoj, vrste i formalne karakteristike animiranog filma, mediji putem kojih se danas animirani filmovi najčešće konzumiraju te njegov značaj u životu djece). Drugi dio rada odnosi se na praktično istraživanje vezano uz animirani film, a realizirano je s djecom predškolske (ili uglavnom predškolske) dobi, polaznicima mješovite odgojne skupine u područnom objektu „Jazine“ dječjeg vrtića „Sunce“ u Zadru tijekom svibnja i lipnja pedagoške godine 2018./2019. U okviru tog praktičnog dijela istraživanja izvodile su se sljedeće aktivnosti: izrada flip-book-a, izrada optičkih igračaka (zoetrop i taumatrop), izrada animiranog filma u tehnici stop animacije čemu je prethodilo osmišljavanje scenarija, izrada scenografije te rekvizita, uspoređivanje animiranog filma i slikovnice, gledanje i uspoređivanje crno-bijelih filmova i filmova u boji. Ovako sveobuhvatnim pristupom, osim što je dan širi uvid u područje animiranog filma, podcrtana je važnost razvoja medijske pismenosti kod djece od najranije dobi kao i razvoja njihovog kritičkog pristupa medijima. Uz to, opisano je i nekoliko zanimljivih formi optičkih igračaka i vrsta animiranog filma poput stop animacije koje odgojitelju mogu poslužiti kao poticaj u radu. Praktični dio se temelji na aktivnom iskustvenom učenju kroz istraživanje i dubinsko promišljanje o sadržajima koje su djeca pročitala, pogledala, fotografirala ili izradila, a opisano je nekoliko načina na koje se djecu može upoznati s tim medijem, kao i iskustva njegove praktične primjene u vrtiću. Iz rezultata tih opisanih aktivnosti vidljivo je da animirani film kao tema i poticaj u radu s djecom doprinosi njihovom dubljem razumijevanju tog medija s kojim se svakodnevno susreću, razlikovanju stvarnosti i medijske slike stvarnosti te razvoju kritičkog promišljanja, a osobito razvoju njihove kreativnosti u praktičnom likovnom stvaralaštvu. This work is based on theoretical and practical research related to animated movie and on the possibilities of its application in activities with preschool children in order to develop their creativity. The first part of the work refers to the theoretical research areas animated movie (the definition of animation and animated movie, development, types and formal characteristics of animated movie, media through which today animated movie usually consume and its importance in the lives of children). The second part relates to the practical research related to the animated movie, and realized with preschool (or mostly preschool) age, attendant of mixed educational groups in the regional facility "Jazine" of kindergarten "Sunce" in Zadar in May and June pedagogical year 2018./2019. As part of the practical studies were performed following activities: preparation of a flip-book, preparation of optical toys (zoetrop and taumatrop), production of animated movie in the art of stop animation preceded by the scenario set construction of this apparatus, the comparison of animated movie and picture book, viewing and comparing black and white films and color movies. Such a comprehensive approach, except that the day broader insight into the field of animation, underlined the importance of the development of media literacy in children from an early age as well as the development of their critical approach to the media. Additionally, described some interesting form of optical toys and types of animation such as stop animation preschool teacher can serve as an incentive to work. The practical part is based on active experiential learning through research and deep thinking about content that children read, looked at, photographed or created, and described several ways in which children can meet with the media, as well as the experience of its practical application in kindergarten. From the results of these activities described below, it is evident that animation as a theme and an incentive to work with children contributes to their understanding of this medium with which to face every day, differentiating between reality and media images of reality and the development of critical thinking, in particular, developing their creativity in a practical artistic creativity.

