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Since arts normally have human sources, they are originally alike and have different forms. Therefore methods of representation in one media, with a little formal change, could be used for the other one. In this research after defining pun as a rhetoric device, its visual equivalents have been dealt with in the world of pictures and particularly in animation. Pun has been defined as: two words are same in form or pronunciation, and different in meaning. Pun is normally used in rhetoric for decoration and make the speech humorous. But in modern semiotic theories, it has been considered as: two similar signifiers with different signified. In this case one can consider two homogeneous visual signs which indicate two different meanings as a visual pun. For instance a picture of a man’s face and a picture of the moon both of which are round. By replacing word and picture we can define visual forms in animation field. In this paper we will offer methodized analysis from visual plays, which might be found heuristically in the artists works.

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Animations, one of the virtues of digital world, subjectively demonstrates anthropomorphic representations of fantasy worlds in which human and non-human identities are constantly being revalued. In this milieu, animators are heirs to aesthetic resources functioning a mediating force to re-conceptualize and reorganize the world’s spatial coordinates. This paper probes the nature of creeping ideologies about consumerism, globalized world and denigrated non-American local cultures propagated in popular, animated Hollywood film Fantastic Mr. Fox through a multimodal analysis. Multimodality, an interdisciplinary approach to the study of contemporary communication and representation, justifiably claims that there are intricate processes of meaning-making achieved not only through language but also through a variety of modes, including image, gaze, gesture, movement, music, speech and sound–effect, that simultaneously and in various degrees contribute to the gestation of semiotic landscape. Applying a multimodal approach, we try to answer these questions: In what ways is multimodality a repertoire for scaffolding cultural identity? How can multimodal representations help immerse interpreters in the life-worlds of fictional characters? What is the best way to study processes of remediation as they bear on issues of multimodality? The significance of current study is emphasized by the formation of an increasingly intimate association between children, consumer culture, and lucre-oriented media in the USA, as well as the increasingly dire information emerging about disparaged local traditions. This analysis grossly represents the dual, alienating and often conflicting messages that commercial film provides for its young audiences about promised American utopia and their vociferously alleged panacea for the audiences’ desperate situation.
 

 
 

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This study focuses on the effective aspects of the audience's belief in characters as crechers in the selected works from narrative literature and animated films. In this regard, the collective memory and the factors affecting its memory and its communication function are investigated in the personality components of the animated feature film that are aimed at the cognition, belief and interest of the audience. In addition, given the need to find a suitable place for the personality of Iranian animated filmmakers who can compete with popular characters from a global audience point of view, the researcher needs to study and understand the personality components and factors influencing personality. It examines and recognizes the main characteristics of personality belief in the audience and its process in memory. The question of how personality is processed according to the collective memory of the audience is examined and answered qualitatively by content analysis with a descriptive-interpretive approach based on theories of psychologists such as Carl Gustav Jung, Alfred Adler, as well as researchers such as Victoria Grace Walden. given. In order to address the issue of collective memory functions in dealing with audience believability, it is necessary to analyze the narratives and visual works in this field by examining and analyzing the selected characters in the story and then the nature of the personality and the factors affecting memory.

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The goal of facial animation is to synthesize realistic facial animated images using computer graphics. Because of its capability in creating facial animated images using a few amount of information, facial animation using feature vectors was extensively studied in recent years. In general, this method is considered as one of the performance-driven facial animation base methods. In this regard, facial feature vectors, which reflect rigid and non-rigid movements of the face, are extracted using facial analysis methods. These feature vectors are then used for transferring the facial movements to a graphical model. Our approach in this paper is merging keyframing and facial animation using feature vectors. Using this method, the amount of the submitted information is decreased to about 30%; while the synthesized sequences have 4.95% mean squared error and 0.000629 difference of correlation relative to input sequences. This error is negligible compared to the error of synthesized sequences without using interpolation.

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Aims: This study aimed to investigate the impact of dental health education interventions using animation and leaflets on children's dental health behaviors.
Materials & Methods: The research employed a quasi-experimental design with pre-test and post-test groups, including a control group in 2021 in Indonesia. A sample of 60 elementary school students, aged 10-12 years, from Medan City, was divided into three groups of 20 students each. The interventions included media animation and leaflets, while the control group received traditional oral presentations. Behavioral changes were evaluated using three parameters of knowledge, attitudes, and actions through a questionnaire. The effectiveness of the interventions was assessed using univariate and covariance analysis.
Findings: The behavior scores were highest in the Animation group, with a mean of 52.00±4.54. In contrast, the Oral Presentation group (serving as the control group) had the lowest mean score of 46.90±6.42. The Leaflets group had an intermediate effect, with a mean score of 48.15±5.52. Across all groups, the total mean behavior score was 49.02±5.88.
Conclusion: Dental education using animation is the most effective manner in increasing dental care behavior among leaflets and oral presentations.

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As a result of introducing European art to traditional Persian painting, the multidimensional space of the traditional Persian painting tended to linear space. In other words, the Persian painting based on the positional perspective created a multi-dimensional space and another method based on linear perspective was done to create a temporal and spatial unity. The confrontation between the two methods remained challenging until the present day. Contemporary artists have used tricks to resolve that challenge, one by using new media as a modified version of the old medium. In this regard, animation as an up-to-date medium has been able to develop the traditional Persian painting narrative and aesthetic capabilities by visually adapting them. But the question that arises is what features should this type of animation have? Or what changes does the traditional Persian painting require in connection with the field of moving pictures? This research attempts to examine the principles and visual characteristics of two media, and the main goal is determining the scope of necessary changes in the traditional Persian painting based on the aesthetics of animation. Hence, it examines how this was done in "Hazar Afsan- Kerm Haftavad" as one of the new animation productions.