Graça, Marina Estela2015-11-252015-11-252014978-­88-­917-­1178-­6AUT: MGR00043;http://hdl.handle.net/10400.1/7134Colaboração enquanto Professora ConvidadaThe illusion of movement that we perceive in animated films has its origin in the way the animator manipulates the graphic relation between two contiguous frames in each sequence.  However, this apparently simple action entails multiple modes of codification.   The meaning of an animated document comes from the articulation of a number of formal elements that constitute its discourse and that also belong to different languages and disciplines: perception of apparent motion; graphic communication; composition of motion; dramatic expression; narrative structuring; film language; synchrony between sound and actions; and continuity/discontinuity in filmic duration. Most of the basic concepts, constituents and techniques of animation discourse, as well as specific devices, have been already addressed in an ad hoc,   bit-­by-­bit way.  However, though they are supposed to identify all the various elements, conventions and discourse techniques in animation, they have not been yet put together and completed in a systematic manner.engAnimationAnimation theorybook part