• Cartoon and Animation Studies
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• s.9
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• pp.143-160
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• 2005

This study was performed on purpose to consider the charade function of props in directing animation. The prop is gradually expanded its role and scope in modern animation. Its scope covers dramatic factors, creating and changing characters, the means of psychological description or emotional expression, mise-en-scene, montage, creating products etc. Like this, the prop has an important function emotionally or indispensably in human life. Thus, the prop should be a subject that can speak to audiences or viewers, not worthless and silent subject. Hence, the prop should be recognized as a charade having productional function. Nevertheless, the prop has been unnoticed up to now. The function of props should be valued hereafter. The prop itself is meaningless, but it always speaks to audiences on the screen.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.70-80
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• 2013

The purpose of this study has placed its meaning in the use as the basic material for the research of the person's facial expressions, by researching and analyzing the visual reactions of recognition of children according to the facial expressions of emotion and by surveying the verbal reactions of boys and girls according to the individual expressions of emotion. The subjects of this study were 108 children at the age of 6 - 8 (55 males, 53 females) who were able to understand the presented research tool, and the response survey conducted twice were used in the method of data collection by individual interviews and self administered questionnaires. The research tool using in the questionnaires were classified into 6 types of joy, sadness, anger, surprise, disgust, and fear which could derive the specific and accurate responses. Regarding children's visual reactions of recognition, both of boys and girls showed the high frequency in the facial expressions of joy, sadness, anger, surprise, and the low frequency in fear, disgust. Regarding verbal reactions, it showed the high frequency in the heuristic responses either to explore or the responds to the impressive parts reminiscent to the facial appearances in all the joy, sadness, anger, surprise, disgust, fear. And it came out that the imaginary responses created new stories reminiscent to the facial expression in surprise, disgust, and fear.

• The Journal of the Korea Contents Association
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• v.13 no.6
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• pp.95-107
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• 2013

A linguistic element found in a movie, dialogue, plays a critical role in building up narrative structure. Still, analyses conducted on movies mostly focus on images due to the nature of a movie that conveys a story through its visual images while dialogue has either been underestimated or received less spotlight despite their importance. This study highlights the significance of lines in a movie. This study calls attention to dialogue, which has stayed out of the main focus and been on the periphery thus far when analyzing movies, so as to see how they contribute to constructing a narrative. It then spotlights the significance of dialogue in the movie. To this end, the study sorts out emotional expressions articulated by actors through their dialogues then to make polarity classification into affirmation and negation, followed by a quantitative analysis of how the polarity proportion of emotional expressions changes depending on the narrative structure. The study also suggests a narrative's relevance with emotions by pointing to dynamic emotional changes that shift between affirmation and negation depending on incidents, conflicts and resolution thereof throughout a movie.

• Annual Conference on Human and Language Technology
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• 2007.10a
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• pp.254-260
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• 2007

음성은 컴퓨터로 대변되는 기계와 사람 그리고 기계를 매개로 한 사람과 사람의 상호작용에서 가장 쉽고 직관적인 인터페이스로 널리 활용되고 있다. 인간에게 음성정보를 제공하는 음성합성 분야에서는 합성결과의 자연스러움과 인식성이 시스템의 주요 평가요소로 활용되고 있는데 이러한 자연스러움과 인식성은 합성결과의 정확성뿐만 아니라 발화환경이나 발화자의 발화특징 혹은 감정상태 등에 의해 많은 영향을 받게 된다. 담화표지는 문장의 명제 내용에는 직접 관여하지 않으면서 화자의 발화 의도나 심리적 태도를 전달하는 구성 요소를 말하는데 본 논문에서는 담화표지가 포함된 대화 음성 데이터를 수집하여 담화표지의 음성언어적인 특징을 분석하고 분석된 결과를 음성합성 시스템에 활용하는 표현방식에 대해 논의한다.

• Journal of Korean Philosophical Society
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• v.139
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• pp.265-313
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• 2016

This research aims to reconstruct the philosophical content and essence of Schopenhauer's metaphysics of music in his book, Die Welt als Wille und Vorstellung, particularly in paragraph 52, and to pay close attention to its theoretical account of music in the context of traditional musical aesthetics. The question whether Schopenhauer's theory of music is about aesthetics of feeling or about absolute music is dealt with at the end of this paper. It can be answered only within the whole system of his philosophy, because Schopenhauer's theory of music is the result of his philosophical reflections, and plays an important part in his metaphysics of the will. Schopenhauer's music theory, or rather his metaphysics of music, thus cannot be treated separately from Schopenhauer's metaphysics of the will, and is connected organically with it. As the metaphysics of the will lies in suspense between the traditional metaphysical philosophy and the non-metaphysical philosophy after Nietzsche, between the idealism and the philosophy of the body, the music aesthetics of Schopenhauer oscillates between the (romantic) aesthetics of feeling and the modern idea of absolute music.

