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Anabilim Dalı
Utilization of horror element in contemporary Japanese animations case of study: Mononoke (2007)
This thesis examines the role of horror elements in the usage of contemporary Japanese horror animations concerning the cultural heritage, folklore, Yokai, and the influence of Kabuki theatre and Ukiyo-e paintings on the selective horror Anime, Mononoke (2007), in the context of the present day. This study analyzes both traditional and modern horror elements and their motifs in contemporary Japanese movies and animations, which are associated with Yokai. While Yokai and their associated folklore are briefly acknowledged as symbolic manifestations of the unknown and reflections of social anxieties, the primary focus lies in examining how these horror motifs such as narration, visual symbolism, character types, and thematic constructs have evolved and been adapted in contemporary works like Mononoke (2007). The study investigates the transformation of traditional horror aesthetics, as influenced by cultural forms such as Kabuki theatre and Ukiyo-e art, into modern animation. Ultimately, this thesis aims to identify the role and techniques of horror in Japanese animations of the early 21st century, demonstrating how historical elements have been reshaped to resonate within a contemporary context. Keywords: Horror Elements, Folklore, Yokai, Anime, Mononoke (2007)
Transformation of heroines' character design: semiotic analysis of Walt Disney animated films after 2000
This thesis aims to reveal the relationship and change of the characters' designs in the films made by Walt Disney, one of the biggest studios in the animation sector, after the 2000s, with the social movements and waves of the era. In the thesis, these change processes were explicitly examined in relation to character design, with a primary focus on the presentation styles of heroine characters in post-2000 animated films. In this context, the study examines how narratives in Walt Disney cinema have reflected the evolving social roles over time. These narratives are analyzed in relation to social waves and broader societal movements, with particular attention to transforming storytelling attitudes across different periods. In addition, the design language applied to ensure that the designed characters establish a suitable relationship with the stories in this new structure, the approaches they applied to develop this language, and the techniques they used were examined. In this context, to analyze female characters in animated films, firstly, social movements (such as the third and fourth feminism movements, Black Lives Matter and the Body Positivity Movement), character design and heroine concepts were discussed and a literature research covering the relationships/changes of these concepts over time was conducted. Then, the selected scenes were examined with semiotic analysis, a qualitative research method, and then interviews were conducted with expert designers.
Portrayal of the villainess: Color representation as a narrativity agent in villainess character design
This thesis examines how color functions as a narrative element in the visual characterization of the villainess and conducts a comparative semiotic analysis of traditional and non-traditional portrayals of villainesses. It focuses on how the color palettes shape character identity, ideological context, and narrative positioning. These analyses were conducted on classic characters, such as the Evil Queen, Maleficent, and Ursula, as well as non-traditional examples, including Nui Harime, Emma Frost, and Ericka Van Helsing. Roland Barthes' semiotic approach was adopted as a method, highlighting aspects unique to character design. The results of this evaluation are as follows: it was determined that traditional villainesses were generally constructed in a canonized character scheme, associated with symbolic and ostentatious places that indicate power. They were generally illustrated with grotesque companions and also displayed demonic visuals. In non-traditional character representations, changes in the assigned symbols were observed along with the color palettes. The subversive and ironic aesthetic structure of non-traditional villainesses questions traditional morality through color schemes. This change indicates that the role of villainesses in the narrative has evolved from being a threat that needs to be destroyed to figures constructed on ideological beliefs that offer a critical perspective to the audience. The villainess character type has moved beyond the stereotypical plane through the use of color palette and has become a narratively functional element. As a result, color palettes are positioned not only as an aesthetic choice but also as a narrative and critical tool in the transformation of the villainess character typology.
