• Cartoon and Animation Studies
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• s.40
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• pp.33-53
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• 2015

The movement of characters is one of the crucial elements to deliver their emotion flowing inside. Though it is the same movement, it may appear or be expressed differently according to the character's personality or emotion or the particular situation. The purpose of this study is to analyze not only the movement found superficially in an animation but also a character's internal emotion and attitude with Laban's movement analysis system, particularly effort, one of its analysis categories, and examine how effectively Laban's movement analysis often employed at the circles of dance can analyze movement in an animation. is about a monster that constantly makes efforts to realize its dream to be a scarer. Functional movement forms the most part, but expressive movement to show how a character thinks or feels also appears harmoniously. Characters' externally shown movement can express their internal emotion properly sometimes, but they also often move expressing their feelings in moderation. Therefore, this study analyzes the movement of characters found in the four scenes of with LMA's effort. According to the findings, at the scene where Michael enters the door leading to the human world following the scarer, the emotional state of Michael envious of the scarer is expressed with the Vision Drive giving the strong feel of dreaming. At the scene of the second game to choose the best scare team, it shows us the Spell Drive with its careful and light movement having clear intention to survive at the game. At the scene where there is a party held for the teams that have survived, it shows the Passion Drive of being eagerly expressing happy and delightful feelings without considering what is around. At the scene where Michael and Sullivan are pursued by people, the Action Drive was used to express movement that was heavy and strong and was getting faster gradually by focusing the feelings of the characters in haste into one place.

• Korean Journal of Cognitive Science
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• v.21 no.1
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• pp.157-175
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• 2010

Understanding dialogue participant's emotion is important as well as decoding the explicit message in human communication. It is well known that non-verbal elements are more suitable for conveying speaker's emotions than verbal elements. Written texts, however, contain a variety of linguistic units that express emotions. This study aims at analyzing components for constructing an emotion ontology, that provides us with numerous applications in Human Language Technology. A majority of the previous work in text-based emotion processing focused on the classification of emotions, the construction of a dictionary describing emotion, and the retrieval of those lexica in texts through keyword spotting and/or syntactic parsing techniques. The retrieved or computed emotions based on that process did not show good results in terms of accuracy. Thus, more sophisticate components analysis is proposed and the linguistic factors are introduced in this study. (1) 5 linguistic types of emotion expressions are differentiated in terms of target (verbal/non-verbal) and the method (expressive/descriptive/iconic). The correlations among them as well as their correlation with the non-verbal expressive type are also determined. This characteristic is expected to guarantees more adaptability to our ontology in multi-modal environments. (2) As emotion-related components, this study proposes 24 emotion types, the 5-scale intensity (-2~+2), and the 3-scale polarity (positive/negative/neutral) which can describe a variety of emotions in more detail and in standardized way. (3) We introduce verbal expression-related components, such as 'experiencer', 'description target', 'description method' and 'linguistic features', which can classify and tag appropriately verbal expressions of emotions. (4) Adopting the linguistic tag sets proposed by ISO and TEI and providing the mapping table between our classification of emotions and Plutchik's, our ontology can be easily employed for multilingual processing.

• Cartoon and Animation Studies
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• s.33
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• pp.363-382
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• 2013

Up until about ten years ago, the use of typography played only an auxiliary role on broadcast television programs, primarily by transmitting information in order to facilitate a basic understanding of content. Recently, however, kinetic typography has become an important component in broadcast production. In fact, kinetic typography has developed into a visual language and a means of artistic expression, one that is increasingly used in the production of entertainment programs on television. This paper analyzes six aspects of kinetic typography: manner of development, location, intent, expressive techniques, color and font selection. Particular attention is placed on their use in three highly rated television entertainment programs: "2 Days & 1 Night", "Running Man", and "Infinite Challenge". The development way consists of the technique : starts off with cut and ends with cut. While, other techniques show conversation and situation representation using Z axis : zoom-in, zoom-out in , X axis : pan in <2 Days & 1 Night>. and Y axis : tilt in . Typographic design elements, expression technique, color, font are shown up according to the feature of each program. The resulting analysis suggests new ways for motion arts designers and the broadcast media to use kinetic typography in the development of television programs.