• Journal of Digital Contents Society
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• v.18 no.8
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• pp.1537-1542
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• 2017

Emotion plays a key role in both generating and understanding narrative. In this article we analyzed the emotions represented in a movie script based on 8 emotion types from the wheel of emotions by Plutchik. First we conducted manual emotion tagging scene by scene. The most dominant emotions by manual tagging were anger, fear, and surprise. It makes sense when the film script we analyzed is a thriller-genre. We assumed that the emotions around the climax of the story would be heightened as the tension grew up. From manual tagging we could identify three such duration when the tension is high. Next we analyzed the emotions in the same script using Python-based NLTK VADERSentiment tool. The result showed that the emotions of anger and fear were most matched. The emotion of surprise, anticipation, and disgust, however, scored lower matching.

• Science of Emotion and Sensibility
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• v.22 no.2
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• pp.37-48
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• 2019

Current research explores the effect of language on the perception of facial emotion as suggested by the psychological construction theory of emotion by using a psychophysical method. In this study, we hypothesize that the perception of facial expression may be influenced if the observer is shown an affective word before he/she judges an expression. Moreover, we suggest that his/her understanding of a facial emotion will be in line with the conceptual context that the word denotes. During the two experiments conducted for this project, a control stimulus or words representing either angry or happy emotions were briefly presented to participants before they were shown a target face. These target faces were randomly selected from seven faces that were gradually morphed to show neutral to angry (in Experiment 1) and neutral to happy (in Experiment 2) expressions. The participants were asked to perform a two-alternative forced choice (2AFC) task to judge the emotion of the target face (i.e., decide whether it is angry or neutral, or happy or neutral). The results of Experiment 1 (when compared with the control condition) showed that words denoting anger decreased the point of subjective equality (PSE) for judging the emotion of the target as anger, whereas words denoting happiness increased the PSE. Experiment 2, in which participants had to judge expressions on a scale from happy to neutral, produced a contrasting pattern of results. The outcomes of this study support the claim of the psychological construction theory of emotion that the perception of facial emotion is an active construction process that may be influenced by information (such as affective words) that provide conceptual context.

• Proceedings of the Costume Culture Conference
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• 2003.04a
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• pp.69-69
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• 2003

의복은 인간의 일상적인 필요에 따라 존재의 수단으로서 중요성을 가지며, 장식과 기능적인 디자인이 요구되는 예술의 한 부류로서의 성격을 갖는다. 이러한 의복의 유형은 가치관, 언어, 종교 및 다른 감정적인 면과 더불어 그 사회의 문화를 표현하는 것으로 파악될 수 있다. 시베리아 문화권의 의복을 살펴보면 인간과 동물세계의 우주론적 연계에서 자기 부족의 생존이 달려있는 동물의 영혼을 즐겁게 해줄 수 있도록 정성을 다하여 의복을 아름답게 사용하고 있는 것을 볼 수 있다. (중략)

• The Journal of the Korea Contents Association
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• v.19 no.3
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• pp.61-71
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• 2019

Due to the limit of the time length of advertisement, facial expressions among the types of nonverbal communication are much more expressive and convincing to appeal to costumers. The purpose of this paper is not only to investigate how facial expressions are portrayed but also to examine how facial expressions convey emotion in TV advertisements. Research subjects are TV advertisements of and which had the wide range of popularity for customer known as one of the most touching commercials. The research method is Facial Action Coding System based on the theoretical perspective of a discrete emotions and designed to measure specific facial muscle movements. This research is to analyse the implications of facial expressions in the both TV ads by using FACS based on Psychology as well as anatomy. From the all the result of this, it is shown that the facial expressions portrayed with the conflict of emotional states and the dramatic emotional relief of the heroin could move more customers' emotions.

• The Journal of the Korea Contents Association
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• v.15 no.7
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• pp.117-127
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• 2015

Colors in the film can communicate with the audiences without a dialogue as deep as possible, and then colors make a audiences sympathy as a role playing like a main character. The movie that I chosen by this thesis is The mother(UK film, 2003). This movie is so powerful imagetelling movie I've ever seen in the meaning of tool as a character-narrative film. This imagetelling in the movie is so useful and powerful, and then image is more important than any other things in the movie as a narrative tool and storytelling.