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Dissertations / Theses on the topic 'Animated characters'
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1
Shapiro, Ari Yochanan. "Motion editing for animated characters." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1459918331&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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PINNA, DANIEL MOREIRA DE SOUSA. "BRAZILIAN ANIMATED CHARACTERS: THE VISUAL LANGUAGE OF CONTEMPORARY BRAZILIAN ANIMATION CHARACTERS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9582@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>O presente estudo analisa os aspectos comunicativos da
visualidade de
personagens de curta-metragens de animação contemporâneos
brasileiros,
empregando recursos oferecidos pela Semiologia. O cinema
de animação é uma
arte que tomou contornos na virada do século XX. Junto à
indústria cultural,
consolidou inúmeras personagens na memória de espectadores
em todo o
mundo. Contudo, os altos custos de produção das obras
animadas obrigam
muitos artistas a realizarem seus filmes independentes no
formato de curtas
metragens. Devido à brevidade dos filmes, esses criadores
empregam
repetidamente tipos e caricaturas como personagens
principais, apresentando-os
sob a forma de signos de fácil reconhecimento pela maioria
dos espectadores.
Esta pesquisa parte da hipótese de que a visualidade das
personagens de obras
cinematográficas de animação breves é um sistema projetado
(intencionalmente
ou não) para transmitir ao espectador mensagens de
compreensão praticamente
imediata a respeito da narrativa apresentada e dos
conceitos personificados pelas
personagens no curto intervalo de tempo em que elas estão
em cena. Com base
no levantamento de sessenta principais personagens
apresentadas nos filmes
brasileiros premiados no festival Anima Mundi em suas doze
primeiras edições
(1993-2004), esta dissertação investigou os estereótipos
existentes nas produções
recentes do cinema de animação brasileiro. Em seguida,
buscou delinear
maneiras com que os elementos visuais que os constituem
atuam no processo de
significação das personagens animadas, articulando-se
enquanto uma linguagem
visual específica. Para realizar tal investigação, os
procedimentos metodológicos
adotados tomaram por fundamentos os estudos de Semiologia
de Roland Barthes
e o conceito de atributos das personagens desenvolvido por
Vladimir Propp.<br>This paper analyses the communicative aspects of the look
of
contemporary Brazilian animation short movie´s characters,
using resources
from Semiology. Animation cinema became an art at the
beginning of the 20th
century. With the cultural industry, it has cemented lots
of characters in
spectator´s memories around the world. However, the high
expenses of animated
movies´ production force many artists to produce their
authorial animations as
short movies. Due to the brevity of these movies, their
creators repeatedly use
types and caricatures as main characters, presented
morphologically as signs that
can easily be recognized by most of the audiences. This
research considers the
hypothesis that the look of characters from animated short
movies is a system
designed (intentionally or not) to communicate to the
spectator messages of
prompt comprehension concerned to the narrative shown and
to the concepts
personified by the characters in the short period of time
in which they are acting.
Based on the survey of sixty main characters from
Brazilian awarded movies at
the twelve first editions of Anima Mundi festival (1993-
2004), this dissertation
investigated the existing stereotypes in recent Brazilian
animation short movies.
Then, it tried to outline ways in which the visual
elements that constitute these
stereotypes act in the signifying process of the animated
characters, working
together as a specific visual language. In order to carry
out such investigation,
the adopted methodological procedures were based on Roland
Barthes´
Semiology and Vladimir Propp´s concept of characters´
attributes.
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Russell, Kenneth B. "IMPS : implicit surfaces for interactive animated characters." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/62343.
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Thesis (S.M.)--Massachusetts Institute of Technology, Program in Media Arts & Sciences, 1999.<br>Includes bibliographical references (leaves 64-68).<br>Implicit surface modeling in computer graphics is a powerful technique for representing smooth and organic shapes. Skeletal elements of an implicit surface blend to create a smooth, seamless skin which exhibits desired properties for animation such as squash and stretch. Because of their high computational cost to render, implicit surfaces have not been used extensively in the real-time graphics domain. This thesis discusses the problems and some solutions in the application of implicit surfaces to the domain of interactive character animation. A design process for an implicit surface-based character is proposed, from the modeling and texturing stages to animation and rendering.<br>by Kenneth Bradley Russell.<br>S.M.
4
Kochan, Elizaveta. "Creating a Short Animated Film with Cloth Characters." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/526.
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This creative thesis involved making an animated short film from scratch, dubbed “Laundry Day” for the time being. The film follows two sentient clothing characters, a hoodie and a pair of pants, who need to get out of their owner’s room to get to the laundry room after accidentally being left behind. Please watch the short here and use the password “goodiehoodie”:
https://vimeo.com/415387205
This was a time consuming, challenging, and multifaceted project, but provided an accurate glimpse into how feature animation is made. The process of making any project like this is commonly called a pipeline, and can be simplified to seven categories: Story, Character, Environment, Animation, Effects, and Rendering. This paper will go into each of these and explain the technical and creative challenges I had to overcome to reach the final product.
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Jain, Sumit. "Exploiting contacts for interactive control of animated human characters." Diss., Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/44817.
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One of the common research goals in disciplines such as computer graphics and robotics is to understand the subtleties of human motion and develop tools for recreating natural and meaningful motion. Physical simulation of virtual human characters is a promising approach since it provides a testbed for developing and testing control strategies required to execute various human behaviors. Designing generic control algorithms for simulating a wide range of human activities, which can robustly adapt to varying physical environments, has remained a primary challenge.
This dissertation introduces methods for generic and robust control of virtual characters in an interactive physical environment. Our approach is to use the information of the physical contacts between the character and her environment in the control design. We leverage high-level knowledge of the kinematics goals and the interaction with the surroundings to develop active control strategies that robustly adapt to variations in the physical scene. For synthesizing intentional motion requiring long-term planning, we exploit properties of the physical model for creating efficient and robust controllers in an interactive framework. The control design leverages the reference motion capture data and the contact information with the environment for interactive long-term planning. Finally, we propose a compact soft contact model for handling contacts for rigid body virtual characters. This model aims at improving the robustness of existing control methods without adding any complexity to the control design and opens up possibilities for new control algorithms to synthesize agile human motion.
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Beck, Aryel. "Perception of emotional body language displayed by animated characters." Thesis, University of Portsmouth, 2011. https://researchportal.port.ac.uk/portal/en/theses/perception-of-emotional-body-language-displayed-by-animated-characters(1e1ab3cb-a5eb-453a-8ee4-d432997aeb93).html.
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Virtual Environments have demonstrated effectiveness for social task training such as medical training (Anolli, Vescovo, Agliati, Mantovani, & Zurloni, 2006). These types of Virtual Environments have used emotional animated characters. Even though emotions have a strong influence on human-human interactions (Gratch, Mao, & Marsella, 2006), typical system evaluation does not assess whether human and animated emotional displays are perceived similarly by observers. Moreover, the Uncanny Valley, which is a drop in believability as characters become more realistic, threatens the assumption that emotions displayed by an animated character and a human would be interpreted similarly. Thus, it is not known how appropriate the perception to a realistic emotional animated character is. This issue is especially important for social task training which require animated characters to be perceived as social and emotional partners so that trainees would be confronted with situations comparable to real life ones. Using an approach similar to the one proposed by Nass & Moon (2000) in their work on the Media Equation, this thesis investigates how emotional body language displayed by animated characters is interpreted. A psychological experiment was conducted to investigate if emotional body language would be an appropriate way for animated characters to display emotion. This was done by comparing the interpretation of emotional body language displayed by animated characters with that by real actors. The results showed that animated body language can be accurately interpreted. However, the videos of the actor were found to be more emotional, more believable and more natural than the animated characters, whilst displaying the same emotional body language. Moreover, there was a significant difference in the number of correctly interpreted negative emotions displayed. Although, there was not a difference for positive emotions. This could be due to the physical appearance of the animated character or to the loss of micro-gestures inherent to Motion Capture technology. Thus, a second comparative study was conducted to investigate the potential causes for this drop in believability and recognition. It investigated the effect of changing the level of physical realism of the animation as well as deteriorating the quality of the emotional body language itself. Whilst no effect was found regarding the deterioration of the emotional body language, the results show that the videos of the Actor were found to be more emotional, more believable and more natural than the two animated characters. These findings have strong implications for the use of Virtual Environments for social task training.
