Measuring Gender Representation in Animated Films

Character image animation remains a foundational yet challenging task in computer vision. Existing approaches can be broadly categorized into three paradigms: methods based on explicit motion representations suffer from extraction errors and identity drift; methods based on implicit motion features lose fine-grained dynamics through compression; and in-context learning approaches avoid intermediate representations but incur prohibitive computational costs. Furthermore, all current systems are designed for offline synthesis, unable to meet the real-time requirements of interactive applications such as digital avatars and live-streaming hosts. To address these limitations, we present Wan-Animate-2, an end-to-end character animation framework that directly consumes the driving video within a redesigned Diffusion Transformer. Our architecture achieves superior motion fidelity and identity preservation by eliminating intermediate motion extractors entirely. We further introduce text driven viewpoint control that decouples the output camera perspective from the driving video--a capability rarely supported by prior character animation methods that rely on explicit motion representations. Beyond generation quality, we present Wan-Animate-2-Lite, an efficient variant that reduces inference latency to real-time thresholds through a three-stage training paradigm: teacher forcing pretraining with error buffer mechanism, and Self-Forcing distillation with chunk-wise backpropagation. This enables streaming character animation for interactive applications, opening new deployment scenarios that were previously infeasible. Qualitative evaluations and user studies demonstrate that Wan-Animate-2 achieves high-fidelity animation results across diverse characters and motion patterns. To foster further research and community development, we will release the Wan-Animate-2-Base model weights to the public.

The rise of computer vision and artificial intelligence has made possible new forms of large-scale computational measurement. We apply these techniques to a deep collection of 5,205 digitized films viewed in theaters between 1922-2025 (covering popular, prestigious, and independent movies) to trace the development of one of the most fundamental ways through which film communicates: by manipulating the space between the camera and its subject. This work finds abrupt changes with the rise of new technologies in sound and television, and allows us to shed an empirical light on gender disparity (women, despite having substantially less screentime than men, are disproportionately the subject of closer shots), and illustrate how animated films both inherit and break free from the norms of live-action filmmaking.

The "gender" of intelligent agents, virtual characters, social robots, and other agentic machines has emerged as a fundamental topic in studies of people's interactions with computers. Perceptions of agent gender can help explain user attitudes and behaviours -- from preferences to toxicity to stereotyping -- across a variety of systems and contexts of use. Yet, standards in capturing perceptions of agent gender do not exist. A scoping review was conducted to clarify how agent gender has been operationalized -- labelled, defined, and measured -- as a perceptual variable. One-third of studies manipulated but did not measure agent gender. Norms in operationalizations remain obscure, limiting comprehension of results, congruity in measurement, and comparability for meta-analyses. The dominance of the gender binary model and latent anthropocentrism have placed arbitrary limits on knowledge generation and reified the status quo. We contribute a systematically-developed and theory-driven meta-level framework that offers operational clarity and practical guidance for greater rigour and inclusivity.