When motion aesthetics and emotion transfer in animation cinema are examined in the historical process, it is seen that they develop and transform in parallel with technology in time. The animation process based on metamorphosis in the early examples has turned into a complex and multi-layered structure in today's animation cinema. This complex multi-layered animation process is seen as a challenge for animation artists. In order to overcome these difficulties and deficiencies, different methods and multidisciplinary studies have been conducted over time. The search for solutions that started with "drawing the force" in the 1930s was followed by the concept of "personality", studies of "elements of animation", and the adaptation of the acting techniques named "Stanislavski System" and the "LMA method" to animation cinema. It is thought that the LMA method offers solutions to the animation artist in the process of animating the connection between the character's inner world and movements, and aesthetic motion design. As a result of the developments in Turkish cartoon sector after 2000, many projects of feature films and TV series have been produced. In the projects produced in Turkey, similar difficulties are existing to establish the relationship between the inner world of the created character and the movement design as a result of the complexity of the animating process. From this point of view, in this study, the movement designs of a Turkish cartoon project named "Rafadan Tayfa" were examined by using LMA method, the consistency of character's inner world and acting/performance designs were observed, and any deficiencies in the animation process were identified and reported.

Yaratıcı ve özgür yapısı ile hayali dünyaların ve soyut anlatıların görselleştirilmesinde eşsiz olanaklar sunan animasyon sineması, edebi metinlerin uyarlanmasında yüksek potansiyele sahiptir. Dünyada bu potansiyelden faydalanarak, seyirci ve eleştirmenlerden olumlu tepkiler alan edebi metinlerden uyarlanan pek çok animasyon film üretilmiştir ve üretilmeye devam etmektedir. Ancak mevcut hayran kitlesi ile gişe başarısını kolaylaştıran bu yöntem ile animasyon üretimine Türkiye'de yeterince ilgi gösterilmediği görülmektedir. Ayrıca bu türdeki animasyon filmlerin, dünyadaki örnekleri ile kıyaslandığında benzer başarıları yakaladıklarını söylemek güçtür.Bu makalede, Paul Wells'in, uyarlama animasyon filmlerin eleştiri ve analizi için oluşturduğu "Öznel Karşıtlık" formülasyonu temel alınarak Studio Ghibli, Disney ve AniBera Animasyon Stüdyosu'na ait uyarlama animasyon filmler analiz edilmiştir. Böylelikle Uzakdoğu'da, Batı'da ve Türkiye'de üretilen bu filmler arasındaki farklılıklar ortaya konularak, Türkiye'de gelecekte üretilecek uyarlama animasyon filmlere fayda sağlayacak çıkarımlar elde edilmeye çalışılmıştır.

ÖZET

Science communication has brought new teaching/learning environments forward. Various digital media have provided appropriate platforms. Learning processes for everyone have been differentiated and thrived on newly developed technologies and digital media. Animation is among these to provide an alternative to science communication methods. Especially animations developed with storytelling can become very effective in learning processes. In cartoon movies, certain knowledge on different fields has been explained by turning them into scenarios. It's possible to see examples of cartoons in this concept in Turkey and all around the world. Storytelling (scenario) and animation dynamics make knowledge more impressive and long-lasting. Educational cartoon movies produced for children, which aren't in formal and organized education but younger than the school age, have been produced in a widespread manner. This study is focused on transferring scientific knowledge by using animation products. In this context, educational cartoon movies will be examined through storytelling and animation.