Ekman & Davidson, 1994), consensus is emerging that emotions are but a subset of the broader class of affective phenomena. Emotions, according to this perspective, are best conceptualized as multicomponent response tendencies that unfold over relatively short time spans. Typically, an emotion begins with an individual's assessment of the personal meaning of some antecedent event. This appraisal process may be either conscious or unconscious, and it triggers a cascade of response tendencies manifest across loosely coupled component systems, such as subjective experience, facial expression, cognitive processing, and physiological changes.

Beyond the emotional impact of animation, there are also a number of psychological principles and theories at play in the way animated media is created and received. For example, social learning theory suggests that we learn by observing and imitating others, and animated media can serve as a powerful tool for teaching these behaviours. Children, in particular, may learn important social skills and values from animated characters and storylines.

Cognitive dissonance is another psychological principle that can be observed in animation. This theory suggests that when we encounter information that conflicts with our existing beliefs or values, we experience a sense of discomfort or dissonance.

Animated media can challenge our assumptions and beliefs, forcing us to reconsider our perspectives and potentially leading to personal growth and development.

Disney films often promote themes of friendship, loyalty, and perseverance, while Studio Ghibli films often explore themes of environmentalism and respect for nature.

Twenty years of research has shown that EI can be explicitly taught via “social and emotional learning” interventions in school settings.

Recent meta-analyses examining long-term impacts of SEL have observed that compared to controls, children who participated in SEL programs demonstrated significant gains in social and emotional skills, attitudes, behavior and academic performance, well-being, and higher likelihood of high school graduation (Durlak et al., 2011; Taylor et al., 2017).

Autistic people with normal verbal abilities can discuss their basic emotional experiences with relative ease, but have trouble discussing more complex emotions in themselves and others (Capps et al., 1992; Capps et al., 1995; Kasari et al., 2001).

Beyond words, animation uses color, music, and movement to tell its story. A melancholic piano melody underscores a character's loss, a warm glow bathes a scene of friendship, and dramatic camera angles heighten tension. This visual language bypasses our logical mind and speaks directly to our emotions, creating a visceral connection with the narrative.

Animation's fantastical nature allows it to tackle complex themes and sensitive topics, like death, grief, and loss, in a way that feels accessible and safe. By distancing ourselves from real-life scenarios, animation gives us a safe space to explore these emotions, fostering empathy and understanding without the fear of direct confrontation.

Emotional intelligence is present in every person's life and in every area of our existence. It influences our own lives, our decisions, and at the same time helps to establish and maintain relationships with other people.

The main factor influencing emotional intelligence is, according to researchers, the environment itself, as it often has a profound effect on an individual's level of emotional development. Environmental influences can guarantee the development of emotional intelligence, but the opposite is also true, it can also hinder it.

The most influential effect for people is their own cultural environment, which has a great influence on the development and formation of emotional intelligence.

Today, there are six generation groups in the world, which are considered to be six distinctly different groups of people. We can say that these generations love something else, have a different lifestyle and have different qualities. This characterization is not entirely true as they share some common impulses, experiences, decades of living together, have same acquaintances, and group problems.

https://www.researchgate.net/publication/341363435_Generations_and_Emotional_Intelligence_A_Pilot_Study

The work was produced in a series of animation workshops that allowed the flow of creativity to develop into expressive pieces of artwork, whilst tackling the emotional issues related to bereavement.

This work was one of the many projects that has supported and informed the development of the Good Hearts Model (GHM) developed by Melanie Hani (2011).

The GHM has as its main focus the intentional use of aspects of animation production as parallel and integrated stages of the therapeutic process.

The GHM accordingly employs methods that collect specific data in the form of creative outcomes (e.g. character designs, background designs, scripts, letters, poems, completed animations, soundtracks, and storyboards) – all of which form a series of representations of the moment and the experience of the moving reality.

Results indicated that emotion regulation was positively associated with teacher reports of children's academic success and productivity in the classroom and standardized early literacy and math achievement scores.The early childhood years have recently been identified as a crucial period for the development of important executive functions such as attention, inhibition, working memory (Anderson, 2002; Blair, 2002) and literacy skills (Aram, 2005) that are necessary for successful school transition and later academic success.

Bluey finds a sick bird. Normal tv trope would be suspense but then the animal gets better. Here the animal passes away, and we see Bluey and her family handle the grief. when the vet says "the budgie died" even in children's shows that show grief its sugar coated and tends not to use words like died and death so bluntly. But honesty is needed to teach children at times.