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Johnson, Michael Boyle. "WAVESworld, a testbed for constructing 3D semi-autonomous animated characters." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/29096.
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Lavoie, Elizabeth Marie. "A Content Analysis of Disney Animated Films: Identifying Teachable Moments for Parents." Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/LavoieEM2008.pdf.
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Abe, Yeuhi. "A phase-indexed tracking controller for interactive physical simulation of animated characters." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/74887.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2012.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (p. 103-107).<br>In this thesis, I describe a method of animating characters using physical simulation. The main advantage of this approach, verses traditional keyframing methods, is that the animated character can react to physical interactions. These reactions can be synthesized in real-time in interactive applications, such as video games, where traditional approaches can only playback pre-recorded sequences. Physically simulating a character requires a controller, but creating a controller is known to be a challenging task, especially when animation concerns about the style of the motion are taken into consideration. This thesis describes a method of generating a controller automatically and quickly from an input motion. The stylistic aspects of the controller are particularly easy to control, as they are a direct result of the input motion. In order to generate a controller from an input motion, I address two main challenges. First, the input motion must be rectified (minimally modified) to ensure that it is physically plausible. Second, a feedback strategy must be formulated to generate control forces during the simulation. The motion rectification problem is addressed by formulating a fast trajectory optimization that solves for a reference motion. The reference minimally deviates from the input motion to satisfy physical constraints. The second challenge is addressed by employing a novel phase-indexed controller that uses a combination of local and global feedback strategies to keep the character tracking the reference motion. Beyond tracking just a single reference motion, I also demonstrate how variation to a input motion can be automatically synthesized using the same trajectory optimization method used in the rectification process, and how these variations can be sequenced, using optimal control, to accomplish various goals.<br>by Yeuhi Abe.<br>Ph.D.
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Zhao, Zhiyu. "An investigation into a design framework for animated online characters to promote brands effectively to customers in China." Thesis, De Montfort University, 2016. http://hdl.handle.net/2086/13112.
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This study presents a design framework for helping Chinese companies and designers to create effective animated cartoon characters for promoting brands. Previous research has demonstrated that animated characters which companies use to promote their brands appear to have a good chance of gaining and holding consumers’ attention. However, most relevant research in this area was conducted decades ago and focused on TV advertisements. There is little relevant research into new media advertisements featuring animated characters in an international context even though online advertising is growing. Furthermore, several academic researchers in China have begun to explore this topic without the benefit of practical research. As a result, the Animated Cartoon Promotional Characters (ACPC) are rarely developed and used although the animation industry has boomed in the Chinese market. ACPC for client companies which are created by commercial designers or design studios are not always in accordance with the preferences of their target customers. A design framework is therefore needed to provide a detailed design procedure for potential customer involvement. In order to achieve this, the Sanyuan Foods Company has been involved as a case study in this research. A series of surveys and focus groups with potential customers and interviews with Sanyuan and professional animators have been employed to improve the design process, to explore and identify more effective design procedures and to develop a design framework for the production of ACPCs. Secondary research has also been conducted in order to trace the historical issues and growth of promotional characters which have been employed successfully by selected companies; to determine the design process and fundamental features, functions and narrative for these animated promotional characters; and to discuss the relationship between different age groups and promotional characters, customers' favour and loyalty. The final framework has been evaluated by the development and testing of a “family“ of 2D and 3D hybrid computer characters for Sanyuan Foods and a series of short promotional animations and web site. Results show positive agreement with theoretical predictions and significant improvement over previous efforts. The research presented here has significant implications for future studies on branding strategy.
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Dahle, Theo. "Culture and 3D animation : A study of how culture and body language affects the perception of animated 3D characters." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-17242.
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This study examined the differences and similarities in how animated 3D characters were perceived by individuals from Sweden and China. The study also attempted to examine how cultural aspects influenced the participants’ perceptions. Parts of the study were conducted through collaboration with the Chinese game company, Focus Games. A literature study focusing on body language and culture was conducted, as well as a game animation analysis featuring games from both western and East Asian developers. Based on the game analysis, 6 animations were created with movement qualities inspired by each of the cultures. The study was conducted through an online questionnaire, as well as shorter semi-structured interviews. The results show that there were certain similarities and differences in how participants perceived the animations, however the reason as to how cultural aspects influenced the responses was partially unanswered due to lack of data.
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van, Dam Bianca. "Disney's Fashionable Girls : Signs and symbols in the costume dress of Disney's female characters." Thesis, Stockholms universitet, Centrum för modevetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-105532.
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Disney’s princesses and heroines have long captured the minds and hearts of young girls with their magical dress. This thesis researches the fashion symbols in a chosen set of animated movies and relate this to children’s reception, sexuality and gender issues and narrative identities. A semiotic analysis of the movies and relating them to read literature will shine a new light on this subject.
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Ramadan, Hadeel M. "Jan. 25 ( Story of a Girl )." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/71871.
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The work presented in this thesis explores the possibility to integrate two dimensional drawings with three dimensional animated characters in 3D computer graphics. The goal was to preserve the effects of the cartoonish artistic style and produce a strong emotional and moving story without realistic animation feel.
Inspiration of the storyboard was based on a true story from the Arab Spring events that occurred in several Arab countries, I focused my work on the context of Egypt.<br>Master of Fine Arts
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Gao, Huaiying. "The Effects of Still Images and Animated Images on Motion-Related and Non-Motion Related Learning Tasks in College Students of Different Levels of Field Dependence." Diss., Virginia Tech, 2005. http://hdl.handle.net/10919/27130.
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The use of still images in instruction has a long history in the field of education. With the widespread use of microcomputers and the development of graphic software, the ability to create and use animated images has greatly increased; today many people use animated images in their teaching and training activities. Since the use of different types of images in instruction has various influences on studentsâ learning results, the different effects between animated images and still images have been studied widely among researchers. However, the research results are not consistent. Some research results show that animated images are more effective than still images and some show no difference or less effective results.
This experimental study explores the effects of animated images and still images on college studentsâ learning of motion-related tasks and non-motion related tasks, with the students possessing different levels of field dependence-independence. This study found that:
For learning tasks involving motion and/or change, animated images were more effective than still images for college students, and field dependent students benefited more from animated images than did the field independent students. However, for learning tasks that did not involve motion or change, there was no difference in learning results from the use of still images as opposed to animated images. In addition, for such learning tasks, there was no difference in the learning benefits of still images to field dependent versus field independent learners.<br>Ph. D.
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Manrique, Chávez Victorina María Paz. "Aproximación a los componentes visuales y construcción de personajes en el cine animado." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653198.
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La estructura visual es un elemento fundamental que un realizador tiene que tomar en cuenta al momento de construir el producto cinematográfico. En tal sentido, la estructura visual; que se conforma por componentes visuales básicos, entre los que están el espacio, la línea, la forma, el tono y el color; ha dado definitivamente personalidad y estilo a muchas películas a partir del criterio que el realizador, como Wes Anderson, maneja previamente con un estilo definido. Esta investigación analiza precisamente los componentes visuales que conforman la estructura visual con los que los personajes de "Fantastic Mr. Fox"(2009) y "Isle of Dogs"(2018) van generando una relación empática con el espectador. Para lo cual se realizó un análisis de los personajes principales de estas películas, como también de los aspectos visuales, en base a 27 frames de estos filmes, en los cuales se halló que los personajes tienen conflictos originados por sí mismos al carecer completamente del conocimiento de sus propias virtudes y defectos. De este modo, al relacionarse con su entorno, buscan la aceptación en otros personajes para sentir que alguien más los considera importantes. Asimismo, se identificó que visualmente, en la mayoría de casos, se logra reafirmar los sentimientos y las características que definen a los personajes en base a los componentes visuales que plantea Anderson.<br>The visual structure is a fundamental element that a filmmaker has to considerate when is building the film product. In this sense, the visual structure; which consists of basic visual components, among which are the space, the line, the shape, the tone and the color; has definitely given personality and style to many films based on the director’s criteria, like Wes Anderson, previously handles with a definite style. This research analyzes precisely the visual components that make up the visual structure with which the characters of "Fantastic Mr. Fox" (2009) and "Isle of Dogs" (2018) are generating an empathetic relationship with the spectator. For this purpose, an analysis was made of the main characters of these films, as well as the visual aspects, based on 27 frames of these films, in which it was found that the characters have conflicts originated by themselves completely a lack of knowledge of their own virtues and defects. In this way, by relating to their environment, they seek acceptance from other characters to feel that they are considered important by someone else. It was also identified that visually, in most cases, one manages to reassert the feelings and characteristics that define the characters based on the visual components that Anderson poses.<br>Trabajo de investigación
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Baran, Ilya 1981. "Using rigging and transfer to animate 3D characters." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/62383.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2010.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (p. 77-82).<br>Transferring a mesh or skeletal animation onto a new mesh currently requires significant manual effort. For skeletal animations, this involves rigging the character, by specifying how the skeleton is positioned relative to the character and how posing the skeleton drives the character's shape. Currently, artists typically manually position the skeleton joints and paint skinning weights onto the character to associate points on the character surface with bones. For this problem, we present a fully automatic rigging algorithm based on the geometry of the target mesh. Given a generic skeleton, the method computes both joint placement and the character surface attachment automatically. For mesh animations, current techniques are limited to transferring the motion literally using a correspondence between the characters' surfaces. Instead, I propose an example-based method that can transfer motion between far more different characters and that gives the user more control over how to adapt the motion to the new character.<br>by Ilya Baran.<br>Ph.D.
