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1
Taylor, Ty. "Compression of Cartoon Images." Case Western Reserve University School of Graduate Studies / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=case1301319148.
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Han, Kyoung-Hee. "Cartoon imaginations." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1328808044.
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Staben, Julia L. "The Cartoon Effect: Rethinking Comic Violence in the Animated Children's Cartoon." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1532695541735552.
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Crowell, Matt. "THE BEST PLACE FOR CARTOONS: CARTOON NETWORK AND THE SILVER AGE OF AMERICAN ANIMATION." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1601.
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Cartoon Network is identified by animation scholars as a crucial point in the resurgence of animation in the 1990s termed the “Second Golden Age”, or as I term it, the “Silver Age”. The reasoning for this semantic shift is that this new age, as typified by Cartoon Network, draws heavily off of the golden age that preceded it. This, in fact, comprises Cartoon Network's primary mode of address. By creating a timeline of early Cartoon Network, I show that they used animation history to create an audience that was activated both nostalgically, through animation they saw as a child, and critically, by having that animation curated for them in carefully planned ways. This engaged the audience, not just as a passive viewing group, but as a critically active one. This audience was then used by the network to screen their original programming through The What-A-Cartoon! Show, a collection of shorts that the network was considering for turning into full 30-minute shows. This exchange between creator and audience mirrors modern digital content creation and distribution. Seibert is still engaged in creation in this new environment, and his model has changed to also include the audience in the funding of animation through crowdfunding sites, bypassing the network entirely. By tracking early Cartoon Network through this modern crowd-supported animation model, we can see that Cartoon Network, and animation and business practices to arise from it, are responsible for a large portion of what makes the Silver Age of American Animation so vibrant and interesting.
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Girometti, Laura. "Automatic texture-cartoon image decomposition." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amslaurea.unibo.it/24486/.
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La decomposizione di un'immagine nelle sue componenti più significative, come la struttura, la texture e il rumore, svolge un ruolo chiave nel poter processare al meglio l'immagine stessa. L'obiettivo di questa tesi è di proporre un modello a due fasi per decomporre un'immagine in tre componenti, ovvero cartoon-texture-rumore, utilizzando un approccio variazionale, che consiste nel minimizzare un funzionale costituito da più termini energia, ognuno adatto ad estrarre una specifica componente, bilanciati da diversi parametri. Lo scopo è riuscire a meglio separare la texture dal rumore, data la natura oscillante di entrambe le componenti che le rende difficilmente distinguibili. Inoltre, viene proposto e analizzato numericamente un principio di cross-correlation per settare automaticamente il parametro che bilancia i termini nel funzionale energia, data la sua influenza sulla qualità della decomposizione finale.
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Winchester, Mark David. "Cartoon theatricals from 1896 to 1927 : Gus Hill's cartoon shows for the American Road Theatre." Connect to resource, 1995. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1263910411.
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Lim, Cheong San. "Christian education utilizing cartoon & animation /." Free full text is available to ORU patrons only; click to view:, 2003. http://wwwlib.umi.com/cr/oru/fullcit?p3112969.
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Applied research project (D. Min.)--School of Theology and Missions, Oral Roberts University, 2003.<br>Includes abstract and vita. Translated from Korean. Includes bibliographical references (leaves 221-230).
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Gardiner, Michael John. "Area-based vectorisation of colour cartoon images." Thesis, University of Kent, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497536.
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Cartoon images are often stored as pixel-based, raster data. This format is not the most appropriate for representing cartoon images that are initially drawn as geometric areas of colour. Raster images cannot be scaled without creating pixelisation artefacts and modification of such images must be performed pixel by pixel. A vector-based representation is a more suitable format for storing cartoon images. This thesis investigates a novel process for converting colour raster images into colour vector images. The process has been refined to facilitate the conversion of colour cartoon images, natively stored as raster data, into a scalable vector representation consisting of areas of uniform colours. The process is composed of a number of stages which are reviewed in some detail. These include; colour quantisation, colour decomposition, shape outlining, path tracing, path simplification, rendering and storage. An investigation into the use of colours in different types of images has been performed and used to improve the colour quantisation stage of the process which was noted to be problematic. Using the enhanced colour quantisation scheme together with additional novel optimisations an efficient colour area-based vectorisation system has been produced. The system has been extended to process multiple sequential images to support efficient conversion of cartoon video sequences into scalable vector animation. The developed colour area-based vectorisation system has been applied to a database of raster cartoon images. The generated vector representation is shown to offer a number of benefits including reduced storage requirements, the ability to render at higher resolutions without creating pixelation artefacts and simplified image manipulation for future modifications.
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Suby, Carl. "Representative Biodiversity: The Ecosystem of Cartoon Network." Chapman University Digital Commons, 2019. https://digitalcommons.chapman.edu/film_studies_theses/4.