Some studies found that viewing entertainment-based programs resulted in young children showing poorer cognitive responses than viewing educational programs.

They found that viewing educational programs before the age of three years was not associated with attention problems five years later, whereas viewing violent and nonviolent entertainment programs before that age was significantly associated with attention problems five years later [23].

1.2. The Current Study.

Viewing cartoons impairs subsequent EF performance in children aged four to seven years, as evidenced by the fact that viewing entertainment animation impairs children’s IC and CF, whereas viewing educational animations did not affect children’s performance on each task of EF. Entertainment animation viewing behavior still needs to be limited and reduced for children younger than seven years.

Additionally, studies have found that excessive screen time can lead to language delays, short attention spans, hyperactivity, and behavioural problems.

What emotional regulation tactics are schools currently teaching.

Who are the top writers in the field at the moment.

Alterations to survey- take out hedgehog advert and compare with Bluey?

Can be more direct in questions also.

Still need to hone in on niche.

Also pick specific age range.

Build Maya scene

Begin blocking

As mine is a more research based project, literature review can be longer and development work can e shorter than examples on blackboard.

Can have an appendix after literature review, analysing my findings and analysing my survey.

Findings from these informing my animation and how i develop this.

Bluey- lots of eye acting

work on draft and send to ellie - report

Age appropriate - can look at how Mortal Combat/video games were intense and lead to age restrictions being introduced.

How the indirect teaching in kids tv can effect children different as children having different home lives/different nurturing/teaching from parents on topics.

Solution- Need to select skin GEO and turn on Primary Visibility in Attribute editor.

-No taught lessons 22/29/05 Aug- Begins 12th Aug

As much as it taught basic arithmetics, it also enriched kids with a passion for learning and provided tools to help manage their emotions, promote empathy and model diversity, equity and inclusion.

Look into character design and character performance, analyse this.

Email companies that animate shows etc with the themes of emotional regulation and ask about their process. How do they decide what to use, how to make it appropriate and easy for children to understand.

Lit review- then discussion of survey results- the images of survey in appendix.

How/why is there a lot more resources and shows on YouTube than on tv.

Talk about Six Seconds company and Headspace-Mindful adventures of unicorn island.

Send Ellie new draft of report over the 3 weeks.

- No taught lessons

"You could also say: And to suggest a framework for other animators looking to develop work in this field. The framework could just be clear bullet points of the approach you have taken, such as dont use scary imagery - You could even give it a name - emotional regulation advice for animation - thats naff - but you get the gist!"

sent to kara lee burk - writer

Lilly singh - writer

atomic cartoons

unicorn productions

Unafraid When It Comes to the Difficult Discussions

If by “nudging at the boundaries of what a children’s show can be,” The Guardian means the boldness with which Bluey episodes deal with difficult topics, then the publication would be spot-on. The writers for the preschool show that features the Heeler family don’t shy away from those difficult topics.

Frame 41-Something is off with this move, check your reference. Overlap and follow through.

Frame 104- This section just needs polishing

Frame 284-Lose the lean back, or tone it down.

Frame 413-I would lose the lean forward too in this bit, have her act more within herself. Think psychological gesture.

Trying to pack too much in, allow her to think.

-No taught lessons

TAUGHT LESSONS CONTINUE

Storyboards and descriptions.

Screen shot of skin geo issue and describe how I overcame this challenge.

Talk about how went from blocking to polish.

Talk about why started in spline after guy from Framestore advised me to.- and how he said to block on 8s then go to 4s after

Talk about how I colour coded keys to determine what was the blocking and what was further.

Talk about videos watched to push stylised work and feedback I got from Penny.

Need to make the hands smoother before they connect with the face during the pause.

Need to smooth the swaying when she's deep breathing

Fixed shoulder blades - were off balanced

Add some more texture- Grass in cracks of pavement, window in far right corner, posters on left of wall? Maybe even car pass by on the road on the left in first few seconds.

3rd camera angle change isn't different enough from the 2nd change. Turn the camera more to the left slightly?

Appeared to have glitched and disappeared.

-Tried reloading references.

-Tried Preferences-Files/Projects-Ignore version (As models may have been made from an older version of maya).

-Tried deleting any undetectable nodes.

After speaking to Ben Johnstone he instructed me to save the models to their own maya file first. Then reference them in after. Attempted this and reanimated and the objects have stayed in the scene. - This solved the issue

Added more grass and fixed some issues with texture of building.

Begin rendering.

Work more on Sound design