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Holden, Daniel. "Reducing animator keyframes." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/28998.
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The aim of this doctoral thesis is to present a body of work aimed at reducing the time spent by animators manually constructing keyframed animation. To this end we present a number of state of the art machine learning techniques applied to the domain of character animation. Data-driven tools for the synthesis and production of character animation have a good track record of success. In particular, they have been adopted thoroughly in the games industry as they allow designers as well as animators to simply specify the high-level descriptions of the animations to be created, and the rest is produced automatically. Even so, these techniques have not been thoroughly adopted in the film industry in the production of keyframe based animation [Planet, 2012]. Due to this, the cost of producing high quality keyframed animation remains very high, and the time of professional animators is increasingly precious. We present our work in four main chapters. We first tackle the key problem in the adoption of data-driven tools for key framed animation - a problem called the inversion of the rig function. Secondly, we show the construction of a new tool for data-driven character animation called the motion manifold - a representation of motion constructed using deep learning that has a number of properties useful for animation research. Thirdly, we show how the motion manifold can be extended as a general tool for performing data-driven animation synthesis and editing. Finally, we show how these techniques developed for keyframed animation can also be adapted to advance the state of the art in the games industry.
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Collignon, Stéphane. "La figurine cisanthrope, humanité liminale et contagion affective dans le cinéma d'animation." Doctoral thesis, Universite Libre de Bruxelles, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209000.
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À travers une séries d'études de cas éclairées par l'apport de l'éthologie, l'histoire de l'art, la psychologie cognitive et les neurosciences, cette thèse tente de répondre au paradoxe apparent du cinéma d'animation qui rend les personnages stylisés et caricaturaux sont plus à même de faire oublier leurs artificialité que les personnages visant au plus grand réalisme. / Through a series of case studies, supported by reasearch in art history, ethology, cognitive psychology and neuroscience, this dissertation aims at explaining the strange animated film paradox that makes stylised and caricatural characters more efficient than characters tending towards strong realism at overcoming their artificialit<br>Doctorat en Information et communication<br>info:eu-repo/semantics/nonPublished
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Cecil, Amber. "Mental Process Narrative Film: Design Techniques for Visualizing Character Psyche in Animated Shorts." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1285009380.
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Gustafson, Joakim. "Developing Multimodal Spoken Dialogue Systems : Empirical Studies of Spoken Human–Computer Interaction." Doctoral thesis, KTH, Tal, musik och hörsel, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-3460.
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This thesis presents work done during the last ten years on developing five multimodal spoken dialogue systems, and the empirical user studies that have been conducted with them. The dialogue systems have been multimodal, giving information both verbally with animated talking characters and graphically on maps and in text tables. To be able to study a wider rage of user behaviour each new system has been in a new domain and with a new set of interactional abilities. The five system presented in this thesis are: The Waxholm system where users could ask about the boat traffic in the Stockholm archipelago; the Gulan system where people could retrieve information from the Yellow pages of Stockholm; the August system which was a publicly available system where people could get information about the author Strindberg, KTH and Stockholm; the AdAptsystem that allowed users to browse apartments for sale in Stockholm and the Pixie system where users could help ananimated agent to fix things in a visionary apartment publicly available at the Telecom museum in Stockholm. Some of the dialogue systems have been used in controlled experiments in laboratory environments, while others have been placed inpublic environments where members of the general public have interacted with them. All spoken human-computer interactions have been transcribed and analyzed to increase our understanding of how people interact verbally with computers, and to obtain knowledge on how spoken dialogue systems canutilize the regularities found in these interactions. This thesis summarizes the experiences from building these five dialogue systems and presents some of the findings from the analyses of the collected dialogue corpora.<br>QC 20100611
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Ross, Karen C. "“Awake:” An Animated Exploration of Self-Discovery Through Mindfulness." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1471826821.
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Persdotter, Klara. "Disneys Frost : ”A Frozen Heart Worth Mining”." Thesis, Högskolan Väst, Avd för medier och design, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-8367.
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Den här studien syftar till att undersöka hur och vad Disney kommunicerar till sin publik genom deras film Frost (2013). Eftersom Disney idag står för en dominerande part av filmunderhållningen för barn bär de också ett ansvar för de budskapen de förmedlar genom sina filmer, då barn kan komma att påverkas av dem. I den här studien har Frost (2013) studerats genom en kvalitativ textanalys med hjälp av Peter Dahlgrens metod för att analysera medietext, med fokus på textens uppbyggnad och den narrativa dynamiken i medietexten (filmen). Analysen har gjorts utifrån ett normkritiskt perspektiv. Analysen visade att Frost bryter sig loss från flera av Disneys tidigare mönster och strukturer och lyckas skapa en mindre förutsägbar saga. Analysen visade också framträdandet av en ny roll; den falska skurken, som användes just i syftet att skapa en mindre förutsägbar saga. Till skillnader från flera tidigare porträtteringar av Disney-prinsessor visar Frost två feminint starka och självständiga kvinnliga karaktärer, som agerar på eget bevåg. Frost ifrågasätter också Disneys tidigare attityd kring att kärlek kan uppstå vid första ögonkastet, samt att romantisk kärlek är det starkaste och mest värdefulla typen av kärlek. För första gången någonsin porträtterar Frost familjekärlek som starkare än romantisk kärlek.<br>This study aims to examine how and what Disney is communicating to its audience through its movie Frozen (2013). Since Disney currently is a dominant party of the movie entertainment for children they bear a great responsibility for the messages they convey through their movies, as children may be influenced by them. In this study, Frozen (2013) has been studied by a qualitative text analysis using Peter Dahlgren's approach for analyzing media text, with focus on the textual construction and the narrative dynamics of the media text (the movie). The analysis was made based on a norm-critical perspective. The analysis showed that Frozen breaks free from many of Disney's past patterns and structures and manages to create a less predictable tale. The analysis also showed the emergence of a new role; the fake villain, used precisely in order to create a less predictable tale. In differences from several earlier portrayals of the Disney Princess Frozen shows two feminine strong and independent female characters, who act on their own authority. Frozen also questions Disney's previous attitude concerning that love can arise at first sight, and that romantic love is the strongest and most valuable type of love. For the first time in forever in a Princess movie Frozen manages to portray love between family members as stronger than romantic love.
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Baker, Jeremy Charles. "Observational Animation: An Exploration of Improvisation, Interactivity and Spontaneity in Animated Filmmaking." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1357315576.
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Lapeyre, Jason. "Mickey Mouse and the Nazis the use of animated cartoons as propaganda during World War II /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0019/MQ59182.pdf.
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Su, Wen Poh. "Modeling expressive character motion for narrative and ambient intelligence based on emotion and personality." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16652/.