Ovaj rad usmjeren je na analizu sadrţaja u animiranim filmovima namijenjenima za djecu mlaĊe školske dobi. Animirani filmovi prate svako dijete kroz njegov put odrastanja, pa je tako i svrha ovog rada otkriti kakav televizijski sadrţaj djeca konzumiraju u svojoj najranijoj dobi. Analizom animiranih filmova Maša i Medvjed, Mišo i Robin, Doktorica Pliško, Vatrogasac Sam te Winx club, prikazat će se koliko se svakodnevno na ekranu mogu vidjeti razliĉiti oblici nasilja, bilo da su to prijetnje i omalovaţavanje ili udarci i stereotipi, ali i sadrţaji koji su edukativni, razvijaju empatiju te potiĉu maštu, pomaganje i suradnju. U skladu s navedenim, cilj ovog istraţivanja je analizirati primjerene i neprimjerene sadrţaje animiranih filmova namijenjenima za djecu mlaĊe školske dobi koji se prikazuju svakodnevno na hrvatskim televizijskim postajama. Polazi se od pretpostavke da se u animiranim filmovima, koje djeca gledaju u Hrvatskoj, moţe pronaći više neprimjerenih nego primjerenih sadrţaja, ali ta pretpostavka je kroz provedenu analizu u konaĉnici opovrgnuta. This paper focuses on content analysis in animated films designed for younger school children. Animated films follow each child through her growing time, so the purpose of this paper is to find out what kind of television content children are watching at their earliest age. Analyzing certain animated films will show how many different forms of violence can be seen on a daily screen, whether it is just threats or maladaptation or shocks, stereotypes and contents that are educational, develops empathy and encourages imagination, aiding and abetting. According to the above objective, this research is to analyze appropriate and inappropriate content, animated films intended for younger school children the ages that are shown daily on Croatian TV stations. It starts from the assumption that inappropriate content can be found in animated films seen by children in Croatia, however, this presumption is ultimately denied.

U završnom radu autorica je sama sebi postavila izazov da vidi koliko je sposobna realizirati svoju ideju. U ovom radu je opisan proces stvaranja animiranog filma. Autorica je uţivala odrastajući gledajući crtiće i animirane filmove, sve od glatkih pokreta likova do prekrasnih umjetničkih pozadina. S vremenom je sve bolje uočavala raznolike detalje u filmovima: scene, kadrove, glazbu, radnju. Izabrala je animaciju zato što je htjela medij u kojem će se moći osobno najbolje izraziti.

U radu se analizira prijevod animiranog filma Belka i Strelka: Lunnye priključenija s ruskog jezika na hrvatski posredstvom engleskog. Prvi dio rada je teorijski i u njemu su predstavljene značajke audiovizualnog prijevoda i nekih njegovih tipova, kao i utjecaj na proces prevođenja ograničenja koje audiovizualni prijevod nameće. Osobita važnost posvećuje se utjecaju kulture na jezik i samim time na proces prevođenja. Praktični dio rada donosi usporednu analizu triju transkripata animiranog filma, s posebnim naglaskom na prijevod kulturnih realija, frazema, poslovica i intertekstualnih elemenata, kao i prijevod humora. Svi navedeni elementi smatraju se posebnim izazovima za prevoditelja, budući da su iznimno povezani s kulturom u kojoj su nastali i u velikom broju slučajeva ovisni o određenom jezičnom sustavu. U radu se postavlja pitanje o tome koje su granice prijevoda, to jest, možemo li prijevodom smatrati i tekst koji se od originalnog razlikuje i formom i sadržajem. Drugim riječima, pokušava se utvrditi kakav prijevod treba biti da bi se smatrao adekvatnim i uspješnim, čak i u slučaju kada su razlike među jezicima i kulturama koje sudjeluju u procesu tolike da je nemoguće postići ekvivalentnost jezičnih jedinica.

Glavni cilj ovoga rada jest utvrđivanje postojanja subliminalnih poruka u animiranom filmu za djecu mlađe školske dobi. Uz to, cilj je ispitati utječe li značenje ili sadržaj nekog događaja na ljudsko ponašanje i osjećaje. Pojam subliminalna poruka odnosi se na poruke koje su ispod granica ljudske percepcije, a koje ni naše oko niti razum ne mogu opaziti. Subliminalno ili prikriveno oglašavanje odnosi se na korištenje skrivenih ili neprimjetnih i/ili maskiranih stimulacija kako bi se manipuliralo gledateljima i/ili slušateljima. Nadalje, u radu se analiziraju masovni mediji te na koji način oni utječu na procese socializacije, ali i na dječje poimanje sebe. Mediji su neiscrpan izvor zabavnih, obrazovnih, odgojnih i drugih sadržaja koji obogaćuju svakodnevni život djece no unatoč tome javlja se sve veća zabrinutost oko negativnog utjecaja medija na moralne vrijednosti, stvaranje pozitivne slike o sebi, procese socijalizacije i slično. The main purpose of this work is to affirm the existence of subliminal messages which are contained in animated movies as well as possibility that some actions can unknowingly affect peoples behavior and their feelings. Term „subliminal message“ refers to messages which are below the limits of human perception. It means they are nonperceive by human mind. Subliminal advertising refers to using those hidden messages to manipulate with media users. Mass media will be further analised as well as the ways they affect on socialization processes and child seeing of themselves. Media is inexhaustible source of informations which fulfills childrens everyday life but on the other hand there is more and more concern about negative affect on moral values, socialization process and so on.