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As a capitalist organism the television program, as explained by Todd Gitlin, uses its slant to sell itself to advertisers with similar leanings on contemporary social issues to maintain its flow of revenue. However, this concept of slant does not account for the broader network, which, like the singular program, cultivates a catalog of programming into a singular slanted message becoming an ecosystem of shows relying on each other to maintain viewership. The successful televised ecosystem will then be home to programs who enjoy long runs and display an easily recognized shared slant. As an example of the televised ecosystem, this thesis explores seven animated programs from Cartoon Network including The Marvelous Misadventures of Flapjack,Regular Show, Adventure Time, The Amazing World of Gumball, Steven Universe,We Bare Bears, and Craig of the Creek.Recognizing the programs ranging in release from 2008 to 2018, Cartoon Network’s ecosystem is highlighted for its evolving display of progressive representations of race and gender and presenting them to a child audience.
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Cox, Carole A. "Narrative through cartoon : a study in visual drafting." Thesis, University College London (University of London), 1998. http://discovery.ucl.ac.uk/10019142/.
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This study is designed to explore the use of visual images In combination with the teaching of narrative In the classroom. The theoretical background establishes the need for different modes of thinking to create the optimum conditions for the development of metacognition. Ideas concerning the relation of children's drawing to their overall cognitive growth are drawn from Bruner, Vygotsky, Lambert-Brittain and Freeman. More recent research by Cross and Balchin and Coleman into the role of graphicacy in conceptualising and the development of logico-spatial thinking suggests that without a proper visual education children could lack effective visual-verbal interactive possibilities for promoting certain verbal modes of thought. Metaphor, given its visual component, is seen as key to language development. The exploration of creative metaphor and "abstractive seeing" lead to the work of Paivio and Osgood which demonstrated how dual coding allows the abstract to be concretized by metaphorically linked 'mediators' - images. Gombrich's distinction between knowing and seeing was precursor to a discussion of recent theories of perception. Bruce and Green concluded that perceptual learning is an increase in specificity - features of which can be seen in many of the children's texts. The gathering of data followed a cyclical, action research pattern, having three main stages and going cross-phase with an age range of 10-13 years. The first two samples were from Year Eight cartoons and writing. The second stage was a more general exploration of Year Sb work while the third used samples from a top band Year Eight English group. This comprised a more structured experiment involving selection of candidates and further development of the analytic method with two types of sam ple taken; one selected and one random. The main concern was to examine transference of detail and the development of metacommunicative ideas through the visual-verbal interaction.
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Man, Kam-hung Ricky. "Cartoon Production Centre an urban channel to fantasy world /." Click to view the E-thesis via HKUTO, 1996. http://sunzi.lib.hku.hk/hkuto/record/B31982992.
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Man, Kam-hung Ricky, and 文錦洪. "Cartoon Production Centre: an urban channel to fantasy world." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31982992.
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Dahlqvist, Nils. "A Case for Constructivism - Investigating the Danish Cartoon Controversy." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21038.
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This essay evaluates social constructivist theory by analyzing how it brings understanding to an empirical case. The case under study is the Danish Muhammad Cartoon Controversy of 2005-2006, and by using a constructivist conceptualization of identities and norms this essay attempts to demonstrate how constructivism helps in understanding the event where rationalist theories fall short. This essay concludes that these two concepts do further understanding of various social elements that contributed to the explosiveness of the conflict but that there is a difficulty in establishing causality and outlining in detail how they do so.
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Hargrave, Rachel Irene. "Cartoon Saloon as Mythopoeic: Reimagining Irish Mythology through Animation." Thesis, Virginia Tech, 2021. http://hdl.handle.net/10919/104103.