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Animated agent technology has been rapidly developed to provide ubiquitously psychological and functional benefits for fulfilling communicative goals. However, the character motions of most character-centered models based on pre-stored movement, finite state machine and scripted conditional logic are generally restrictive. The major drawback lies in the lack of maturity of integrating the elements between personality, emotion and behaviour. To bridge the gap between cognitive and behavioural elements, we examine the connections between human personality, emotion, movement and cartoon modeling for the agent design. Human personality and emotional behaviour are the essences in the recognition of a believable synthetic character. Personality and emotion come from the storylines and result in characters’ motions. Cartoon animations successfully engage the audience and create emotional connections with the spectators. However, even a sophisticated animator often faces some difficulties while performing a very laborious task to simulate an emotion- and personality-rich character. This thesis focuses on exploring effective techniques to extract personality and emotion features for a high-level control of character movements. A hierarchical fuzzy rule-based system was constructed, in which personality and emotion were mapped into the body’s movement zones of a character. This facilitates agent designers to control the personality and emotion of a dynamic synthetic character. The system was then applied to a Narrative Intelligent system and extended to an Ambient Intelligent environment. An innovative storyboard-structured storytelling method was devised by using story scripts and action descriptions in a form similar to the content description of storyboards to predict specific personality and emotion. As software or device agents evolve into the Ambient Intelligence, new concepts for effective agent presentations and delegating control are necessary to minimise the human’s tasks and interventions in the complex and dynamic environment. A novel customizable personalised agent framework was developed by utilising the spirit of cartoon animation to match each user’s profile in the form of a cartoon reciprocal agent. As a result, users could explicitly modify personality and emotion values to change the psychology traits of the agent, which would affect their appearance and behaviour through body posture expression. An evaluation of the system was conducted to verify the effectiveness and the applicability in both Narrative and Ambient intelligent agent frameworks. The significance of this research is that applying higher cognitive factors to animated characters can lead to a better animation design tool and reduce strenuous animation production efforts in agent designs. It will also enable animated characters to embody more adaptive, flexible and stylised performance.
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Jiang, Yuanyuan. "Full-body joint action in pedestrian road crossing virtual environments." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6441.
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The recent leaps in virtual reality (VR) technology have unleashed revolutionary potential for applications in a wide variety of areas, including education, training, psychological-therapy, etc. As part of the effort on understanding how users interact with VR, I focused on studying full-body joint action using a road crossing task which involves perception, decision-making, action, and joint action.
I have been heavily involved in the design, implementation, and construction of two large-screen, room-like stereoscopic virtual environment (VE) simulators. Using this system, I developed a three-part research plan with a series of studies to examine how people engage in full-body joint-action with a partner under three scenarios: 1. two people who are physically present in a co-occupied virtual environment; 2. one person who shares a virtual environment with a computer-generated agent (CG agent); 3. two people who share the same virtual environment remotely in physically separate places where each person is motion tracked and presented in the environment as a graphic avatar. The behaviors of participants were recorded and processed through a customized pipeline that captures important performance metrics, such as how participants pick crossable gaps and time their movements. The VE system, user study designs, and findings are introduced in this dissertation.
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Janse, Van Vuuren Michaella. "Human Pose and Action Recognition using Negative Space Analysis." Diss., University of Cape Town, 2004. http://hdl.handle.net/10919/71571.
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This thesis proposes a novel approach to extracting pose information from image sequences. Current state of the art techniques focus exclusively on the image space occupied by the body for pose and action recognition. The method proposed here, however, focuses on the negative spaces: the areas surrounding the individual. This has resulted in the colour-coded negative space approach, an image preprocessing step that circumvents the need for complicated model fitting or template matching methods. The approach can be described as follows: negative spaces surrounding the human silhouette are extracted using horizontal and vertical scanning processes. These negative space areas are more numerous, and undergo more radical changes in shape than the single area occupied by the figure of the person performing an action. The colour-coded negative space representation is formed using the four binary images produced by the scanning processes. Features are then extracted from the colour-coded images. These are based on the percentage of area occupied by distinct coloured regions as well as the bounding box proportions. Pose clusters are identified using feedback from an independent action set. Subsequent images are classified using a simple Euclidean distance measure. An image sequence is thus temporally segmented into its corresponding pose representations. Action recognition simply becomes the detection of a temporally ordered sequence of poses that characterises the action. The method is purely vision-based, utilising monocular images with no need for body markers or special clothing. Two datasets were constructed using several actors performing different poses and actions. Some of these actions included actors waving their arms, sitting down or kicking a leg. These actions were recorded against a monochrome background to simplify the segmentation of the actors from the background. The actions were then recorded on DV cam and digitised into a data base. The silhouette images from these actions were isolated and placed in a frame or bounding box. The next step was to highlight the negative spaces using a directional scanning method. This scanning method colour-codes the negative spaces of each action. What became immediately apparent is that very distinctive colour patterns formed for different actions. To emphasise the action, different colours were allocated to negative spaces surrounding the image. For example, the space between the legs of an actor standing in a T - pose with legs apart would be allocated yellow, while the space below the arms were allocated different shades of green. The space surrounding the head would be different shades of purple. During an action when the actor moves one leg up in a kicking fashion, the yellow colour would increase. Inversely, when the actor closes his legs and puts them together, the yellow colour filling the negative space would decrease substantially. What also became apparent is that these coloured negative spaces are interdependent and that they influence each other during the course of an action. For example, when an actor lifts one of his legs, increasing the yellow-coded negative space, the green space between that leg and the arm decreases. This interrelationship between colours hold true for all poses and actions as presented in this thesis. In terms of pose recognition, it is significant that these colour coded negative spaces and the way the change during an action or a movement are substantial and instantly recognisable. Compare for example, looking at someone lifting an arm as opposed to seeing a vast negative space changing shape. In a controlled research environment, several actors were instructed to perform a number of different actions. After colour coding the negative spaces, it became apparent that every action can be recognised by a unique colour coded pattern. The challenge is to ascribe a numerical presentation, a mathematical quotation, to extract the essence of what is so visually apparent. The essence of pose recognition and it's measurability lies in the relationship between the colours in these negative spaces and how they impact on each other during a pose or an action. The simplest way of measuring this relationship is by calculating the percentage of each colour present during an action. These calculated percentages become the basis of pose and action recognition. By plotting these percentages on a graph confirms that the essence of these different actions and poses can in fact been captured and recognised. Despite variations in these traces caused by time differences, personal appearance and mannerisms, what emerged is a clear recognisable pattern that can be married to an action or different parts of an action. 7 Actors might lift their left leg, some slightly higher than others, some slower than others and these variations in terms of colour percentages would be recorded as a trace, but there would be very specific stages during the action where the traces would correspond, making the action recognisable.In conclusion, using negative space as a tool in human pose and tracking recognition presents an exiting research avenue because it is influenced less by variations such as difference in personal appearance and changes in the angle of observation. This approach is also simplistic and does not rely on complicated models and templates
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Chen, Yi-An, and 陳宜安. "Animated spoke-characters applied in digital docent." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/04646980539368644394.
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碩士<br>南臺科技大學<br>數位內容與應用設計碩士班<br>104<br>In the modern, endorsement no longer limited to stars, artists. Because of the maturity of digital technology, generated the animated spoke-characters by computer technology. Animated spoke-characters is non-real person with anthropomorphic personality mostly developed with the product or brand identity.
Tour as knowledge transfer pipes are important educational resources. Personnel narrated tour needs at a particular time or in a particular field to maximize the effect.Multimedia tour can complete demonstrate knowledge of exhibits. But multimedia tour can’t move. And the effectiveness depends on multimedia tour can guide users smoothly and intuitive to use. Therefore, put animated spoke-characters into tour context, and exploring the possibility of improving the effectiveness of the tour.
So, the purpose of this research is to investigate the result of “ animated spoke-characters guided tour mode”, and propose " animated spoke-characters animation of the tour development process." This study is divided into two steps, step one was used community discuss to design and development of animated spoke-characters. Step two is animated spoke-characters for tour animation production. Take the tour site investigation and analysis, and design Script by results of analysis, then complete animation. Finally, Conduct user tests to assess learning outcomes and user satisfaction. The test results, the users learning effectiveness is generally higher, user satisfaction is slightly higher. In the user feedback, if the action of animated spoke-characters can be close to reality, it will arouse the interest of users. Finally, this research propose " animated spoke-characters of tour animation design and development process."
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Huang, Chi-Che, and 黃啟哲. "The Relationship between Facial Style and Character Personality in Female Animated Characters Design." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/83232609813915536898.
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碩士<br>亞東技術學院<br>應用科技研究所<br>102<br>This study aimed to focus mainly on the observation of female animated characters’ artistic facial style without consideration of animated characters’ body shape, facial expression and hair style. There were a total of eighty kinds of facial styles and six groups of character personalities contrasting with each other, as shown in the questionnaire.