Türk mitolojisinde kadın figürleri: Bartu Bölükbaşı'nın türk mitolojisi atlası'nın betimleyici analizi
This thesis, based on Bartu Bölükbaşı's Atlas of Turkish Mythology, examines the functional, archetypal, and cultural memory roles of female figures in early Turkish mythology, especially demonicized feminine mythological beings. The research is qualitative, combining textual analysis of mythological sources with visual analysis of Bartu Bölükbaşı's illustrations. The research adopts Vladimir Propp's function-based character analysis framework, Joseph Campbell's archetypal approach, and Andrey Sagalayev's perspective on cultural memory and mythological transformation. In the study, five selected female figures (Kara Umay, Al KarısıJeztırnak, Jeztırnak, Küp Karısı, Yek) were systematically analyzed in the context of their functional roles in the narrative (donor, obstacle, test, antagonist), archetypal/symbolic meanings (mother, shadow, monster-mother, seductress) and cultural/social transformations (demonization, transition from matriarchy to patriarchy, social fears) through elements such as physical representation, characteristic symbol/object and living space. Sagalayev's cultural memory approach was taken as a basis for understanding the historical-social transformation of the figures and their demonization processes through patriarchal codes, while Campbell's archetype theory was used as the basis for analyzing the relationship of these figures with universal mythological symbols. These elements were used as the basic criteria for understanding the narrative transformations through which the figures went through. The evaluations made within the framework of female characters and demonology in Turkish mythology reveal how patriarchal cultural codes have shaped the meaning of female mythological figures throughout history. Especially productive and protective aspects are suppressed and transformed into demonic representations. On the contrary, Bölükbaşı's work re-presents these figures in a multi-layered and empowering way and restores them to cultural memory through a contemporary visual language. This thesis, which positions female figures in Turkish mythology as active subjects of cultural memory, aims to make original contributions to the fields of animation and visual culture as it is the first academic study on the Atlas of Turkish Mythology. Keywords: Turkish mythology, female figures, feminine demonic beings, patriarchal transformation
Bir animasyon Auteur'ü olarak Nick Park: Wallace & Gromit, Chicken Run ve Shaun the Sheep Movie üzerinden görsel ve anlatsal motif analizi
This thesis analyzes Nick Park's Wallace & Gromit: The Curse of the Were-Rabbit (2005), Chicken Run (2000), and Shaun the Sheep Movie (2015). While auteur theory has traditionally been applied to the critique of live-action films and individual creative control, animation as a medium operates within collective production systems. This makes it difficult for an animation director to maintain a distinct creative voice. However, there are certain directors who succeed in doing so, and one of them being Nick Park. Building on Andrew Sarris's three-tiered framework of auteur theory, the thesis explores how Park's directorial voice emerges across his films within collaborative production contexts. It situates Park's creative contributions within the broader discourse on authorship in animation. The findings suggest that Nick Park exemplifies the animation auteur, an artist whose personal vision is apparent not only in visual aesthetics but also in the emotional tone and ideological subtext of his narratives in a collaborative system.
The analysis of immersive experience of space in 3D animation practices
The concept ofspace is very important in animation, which enhances the connection between space and animation. Over time, the storytelling approach in animation has evolved through the effective use of animation technologies in films, TV series, commercials, education, and other fields, leading to advances in animation technologies. With these technological advancements, the sense of space in 3D animations has also become more immersive. The aim of this study is to identify the components of an immersive spatial experience in 3D animation productions, to demonstrate how the concept of 'immersion" can be created in animations, to explore how the spatial experience in animations has evolved with technological developments, and to contribute to the literature by examining the relationship between animation and space. The study involves showing film clips from different technological periods with varying technical proficiency to a focus group created through a purposive sampling model, in order to determine the impact of technological developments on immersion. It also includes conducting live interviews and survey studies. Examples from different decades related to the topic were selected, and in these productions, the concept of creating spatial immersion using 3D animation techniques was examined within the context of space-character, space-plot, and space-viewer experiences. The spatial analyses of productions were conducted based on technology, narration, spatial elements, characters, and color variables. As a result of the study, it was understood that the technology, which has changed and developed over time, significantly influences the spatial experience in productions utilizing 3D animation technologies. With advancements in 3D animation technologies, spatial experiences across different platforms have reached audiences, and the immersiveness of these spatial experiences has also increased.
The relationship between middle school students' preferences about animated series and the design processes of animation
Animated series are among the productions that children prefer to watch the most on television. Today, many children's channels broadcast uninterruptedly. Animated series, which have both entertaining and educational functions, can also be watched through devices such as tablets and televisions thanks to the developing technology. Children prefer different animation series in terms of quality, content and perception according to their age groups. It is important to determine the preferences of children, especially older children, about animated series. Within the scope of this research, 132 middle school students' living in İstanbul; practices of watching published animated series, preferences, likes and opinions about animated series and design elements were obtained through a quantitative survey method. The findings were analyzed and their relationship with the design processes of animations was examined. As a result of the research, differences were found between genders and classes in some statements. It was observed that middle school students had specific preferences and ideas about animations. Keywords: Animation, Animated Series, Television, Animation Design, Child Development