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.

U ovome radu se govori o animiranom filmu kao dijelu medijske kulture i sredstvu prenošenja poruka (posebice onih ekoloških) i ekološkog odgoja kao potrebi i zadaći učitelja da ga integrira u sve odgojno-obrazovne procese. Svrha filmske naobrazbe je pomoći učeniku razviti humanistički svjetonazor po kojem će spontano postajati kritička, samokritička, stvaralački usklađena ličnost, korisna sebi, svojoj zajednici i svijetu u kojem živi. Ekološki odgoj također uključuje iste sadržaje. Diplomski rad se sastoji od dva dijela. Prvi dio je teorijski okvir o animiranome filmu i metodici nastave filma, te ulozi učitelja u ekološkom odgoju. Drugi dio rada je praktični rad s učenicima drugoga razreda osnovne škole. Učenici podijeljeni u skupine sudjeluju u radionici u kojoj uče kako nastaje animirani film, uče o problemima okoliša i snimaju vlastiti animirani film (GIF) na temu iz ekologije. This graduate thesis discusses animated film as a part of media culture and a mean of messages' transmission (especially ecological) and ecological education as the teacher's need and task to integrate it into all upbringing and educational processes. The purpose of film education is to help pupils (students) develop a humanistic world view by which they will spontaneously become critical, self-critical, creatively aligned personalities, useful to themselves, to their community and to the world in which they live. Ecological education also includes the same contents. The graduate thesis consists of two parts. The first part is the theoretical framework about animated film and its teaching methodology and the role of teacher in ecological education. The second part of the thesis is practical work with pupils of the second grade of elementary school. Pupils divided into groups participate in a workshop where they learn how to create an animated film, learn about environmental issues and record their own short animated film (using GIF - Graphic Interchange Format) on ecology topics.

Rad istražuje medijsku reprezentaciju rase i etniciteta u animiranim filmovima koje je Disney kompanija producirala od 1937. godine do danas. Temelji se na analizi narativa osam animiranih filmova iz svih razdoblja Disneya odabranih jer sadrže likove koji pripadaju određenih etničkim ili rasnim skupina, ili pak čitav film tematizira jednu kulturu. Rad također predstavlja razvoj animiranog filma od samih početaka 20. stoljeća kada je ta umjetnost zaživjela te povijest i nastanak Disney kompanije i njezina osnivača, Walta Disneya. Analiza odabranih filmova pokazala je kako reprezentacija rasa i etniciteta u Disneyevim filmovima nije pretjerano napredovala, iako je došlo do određenih pomaka na bolje. Disneyevi su filmovi kroz povijest bili kritizirani zbog brojnih otvoreno rasističkih i nekorektnih prikaza različitih rasnih ili etničkih skupina u društvu, a 90-ih godina uslijedio je trend multikulturalizma koji je prividno poboljšao dotad vrlo loše slike svih etničkih skupina u Disneyevim animiranim filmovima. Naime, prema analizi, može se utvrditi kako se u Disneyevim filmovima i dalje promoviraju norme vezane uz bijelu rasu te kako se, prilikom pojave likova druge rase ili etniciteta, njihov identitet pokušava prikazati nebitnim za njihov razvoj i uspjeh. Iako takva politika prikaza na površini izgleda politički i društveno prihvatljivo, postoje puno dublja značenja koja na društvo mogu imati veliki utjecaj, posebice na djecu koja su glavna publika ovakvih sadržaja., This study analysed the media representation of race and ethnicity in animated films produced by the Disney company from 1937 until today. It is based on the analysis of narrative of eight animated Disney films from different time periods. The eight films were selected because they contain characters of particular ethnic or racial groups. The paper presents the development of the animated film industry from the early 20th century and the making of the Disney company. The analysis showed that the representation of different racial and ethnic minorities has not improved as stereotypes are still used in order to depict members of those groups. Disney films have notoriously been criticised, both today and in the past, for their openly racist and stereotypical representations of different racial and ethnic groups. However, the 1990s showed an increase of multiculturalism in Disney films. Nonetheless, Disney films still promote standards of the white race as superior and when showing characters of different races or ethnicities, films tend to show their identity as irrelevant to their success in life. Even though these representations may look politically and socially acceptable in this day and age, they carry much deeper meaning that can have a major impact on the society, especially children who are the main audience of such content.