• Cartoon and Animation Studies
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• s.42
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• pp.195-212
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• 2016

An interest in 'ordinary things' has been increased because public things become issues as the influence of mass media including mass production has been increased in the 1950s. And this phenomenon drew an art style of pop art in the world of art. Media art means that the fine arts are expressed by means of media such as TV and monitors because media has been developed in the modern society. It started emerging through the artists such as Nam June Paik, Bill Viola, and others in the 1960s. Recently, it can be easily accessible not only at the art museum but also in everyday life such as cafe, park, fashion show, performance, and etc. This study analyzed that how many different techniques of pop art were borrowed by especially Nam June Paik media art and how they influenced it. Accordingly, this study respectively analyzed expressive techniques and characteristics of both pop art and Nam June Paik's media art and then searched for their similarities based on the analysis. Both Nam June Paik's media art and pop art extended media by using various ordinary things in everyday life neglected previously as a material. Next, the characteristic of pop art shown in Nam June Paik's media art is participation with audience. While the arts in the past were high-level culture that only certain people could understand and enjoy, pop art or Nam June Paik's media art is an art trend that has led the popularity of fine arts and audience participation in order to let diverse classes enjoy without any specific knowledge.

• Cartoon and Animation Studies
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• s.48
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• pp.117-139
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• 2017

The possibility of interactivity of digital media environment is adopted in human expression system and integrates the dynamic aspect of digital technology with expressive structure, thereby transforming the paradigm of image acceptance as well as image expression range. Virtual reality images have an important meaning in that they are changing the one-way mechanism of production and acceptance of images that lead to producers-video-audiences beyond the problem of verisimilitude such as how vividly they simulate reality. First of all, the virtual reality image is not one-sided but interactive image composed by the user. Viewing a virtual reality image does not just see the camera shine, but it gets the same view as in the real world. Therefore, the image that was controlled through framing changes to be configured positively by the user. This implies a change in the paradigm of image acceptance as well as a change in the existing form of the image itself. In addition, the narrative structure of the image and the subjects that are formed in the process are also required to be discussed. In the virtual reality image, the user 's gaze is a fusion of the gaze inside the image and the gaze outside the image. This is because the position of the user as the subject of the gaze in the virtual reality image is continuously restricted by the device of the discourse such as the editing and the narration of the shot. The significance of the virtual reality image is not aesthetically perfect but it is reconstructed according to the user to reflect the existence of the user positively and engage the user in the image.

• Cartoon and Animation Studies
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• s.45
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• pp.101-125
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• 2016

This study aims to take a look at the esthetics of communication in Bastien $Viv{\grave{e}}s$. Bastien $Viv{\grave{e}}s$ is the famous author of the graphic novel in France. Then this paper studies both of expressive properties and narrative strategy in Bastien $Viv{\grave{e}}s$ "Elle(s)", "Les $go{\hat{u}}t$ du chlore" and "Dans mes yeux" that have been recognized the series 'story of young love'. His characteristic style is the detail and delicate description of emotions in the visual expression and the narrative. His story is mainly about the love of the young(adolescent) and the communication of man and woman. Through these three books, he wants to describe how important the communication is to man and woman who are falling in love. He gives a talk about the pain of first love(and puppy love) with the simple structure like the freinds' casual activities. And with open-ending, he leaves something to the imagination for readers. This strategy evoke a feeling of first love in the readers. At these last scenes, a bond of sympathy is developing between readers. Finally, we have failed to communicate with her in first love.

• Cartoon and Animation Studies
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• s.45
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• pp.259-282
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• 2016

Documentaries are being recreated into a new genre and the Web Documentary is the typical case. Web Documentaries are the documentaries those comprise creators and users and they are the novel type of text that the interaction with users is absolute. In this research, two Web Documentaries and are analyzed for examining how Web utilizes its features as expressive media inducing users to experience reality. Web Documentaries have dual and spatial structure that allows user interaction and make users to face with various information and knowledge about reality by its encyclopedic characteristics. Also, Web Documentaries give the role of progressing documentary and expanding text to users and that is, they stimulate users' consciousness reminding that they are the ones who explore through reality. In this process, users of Web Documentaries get potentiality of critically examining the reality suggested by documentaries and grasping the meanings beneath it. These features make Web Documentaries special contrast to traditional documentaries not only with their way of pursuing the reality but also with their meanings. This makes the innovative position of Web Documentaries phenomenon clear, issuing the necessity of the discussion about Web Documentaries more strongly. Web Documentaries are not just new media technological phenomenon, and they have their significance as a fundamental challenge toward traditional documentaries.