The on-line questionnaire was designed in the study, where facial style was used to survey the facial shapes of women in the animation, and means as well as grouping ways were used to analyze shape portfolio. As indicated, there existed the strongest feeling on the portfolio as “cute” and “mature” through “round face, curved eyebrow and oval eyes” and “triangular face, short raised eyebrow and sword eye”. “Cordial” and “cold” generate the strongest feeling of portfolio through “round face, curved eyebrow and oval eyes” and “triangular face, flat eyebrow and sword eye”. “Lively” and “submissive” generate the strongest feeling of portfolio through “round face, curved eyebrow and oval eyes” and “triangular face, suspension eyebrow and oval eye”, wherein, three personalities like cute, cordial and lively are connected in the most optimized portfolio of shapes. “Anxiety” and “quiet” generate the strongest feeling of portfolio through “egg-liked face, suspension eyebrow and round eyes” and “triangular face, curved eyebrow and square eye”. “Clever” and “clumsy” generate the strongest feeling of portfolio through “egg-liked face, overall upper-raised eyebrow and round eyes” and “round face, suspension eyebrow and round eye”. “Serious” and “frivolous” have the strongest feeling of portfolio through “round face, overall upper-raised eyebrow and square eyes” and “triangular face, suspension eyebrow and sword eye”. Based on means distribution, facial style affected a small portion of character personality performance. Except for larger significance in dual ends of distribution behind “cute” and “mature”, “cordial” and “cold” in the survey, other four contrasting character personalities were close to neutrality in the facial style portfolio distribution, where only specified facial shapes were divided into two ends among the remaining of four groups of character personality.
Gender and background were elements in the variance analysis of character recognition on the facial style, where the results showed that they were identical on cognitive aspects of character personality; however, additional design background would strengthen degrees to identify the character personalities. Among genders, females did not show more significant degrees in the facial style identification than males; however, feelings about the cognitive character are the same. Therefore, featured shapes could be added to increase variance of cognition in the expressions of facial style. The findings could enable animators to make application in the character design, and could strengthen character expressions as well as degree of recognition any viewer would have on the display of facial style
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Monteiro, Tiago João Ramos dos Santos. "Conflicting relationships between two non-antagonistic animated characters." Master's thesis, 2014. http://hdl.handle.net/10400.14/18148.
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The purpose of this dissertation is to gain a deeper understanding of the relationship between two non-antagonistic characters in Animation, and the impact it can have in the unfolding of the narrative and the transformation of the two characters. Its purpose is also to invite scientists, artists, and the reader, to further consider this subject as part of the creative process of storytelling, similar to the case of an individual character.
This dissertation will explore historical-technological and scientific studies, as well as films and television series, which will serve as examples of conflict between two non-antagonistic characters. This research will allow the author to gather signs of what this particular kind of conflict and group of characters adds to movies and series—namely animated ones, in order to complement the focus of the course taken by the author.
At the end of this dissertation, a case study is made with the final project produced during this course, A Helping Hoot. This short film, which contains a narrative driven significantly by the conflict caused by the interactions between the two main characters, serves as a platform to apply the gathered information whenever relevant to the theme. The intended result is to help raise more awareness of the particular possibilities for storytelling brought by narratives driven by the conflict between two non-antagonistic characters.
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Huang, Yu-Chen, and 黃于真. "A study on Advertising Effectiveness of Animated Spokes-Characters." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/3yhgjk.
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碩士<br>朝陽科技大學<br>企業管理系碩士班<br>94<br>The former scholars usually put their focus on the research of the celebrities, the experts, the CEO, and the typical consumers, but only a few scholars would choose to discuss the connection about the spokesman''s source credibility and attractiveness with the animated spokes-character. However, Garretson ＆ Niedrich (2004) firstly made an empirical examination of the relationship between specific spokes-character features and brand attitude. Since the applicability may vary in domestic cases, it initiates the motivation with this topic.
This research mainly focuses on the advertising effect of animated spokes-character and the involvement concept of purchase. From the first pretest, we got Datong Baby and Kuai Kuai as our research objects, and then focus on the characteristic attraction, nostalgia, and trustworthiness from the formal questionnaire investigation. We use Structural Equation Modeling to discuss the advertisement communication effect (advertising attitude, products attitude, brand attitude) and to see the relationship between the purchase intention and the animated spokes-character.
These findings confirmed that characteristic attraction, nostalgia, and trustworthiness will bring positive influence on consumers’ likeability since likeability mediates as one important role in the advertisement communication effects along the effects of animated Spokes-character. However, it seemed that the purchase intention of product does not always positively follow with the advertisement communication effect. The corporate should put the demands of the products and brand among the spokes-character for achieving better promoting activities to relatively increase consumers’ purchase intention.
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Hibbeler, Britney L. "Exploring Representations of Masculinity in Disney Animated Feature Films." 2009. http://hdl.handle.net/1969.1/ETD-TAMU-2009-08-7023.
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The purpose of this research project was to examine representations of male characters and masculinity in Disney animated feature films. Social learning theory, gender and hegemonic masculinity were used to theoretically frame this study. Twenty-two movies were examined; a total of ninety-one characters were included in the analysis. The movies included in the sample were produced between 1930 and 2007. This study sought to examine the dimensions of character descriptions, physical descriptions, socioeconomic status, sexuality, family structures and practices, and aggression as well as to understand how constructions of masculinity in Disney films changed over time.
The results of the present study regarding character role indicate that good characters were most often middle aged, slender and fit but not muscular, single, royalty, and had community as family. They were most often heterosexual, equally likely to be romantically involved as to be not romantically involved, were sexual in nature, and were most often the victims of physical aggression.
Evil characters were most often middle aged, slender and fit but not muscular, single, royalty, had community as family, and were well dressed. Evil characters were most likely to trap other characters and to steal.
Neutral characters were most often old/elderly, overweight and not muscular, and were most often employed as inventors, royalty, and diamond miners. They were also most often single and to have community as family.
The results regarding character centrality indicated that central characters were most often white, slender and fit but not muscular, single, middle aged, showed physical strength, and were well dressed compared to peripheral characters. Central characters were heterosexual, romantically involved, sexual in nature, engaged in hand to hand fighting, and engaged in social isolation and name calling.
Peripheral characters were most often white, slender and fit but not muscular, single, and also more likely than central characters to be old/elderly.
For the analysis of masculinity across time, it was found that the types of masculinity shown in Disney films did not match with hegemonic masculinity historically. Overall, the most common theme of masculinity that was observed throughout all decades was the fatherhood movement.
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JIANG, BING-SHIAN, and 江秉憲. "Study on Physiognomy and Personality of Characters in Animated Short Films." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/vu47gx.
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碩士<br>國立雲林科技大學<br>視覺傳達設計系<br>106<br>With the upgrading of digital media technology and the increase in the number of students of the digital media science department in universities and colleges, the number of animation creators is also on the rise year after year. The characters accurately convey the story plots and the charm of their roles to the audience is the core purpose of the animated creator making the animation. A character must have physiognomy and appearance in consistent with the plots setting, and then the character personality can be accurately conveyed, To sum up, the research purpose in this study include: 1. Knowing what personality types of characters in animated short films; 2. Knowing the facial features of characters with different personality; 3. Knowing the correlation between the facial feature and the personality of characters.
Part of research methodology, this study divided the personalities of characters in animated short films into 8 typical types and the facial forms into 7 types. Using the focus group interview, the corresponding relationship between personality and facial form was discussed. Afterwards, 30 testees were invited by purpose sampling to allocate the five sense organs to the eight typical types of personalities through the character creation system. The data acquired were then used for one-way analysis of variance.
The research finding showed that The facial forms fitting for the personality of leading characters include heart face shape, rectangular face shape and square face shape; the facial forms for amiable characters include oval face shape and round face shape; the facial forms for adventurous characters include diamond face shape, oval face shape, pear face shape and round face shape; the facial forms for peacockish characters include heart face shape, diamond face shape and rectangular face shape; the facial forms for reserved characters include rectangular face shape and square face shape; the facial forms for modest characters include rectangular face shape , oval face shape, pear face shape and round face shape; the facial forms for apathetic characters include rectangular face shape; and the facial forms for melancholic characters include diamond face shape and pear face shape. The most predominant facial part of the leading characters was the brow angle; the amiable characters, the mouth shape; the adventurous characters, the brow angle; the peacockish characters, the upper lip and mouth shape; the reserved characters, the nose tip width and mouth shape; the modest characters, the mouth shape; the apathetic characters, the eye size, nose tip width and upper lip; and the melancholic characters, the brow angle. The conclusion and suggestions can be provided as the reference for animated character design.
