Disney ve Miyazaki Canlandırmalarında Kullanılan Korku Göstergelerinin Biçim ve İçerik Açısından İncelenmesi

Abstract

Animation studies are very important art and design applications used in education and training processes, in cinema, in playgrounds, and in the expression of objects, phenomena, developments, life processes, etc. that cannot be reached in their real state. One of the special design elements used in animations is fear indicators. Walt Disney and Hayao Miyazaki are important animation masters who used fear indicators in their animations.

In this study, in which the horror signs in Disney and Miyazaki animations are analyzed in terms of form and content, the analyses are based on semiotician Roland Barthes' plain meaning and connotation approaches. With the examined horror signs, the horror infrastructure of two different animation cinemas was tried to be revealed, and an application was carried out in this context and a concrete application example was developed that evokes the situation in question.

In the first part of the study; information about the problem situation, purpose, importance, limitations, methods and techniques of the study was given; it was explained why it was necessary to compare two different animation cultures and why the main theme was determined in the context of horror indicators.

In the second part, the types of animation used in the past and today are mentioned in the context of the techniques of Disney and Miyazaki's animation films, which are handled within the framework of horror signs. The Disney principles, which are also described as the twelve principles of today's animated films, are also mentioned in this context.

In the third chapter; the concept of horror is defined; what it means in the social and cultural context, what it is used for in cinema, and the elements of horror used in animation are discussed. Information about semiotics was given; from Ferdinand de Saussure, Roland Barthes' semiotic approaches were explained. In addition, contextual exemplifications that will help in analyzing the horror signs in Disney and Miyazaki's animations examined within the scope of this study have been given.

In the fourth section, the fear indicators in three animation works selected from Disney and Miyazaki in the fifth section were analyzed in the context of Roland Barthes' relationship between literal meaning, connotation, metaphor, metonymy, and myth. The data obtained in the light of the analyses were used as a basis for the application study.

In the sixth chapter; based on the data obtained within the framework of the horror indicators in the animated films previously examined, the scenario created in the context of horror indicators by synthesizing the original characters and stories in the animated films in question and the application study carried out on this track were examined and presented.

In the conclusion section; the inferences obtained from the storybord and its application, which were created by considering this study through the lens of conceptual, theoretical, and scientific methods, are included. The common and differentiating features of Disney and Miyazaki within the framework of horror indicators are mentioned and the conclusions reached are explained.