• Journal of the Korea Society of Computer and Information
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• v.17 no.11
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• pp.39-46
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• 2012

The development of the computer widens the expressive ways for the nature objects and the scenes. The cutting edge computer graphics technologies effectively create any images we can imagine. Although the computer graphics plays an important role in filming and video production, the status of the domestic contents production industry is not favorable for producing and research all at the same time. In digital composition, the match moving stage, which composites the captured real sequence with computer graphics image, goes through many complicating processes. The camera tracking process is the most important issue in this stage. This comprises the estimation of the 3D trajectory and the optical parameter of the real camera. Because the estimating process is based only on the captured sequence, there are many errors which make the process more difficult. In this paper we propose the method for correcting the tracking data. The proposed method can alleviate the unwanted camera shaking and object bouncing effect in the composited scene.

• Journal of Digital Convergence
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• v.15 no.12
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• pp.563-571
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• 2017

The purpose of this paper is to establish an emotional expression factors of digital eye contents that can be applied to digital environments. The emotion which can be applied to the smart doll is derived and we suggest guidelines for expressive factors of each emotion. For this paper, first, we research the concepts and characteristics of emotional expression are shown in eyes by the publications, animation and actual video. Second, we identified six emotions -Happy, Angry, Sad, Relaxed, Sexy, Pure- and extracted the emotional expression factors. Third, we analyzed the extracted factors to establish guideline for emotional expression of digital eyes. As a result, this study found that the factors to distinguish and represent each emotion are classified four categories as eye shape, gaze, iris size and effect. These can be used as a way to enhance emotional communication effects such as digital contents including animations, robots and smart toys.

• Cartoon and Animation Studies
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• s.48
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• pp.85-116
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• 2017

The purpose of this study is to analyze conditions that robots depicted in cinematographic works like animations or movies sympathize with and form an attachment with the nuclear person and organize characterizing strategies for emotional sympathetic robots. Along with the development of technology, the areas of artificial intelligence and robots are no longer considered to belong to science fiction but as realistic issues. Therefore, this author assumes that the expressive characteristics of emotional sympathetic robots created by cinematographic works should be used as meaningful factors in expressively embodying human-friendly service robots to be distributed widely afterwards, that is, in establishing the features of characters. To lay the grounds for it, this research has begun. As the subjects of analysis, this researcher has chosen robot characters whose emotional intimacy with the main person is clearly observed among those found in movies and animations produced after the 1920 when robot's contemporary concept was declared. Also, to understand robots' appearance and behavioral tendency, this study (1) has classified robots' external impressions into five types (human-like, cartoon, tool-like, artificial bring, pet or creature) and (2) has classified behavioral tendencies considered to be the outer embodiment of personality by using DiSC, the tool to diagnose behavioral patterns. Meanwhile, it has been observed that robots equipped with high emotional intimacy are all strongly independent about their duties and indicate great emotional acceptance. Therefore, 'influence' and 'Steadiness' types show great emotional acceptance, the influencing type tends to be highly independent, and the 'Conscientiousness' type tends to indicate less emotional acceptance and independency in general. Yet, according to the analysis on external impressions, appearance factors hardly have any significant relationship with emotional sympathy. It implies that regarding the conditions of robots equipped with great emotional sympathy, emotional sympathy grounded on communication exerts more crucial effects than first impression similarly to the process of forming interpersonal relationship in reality. Lastly, to study the characters of robots, it is absolutely needed to have consilient competence embracing different areas widely. This author also has felt that only with design factors or personality factors, it is hard to estimate robot characters and also analyze a vast amount of information demanded in sympathy with humans entirely. However, this researcher will end this thesis as the foundation for it expecting that the general artistic value of animations can be used preciously afterwards in developing robots that have to be studied interdisciplinarily.