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WANG, YA-CHUN, and 王雅君. "A Study on the Customer Preference of Animated Spokes-Characters for Enterprises." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/51974273804218815313.
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碩士<br>玄奘大學<br>國際企業學系碩士班<br>99<br>In today’s keenly competitive markets, advertisement has become an indispensable and important tool in which spokesperson even plays a role of soul. A business could take advantage of popularity and expertise of their properly selected spokesperson to attract the attention from customers and create best performance in sales for entire company or brand. However, because a real celebrity spokesperson does have unpredictable risks, many enterprises have used animated spokes-characters instead for advertisement and promotions. Through case interviews, this research tried to explore customer’s preference and views of animated spokes-characters for the businesses. The results found that based on the preference of target customer tiers, a company could choose or self-created an appropriate spokes-character to create differentiation among similar products, enhance customer identity and purchase intention and bring diverse business opportunities.
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Li, Pei-Ying, and 李佩穎. "The Research of Marketing Strategies for Animated Characters-A Case Study of Pixar." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/cbab8g.
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碩士<br>國立臺灣師範大學<br>圖文傳播學系<br>106<br>At present, in the application of animated character, with the technological progress and popularity of multimedia development and use, the diversified applications of animated characters had been different from the traditional trend of development. This study attempted to expand the animated characters analysis project, from the marketing strategy to explore how Pixar constructed stories and characters. This study analyzed how Pixar played the animated character's unique role in the animated story, and combined the story with character design. This study was illustrated by the following three theories: First, in the animated character development, how should an enterprise plan the marketing strategy. The enterprise brand established a unique and valuable content marketing, through the Diamond System strategy overview the planning factors, from the story character elevated to a valuable animated character. Therefore, the enterprise must established the practice of marketing strategy, to transform and enhance the value of application of the animated characters, which was the focus of this study. This study analyzed the advancement process of how Pixar adjusted and modified the marketing strategy. We then combined the theoretical framework and case study to achieve the results of the study. This study found that the advantage of animated features and the implementation of the relevant marketing strategy were the key features of the Pixar animated character. Enterprises had competitive strengths, and worked together to integrate marketing strategy, through the long-term cultivation of talent, it was able to develop the value and creativity. In the future, we can further explore and deepen the representative animated characters in Taiwan, so as to promote and create new market value.
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Chiu-YuLin and 林秋宇. "A Study of the Collecting and Consumption Values of Animated Characters Accessory Products." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/03857121965710096706.
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Tsao, Ching-Ju, and 曹靜茹. "The Advertising Effect of Animated Spokes-characters-Involvement and Cognitive Style as Moderator." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/uc46p7.
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碩士<br>銘傳大學<br>管理研究所碩士在職專班<br>97<br>Animated spokes-characters have appeared in numerous promotion campaigns throughout in recent years. Animated spokes-characters can avoid the risk of real spokespersons. Therefore the application of animated spokes-characters is more popular in commercial advertisement. Many spokes-characters studies confirm the type of endorser will affect advertising effect. This study aimed to find the influence of advertising effect with difference kinds of animated spokes-characters. When consumer has different involvement with ads and cognitive style, the consumer will react in various information-searching actions and decision-making processes.
The Independent Variable of this study aims the type of animated spokes-characters (human-like, animal, fantasy, transformation of products). Two Moderator of this study are involved the level of involvement with advertisement (high and low) and consumers cognitive style (rational and experiential). Dependent Variable is advertising effect (ads attitude, brand attitude and purchase intention).This study collected 446 samples and use ANOVA to analyze the data. The research result is as follows: Different type of animated spokes-characters will influence advertisement attitude, brand attitude and purchase intention. The involvement with ads has the moderating effect between the different types of animated spokes-character and advertising effect; however different cognitive style of consumer hasn’t.
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young, chang-chao, and 張朝陽. "Application of 3D Morphing Techniques on the Facial Expressions of Computer Animated Characters." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/63565549508694735235.
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碩士<br>國立臺灣科技大學<br>設計研究所<br>96<br>Abstract
When the general public watches movies, most of inducements of emotional reactions obtained are from actor performances. Backdrops and sound effects, on the other hand, carry far less emotional messages. However, whether characters in movies are actual persons or virtual roles, performance of facial expression is still the primary method to provide the most messages to audiences. Due to the fact that animation has been improved and was in mass production for decades, the requirements for virtual roles’ emotion expressions are more fine and delicate. When animation makers create facial animation, they need to gather a considerable amount of data related to facial expressions as reference, and this production process requires the consumption of large quantity of time cost.
This research uses the morphing technique and theorizes that characters’ facial expressions contain the purest “elements,” which assumes that there are nine models of human fundamental facial expressions: sadness, grieve, anger, surprise, hatred, scorn, happy, laughing, and fear. After defining these nine fundamental facial expressions, we can use 3D Graphics Software Maya to compose 3D models, and use Virtools Software to create an operable simulation interface which comprises of two controllable areas: (1) control of display area, and (2) control of operation area. A user can use the simulation interface to adjust angles of models in the display area and to control variation of fundamental model models in the interpolated value by using the operating area. At least one single fundamental facial expression in the morphing degree can be accomplished through samplings of simulation interface, and up to nine parameters of fundamental facial expression can be operated. Also, models in the display area can immediately show results after morphing. We hope these methods and ideas can rapidly and precisely provide more reference data during animation process.
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黃于倩. "A Study of Chinese Style Animated Characters Design - “Journey to the West” as an Example." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/58447350455525257252.
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碩士<br>國立臺灣藝術大學<br>多媒體動畫藝術學系碩士班<br>99<br>Animated characters are the soul of the whole animation. There are not only the roles of people’s psychological projection, but also a great meaning of cultural-inheriting. Despite animations adapted from Chinese culture and legend had not decrease in the recent years, it is often considered stale and boring. The reason to that is because it is criticized as imitations from America or Japan, making it a loss of national uniqueness and a barrier to break through character prototype.
The goal of this study is to discover the innovative element of character design. First, this research defines five elements of the characters’ combination included of "facial feature, personality, modeling, clothing and color and style". And analyzing the East and West culture, identity and historical differences has the effect on characters design. This research adopts "experimental method" to design three different styling animated characters of the "Journey to the West". By collecting the experimental result statistics and analysis from questionnaires expect to identify both of an innovative style and heritage cultural characteristics of Chinese style character design. The results show that the design characteristics can increase the audience's preference and identity.
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Kuo, Ling-Miao, and 郭玲妙. "How Animals Are Portrayed In Miyazaki Hayao,s Animated Films And The Creating Of Characters." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/73176523006474561872.
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碩士<br>崑山科技大學<br>視覺傳達設計研究所<br>102<br>This paper is research of the animals positioned and expressions in the script from various animated movies. It contains background, personality, anthropomorphic-way, exhibit feelings, the body-language, appearance, the character in the story as a metaphor for something or implied meaning, with the interaction of species and between different species, according to information provided by the movie, it can let us guess why the creation, reference materials, and trying to tell us something.
In the world, Anthropomorphic animal movies have very much, like“ Tom and Jerry”, “Winnie the Pooh”,” Mickey Mouse”,” Rio”,” My Neighbor Totoro” , etc., The most famous is Hayao Miyazaki's films, which is very lively expression and thinking about that what the authors would like to tell us after watching the movie. Therefore, this study chose the facial expressions and movements of animals in Hayao Miyazaki animation as the main discussion and study. Find relevant track in the animation and the track can be take as reference and basis before the creation.
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Chou, Wan-Hsuan, and 周萬璿. "A study on Advertising Effects of an Original Animated Spokes-Characters -Brand Evaluation as a Moderator." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/qmvvxp.
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碩士<br>東吳大學<br>企業管理學系<br>96<br>Applying a spokesperson or an endorser to communicate with consumers is a popular way of the advertisement, and many academic research and business practices had also confirmed that a spokesperson could make advertising effects better. Recently, many corporate design original animated spokes-characters, and these popular characters could also improve advertising effects and operating performance.
In fact, there are many different kinds of original animated spokes- characters in television advertisement, but only some ones have better effects. Therefore, which form of animated spokes-characters could bring better advertising effects at all may be interesting. Additionally, brand evaluation is also an important element of influencing advertising effects in many research references, so this research considers brand evaluation as a moderator to discuss further whether higher or lower brand evaluation will affect advertising effects of animated spokes- characters.
By pretest investigation, this research finds the representatives of animated spokes-characters with four attributes, including expertise、relevance、nostalgia and attractiveness, and the representatives with different brand evaluation(higher is NOKIA and lower is OKWAP). To give and receive questionnaires afterward, this research begins relative analysis and discussion.
These research findings confirmed that, animated spokes-characters with different attributes have significantly different advertising effects for consumers. Additionally, the character with an expertise attribute will have better advertising effects than the other ones, and relatively the worst one is nostalgia. Furthermore, brand evaluation does not affect advertising effects of animated spokes-characters obviously. And no matter how brand evaluation is, the character with an expertise attribute has better advertising effects as usual. In consequence, for a corporate in charge of designing these characters, it could directly adopt the suggestion of this research to choose the expertise attribute to gain expected positive effects without taking the brand evaluation into consideration.
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CHOU, SHU-PING, and 周淑萍. "The Impact of Animated Spokes-Characters on Brand Image, Travel Attraction and Travel willingness in Tourism Factory." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/2vum88.
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碩士<br>世新大學<br>觀光學研究所(含碩專班)<br>106<br>In 2003, the government started to transform the traditional industries into tourism factories that combined tourism, industrial culture, and education. It successfully attracted people and became one of the most popular recreational activities. In 2008, the government stipulated that all tourism factories should have a “mascot design” as an evaluation item, which required the dedicated spokes-characters.
This study would propose how consumers’ cognition of spokes-characters to affect the relationship of brand image, travel attraction, and travel willingness. The main subjects are the general consumers and apply the purposive sampling, through Google online questionnaires for surveying. From May 11 to May 18, 2018, 430 valid questionnaires had been collected for data analysis. The results show that consumers’ cognition of spokes-characters positively affects brand image and travel attraction. The brand image of tourism factories and travel attraction positively affect consumers’ travel willingness.
People who in this field can take advantage of their own story spokes-characters for marketing. Apply the images in their official websites , increase credibility and interaction, comp official Line stickers, and join the city marketing to enhance the brand image and travel attraction ,and increase travel willingness of tourism as well.
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Huang, Ruei Fong, and 黃睿烽. "Creation Description of“The Long and Winding Road”The Combination of Gothic Style and the Animated Characters." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/84869743262526919916.
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碩士<br>國立臺灣藝術大學<br>多媒體動畫藝術學系動畫藝術碩士班<br>102<br>Character is the most important part in an animation work. It is a spiritual self-reflection of the director. Through the characters, the director speaks out his thoughts and ideas to the audience. This work try to reveals the event- the commercial seal-hunting in Canada- in the real world. The designation of gothic-styled characters in this work intend to depic another point of view on this seal-hunting events.
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Ribeiro, Pedro do Rêgo. "Voodoo : a system that allows children to create animated films with action figures as interface." Master's thesis, 2011. http://hdl.handle.net/1822/27838.
Full textAbstract:
Dissertação de mestrado em Engenharia de Informática<br>Using any kind of dolls as a tangible interface, has the potential to provide a friendly and
easy to learn interface that allows children to control virtual characters in a more intuitive
way. The research effort in this domain has been motivated by the shortcomings of conventional
interfaces, typically mouse and keyboard, which in this context are neither compelling
nor do promote immersion.
This dissertation focuses on the design and evaluation of a system which can interpret the
behaviors that children give to a doll in order to provide this behavioral information to the virtual
characters. With this system, the user (children) gets the role of movie director, directing
virtual characters through this natural form of interaction. This dissertation aims to evaluate
the hypothesis that dolls behaviors recognition based on the context of a well-known story,
may enhance the ability of children in the creation of an animated film (virtual characters
animations). Unlike many approaches that use a direct mapping of the doll movements to
the virtual character, it is intended to test the mapping based on the crosses between, user
behavioral intention, and the context where the doll it is inserted (the role and the location
of the character in the story). The results show that the concept of interaction proposed to
empower the children with a way to create animated films is actually very intuitive and easy
to use. However, due to the technology used, it was not possible to assess to what extent
this concept really empowers children to easily and joyfully create animated films.<br>A utilização de qualquer tipo de boneco como sendo uma interface tangível, tem o potencial de oferecer uma interface fácil de usar e mais amigável. Isto permite as crianças o controlo de personagens virtuais de uma forma mais intuitiva. O esforço de pesquisa nesta área tem sido motivado pelo facto de os utilizadores não possuírem numa interface convencional uma forma imersiva e intuitiva para interagir.
Esta dissertação foca-se na construção e avaliação de um sistema que consegue interpretar os comportamentos que uma criança dá a um boneco no sentido de animar um personagem virtual. Com este sistema o utilizador (criança) assume o papel de um realizador de cinema, dirigindo e dando ordens aos personagens virtuais através de uma forma de interação especifica. Nesta dissertação pretende-se avaliar a hipótese de que o reconhecimento dos comportamentos de um boneco baseado no contexto de uma historia conhecida, pode potenciar a capacidade das crianças na interação e criação de filmes 3D (animação de personagens virtuais). Contrariamente a várias aproximações que usam o mapeamento direto dos movimentos do boneco para o personagem virtual, pretende-se neste trabalho testar o mapeamento baseado no cruzamento entre, a deteção da intenção do utilizador, e o contexto onde o boneco está inserido (o papel e localização do personagem tendo em conta a história). Os resultados demonstram que o conceito de interação proposto para capacitar as crianças com uma forma de criar filmes de animação é realmente muito intuitivo e fácil de utilizar, no entanto devido as tecnologias utilizadas não foi realmente possível avaliar até que ponto este conceito realmente potencia a capacidade das crianças para que de uma forma divertida consigam criar filmes de animação.
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Ma, Hsin-Chen, and 馬新程. "A Study of the Setting and Operation of Humerous Characters in Animated Films─Using “The Triplets of Belleville” as an Example." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/2qgpzs.
Full textAbstract:
碩士<br>臺中技術學院<br>商業設計系碩士班<br>98<br>Bestselling animations are always amusing. To offer amusement to audience, sufficient use of humor is essential. Animation humor should be reflected on both styles and interactive behaviors of characters. This study attempted to investigate how humor is developed in the setting of a single character and interactions between characters. First of all, this study clarified the discourses in the area of humor study. The discourses were defined and clarified, and theories including the Psychology of Humor, Enneagram of Personality, Social Psychology, and Semiology of Graphics were analyzed to induce a model of setting humorous characters. This model consisted of steps including (1) plan the personality and positive/negative traits of the character; (2) analyze the stereotypes of the personality traits; (3) choose to adopt the extremes of or subvert personality traits in development of characters; (4) use symbolic meanings to shape the appearance of characters. Through the above process, a humorous character could be shaped. The above was the first section of this research.
The second section of this research was to investigate how humorous characters present the effects of humor in narrative stories. Based on the Contradiction-Resolution theory, dramatic narrative structure, Psychology of Audience, and visual and audio languages, this study induced the operating model of humorous narrative stories, which consisted of the following steps: (1) set inconsistencies; (2) explain the characters, events, locations, and objects in the story and try to mislead audience; (3) the audience develops implicit propositions and anticipations of the plot development; (4) the characters show key behaviors that are inconsistent with what the audience has anticipated; (5) the audience retraces their propositions through inference, compares the inconsistencies with the plot development, and re-considers visual rhetoric, visual and audio language, through which process the humor of characters in narrative stories is presented. Finally, this study employed “The Triplets of Belleville” as an example to validate the proposed models and found that humor development in this animated film matched the proposed models.
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Wang, Yao-Ting, and 王耀霆. "The study of animated characters’ marketing & consumer behavior: A case study of IRON MAN from the movie of Avengers in Shanghai." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/3924r9.
Full textAbstract:
碩士<br>世新大學<br>傳播管理學研究所(含碩專班)<br>102<br>This study suggests thatthe image ofthe Avengersshapesthe current technology as well as social development and progress. The image is not just a single situation to satisfy people’s life or sprit, but also derives the heroism that USA can maintain the peace of the world.
Those super heroes were characterized to reflect the turbulent and intranquil era of USA. A series of turbulence, lasted over half of a century, includes the Great Depression, World War II, the rise of McCarthyism, African-American Civil Rights Movement, the student movement, the Cold War, Vietnam War, and the space race. That is to say, the above backgrounds are the reasons to necessarily create so many heroic characters at that time.
This study mainly focuses on how the marketing module of the Avengers and one of its members, Iron Man, influences consumer behavior. It is concluded 14 points as follows:
(1)The preference of animation characters and the purchasing desire on the related merchandise for students are much higher than those for white collar.
(2)The student is very fond of imitating the voice or action of animation characters. It other words, it would effect on students dramatically with the marketing module of the voice and action from animation characters.
(3)The purchasing power of students is significantly less than white collar.
(4)The brand building of animation characters for white collar is still insufficiency and that should be valuable to create. Besides, students prefer the playing and functional merchandise, and white collar pays more attention on customer services.
(5)Compared to white collar, students are easier to be affected in their behavior by the action or personality of animation characters.
(6)Students purchase merchandise is for interest and white collar is for gift-giving. Briefly, the small or cheap goods are to mainly focus on the fun, but large or expensive items are to target on the gift market.
(7)The familiarity and cognition of students and white collar for Iron Man is fairly consistent with Captain America.
(8)The majority of interviewees have good impression on the characters of the Avengers because of movies, comics and advertisements.
(9)The percentage of purchasing the related merchandise of the Avengers for students is higher than it for white collar.
(10)The appearance or limited display or marketing module is the essential factor to stimulate the purchasing impulse of students. To pursuit fashion and to establish brand reputation are also very important causes for their purchasing motivation.
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Liu, Chia-Yang, and 劉家揚. "Emotion expressiveness of animated character's body movement." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/72009861763444590955.
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碩士<br>國立政治大學<br>心理學研究所<br>99<br>AbstractBody movement is one of the ways to express emotion. The purpose of this study is to explore the effects of movement quality and body direction on the emotion expressiveness of body movement. Referring to some previous studies, four kinds of emotion (anger, fear, happiness and sadness) were included in the present study. Five movement qualities (smoothness, stiffness, speed, strength and expansion) and three body directions (0 , 45 and 90 ) were manipulated as the independent variables. Response accuracy and reaction times of an identification task and rating scores of the emotion rating task were measured as the dependent variables. There are two experiments in this study which includes two sub-experiments each. One of the sub-experiments adopted non-propositional body movements as stimuli (Experiment 1A & 2A), and the other adopted propositional body movements as stimuli (Experiment 1B & 2B). Experiment 1 aimed to explore the effect of movement qualities. In Experiment 1A, movement quality combinations which can express each of the four emotions were found. Based on this result, in Experiment 1B, movement quality compatibility was manipulated. The results of Experiment 1B confirmed the effect of movement quality compatibility on emotion strength in non-propositional body movement. Experiment 2 manipulated five movement qualities and three body directions. The results showed that when body direction was compatible with the approach-avoidance motivation of the expressed emotion, participant’s performances on response accuracy, reaction times and rating scores were better than that of incompatible ones. In conclusion, both movement quality and body direction can influence the emotion expressiveness of body movement. When movement qualities and body directions are compatible with the expressed emotion, the strength of emotion can be increased. But the relative contributions and the interaction effect of movement qualities and body directions are still unclear. Keywords: emotion expression, approach-avoidance motivation, body movement, movement quality, body direction
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Chang, Chun-Chih, and 張鈞植. "The Influence on Advertising Effectiveness and Purchase Intention of Animated Spokes-Character Characteristics." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/74908574993153971567.
Full textAbstract:
碩士<br>朝陽科技大學<br>企業管理系碩士班<br>98<br>Typical advertisements (advertisement with endorsers) spokesmen are generally experts, entrepreneurs, typical consumers, and celebrities—the most common one among the four types. The risk of celebrity endorsement, however, has become one of the main reasons why many industries choose animated spoke-characters as an alternative medium for communication. Hence, how to create a well-liked animated spoke-character to deliver the entrepreneurship has become a new challenge for the industries. What kind of features an animated spoke-character should be equipped with to catch the attention of consumers? Do these features actually stimulate their purchase intention? This research is motivated to find the answers.
The core of the research is the study of the influence of animated spoke-character features on advertising effectiveness and the influence of advertising effectiveness on purchase intention. Factors such as generation diversity, involvement degree and types of animated spoke-character will be covered in the discussion as well. The pre-survey questionnaire selected four types of animated spoke-character in accordance with high and low involvement degrees; fictitious human, animal, mythical, and product personification, thus the design of questionnaire for the eight animated spoke-characters is completed. The data collected will be studied by analysis of variance and multiple regression to explore the connection between the animated spoke-characters and the variables.
The results show that the persuasiveness of a low-involvement product is better than the high one and that no matter what involvement degree the product is, the human-typed animated spoke-character is the best consumer-attention getter, especially when it makes the consumers in the mood of retrospection. Moreover, ad acceptance of the female is higher than that of the male, and indeed, animated spoke-characters attract the consumers. Nevertheless, better ad performance does not create better purchase intention. Purchase of a product hinges on the brand and the product itself, after all.
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Chien, Miao-Fang, and 簡妙芳. "Study into the Feasibility of Norms in Genie Character Design in Animated Films." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/03281292912563579802.
Full textAbstract:
碩士<br>國立臺中技術學院<br>商業設計研究所<br>96<br>Character design comes at the preliminary stage in the production process in animation, and plays a key role in any successful animation. Genie characters are a product of imagination and represent archetypes of good and evil. They are also an essential element in an attractive story or plot.
Using personality science, Enneagram of personality, and narratology, this research summarizes models of appearance design of “ordinary characters”:
1. Planning the actions that the characters may take in the narrative structure of the plot;
2. Generalizing the characters according to the nine personality types of Enneagram of personality; and
3. Using theories of personality science, based on character personality set previously, to determine the appearance of the ordinary characters.
Proceeding from the above, a further exploration of genie characters is made. In contrast to ordinary characters, genie characters involve additional factors such as cultural background and symbolic significance and possess abundant narratives and cultural codes. On the basis of “ordinary character” design, this paper analyses the operation of genie character design in animation in accordance with the sociology of fashion and bundles of relations in mythology, and uses augmented theories from semiology to infer reference norms in genie character design:
1. Using cultural elements and subjects familiar to main audiences so that viewers can easily get into the story;
2. Adding elements that are connected to current social phenomenon or issues in an analogy approach, to produce sympathetic responses;
3. Designing genie characters’ “functions” in the plot; and
4. Applying the underlying cultural implications and connotations of the genie characters onto their appearance design, as to reinforce messages carried by their appearances.
Last, as supporting evidence, three case studies are carried out based on three animated films of different cultural and social backgrounds in which representative genie characters can be found. They are Spirited Away from Japan, Nezha Conquers the Dragon King from China, and Shrek from the United States.
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林曉筠. "Through Symbolism to analyze the Semiotic Approach of Spokes-Character in Animated Advertisement." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/83499051907951076808.
Full textAbstract:
碩士<br>國立臺灣師範大學<br>設計研究所<br>95<br>In recent years, the competition that item are on sale throughout the market is becoming fiercer, the enterprise, in order to make the goods and brand image to go deep into the will of the people, the enterprise uses of the cartoon modeling as a spokesman, shaping personages, use various kinds of techniques of expression to make the spokes more lively, and then throw the characteristic of the products among them. It implies special meaning with incantation of the advertisements. The consumers can make the spokesman’s image melt into enterprise and product, and the symbols have special means by the advertisement. Cartoon advertisement marketing can attract consumers in order to help enterprise's system even more, this research sums up and provides the systemic design step, analyze through documents at first that collect art designs, propagate advertisement studying type, marketing thesis and periodical, and design the seminar thesis, such materials as enterprise's websites, etc., we can know the marketing technique, shape model, and it is important that use symbols in the animation advertisement by Documental Analysis. Furthermore, to analysis advertising copy, image and attribute in spokes-character by the Semiotics in Discourse Analysis. These inferences make we know the creativity ponder and relation between spokes-character and animation advertisement. It doesn’t discuss esthetics and manifestation in depth after analyzing the image by Semiotics. Cause the deficiency of the design method, strengthen aesthetic intension, and the difference on culture of comparative Sociology after this, enable designer to create out the spokes-character's. The designer can conform to enterprise that fast to create advertisement about spokes-character.