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Cartoon Saloon, an Irish animation studio based in Co. Kilkenny, Ireland, explores themes of liminality, urbanization, and coming of age in its trio of Irish folklore-themed films. Secret of Kells, Song of the Sea, and Wolfwalkers each explore Irish identity, folklore, and community through different time periods and spaces to create truly Irish animated films. Each film explores the tension between folklore and Christianity, urban and rural community, and the challenges of coming of age in various ways through the lens of Irish folklore. By communicating these themes in animated films, Cartoon Saloon centers indigenous animation work in a country that has lacked an indigenous industry and uses the flexibility of animation as an art form to address Ireland's history and mythology through the writing, music score, and animation style of the three films. Cartoon Saloon stands at the forefront of a new revitalization of Irish culture reminiscent of the Gaelic and Celtic revivals of the nineteenth and twentieth centuries through their dedication to preserving and exploring Irish mythology, art, history, and language via an emergence of an indigenous Irish animation industry.<br>Master of Arts<br>Cartoon Saloon, an Irish animation studio based in Co. Kilkenny, Ireland, has released a trio of films centered on Irish folklore. These films explore Irish history, mythology, and tradition through several time periods and explore themes of liminality and coming of age. Secret of Kells, the first film, explores the Abbey of Kells and the creation of the Book of Kells through the eyes of Brandon, a young monk learning to find his place in the Abbey. He encounters a fairy girl and learns that there is more to his world than the Abbot had taught him. The second film, Song of the Sea, is set in modern times and tells the story of Ben's adventure to save his sister, who is half-selkie. The final film, Wolfwalkers, explores Kilkenny during English occupation through the adventures of Robyn, a young English girl who is turned into a wolfwalker and learns about the magic present in the Irish countryside. Each film explores the tension between folklore and Christianity, urban and rural community, and the challenges of coming of age in various ways through the lens of Irish folklore. Cartoon Saloon stands at the forefront of a new revitalization of Irish culture reminiscent of the Gaelic and Celtic revivals of the nineteenth and twentieth centuries through their dedication to preserving and exploring Irish mythology, art, history, and language via an emergence of an indigenous Irish animation industry.
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Aviv, Notario Daniel Andrés. "Cartoon Character Recognition: búsqueda y reconocimiento de personajes animados." Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/138773.
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Ingeniero Civil en Computación<br>El objetivo del trabajo aquí descrito es enfrentar el problema de detección y reconocimiento
de personajes animados en la animación japonesa, también llamada animé. La resolución de
este problema es importante por varias razones; no sólo pertenece a una familia de problemas
difíciles de resolver, sino que solucionarlo significa la construcción de variadas herramientas
para problemas reales en la vida diaria de animadores, editores y consumidores de animación
japonesa en el mundo.
Para resolver el problema, se propone un proceso de solución compuesto por 4 subprocesos
que cumplen tareas específicas: la determinación de fotogramas dentro del material animado,
la detección de rostros dentro de los fotogramas seleccionados, el diseño y la determinación de
características visuales que describan los rostros detectados y, por último, la determinación
de medidas de comparación para las características visuales antes calculadas, y la posterior
búsqueda de elementos similares dentro de un conjunto de datos.
En particular, la etapa de detección de rostros requiere el entrenamiento de un mecanismo
de detección, lo que es costoso en términos de extracción de datos y tiempo de procesamiento.
Además, la determinación de características visuales resulta difícil debido a la incertidumbre
que la caracteriza.
En definitiva, el desafío abordado por este proyecto no sólo comprende implementar una
solución que logre resolver los problemas planteados anteriormente, pero además lograr generar
resultados que puedan competir con las mejores soluciones en la actualidad, ya sea en
precisión o performance, y además procurando no descuidar las buenas prácticas de desarrollo
como la inclusión de tests o documentación.
Para la implementación de la solución se propone un conjunto de scripts en el lenguaje
Python, aprovechando la facilidad de desarrollo y las ventajas que provee la biblioteca
OpenCV para el análisis y procesamiento de imágenes, videos y de datos relacionados.
Finalmente, se definen ciertos experimentos que permiten evaluar la efectividad de la solución
propuesta. En esta sección se ve demostrado que el problema no sólo es posible de
resolver, sino que varios resultados exceden lo esperado en términos de precisión y performance.
En particular, se observa que el mecanismo de detección propuesto alcanza una precisión
de más del 80 % a pesar de haber sido entrenado con solamente 800 ejemplos positivos, mientras
que la característica diseñada para el reconocimiento alcanza una precisión promedio del
35 % para las consultas elegidas.
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Kuruoglu, Betul. "Automatic Cartoon Generation By Learning The Style Of An Artist." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614899/index.pdf.
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In this study, we suggest an algorithm for generating cartoons from face images automatically.
The suggested method learns drawing style of an artist and applies this style to the face images
in a database to create cartoons.
The training data consists of a set of face images and corresponding cartoons, drawn by the
same artist. Initially, a set of control points are labeled and indexed to characterize the face in
the training data set for both images and corresponding caricatures. Then, their features are
extracted to model the style of the artist. Finally, a similarity matrix of real face image set and
the input image are constructed. With the help of the similarity matrix, Distance-Weighted
Nearest Neighbor algorithm calculates the exaggeration coefficients which caricaturist would
have designed for the input image in his mind. In caricature generation phase, Moving Least
Squares algorithm is applied to distort the input image based on these coefficients. Caricatures
generated by this approach successfully cover most of the caricaturist&rsquo<br>s key characteristics in
his drawing.
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Bemer, Amanda Nicole Metz. "Preference and performance with cartoon-like images in instructional documentation." [Ames, Iowa : Iowa State University], 2006.
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SHIN, Jung Hoo. "A Stylised Cartoon Renderer For Toon Shading Of 3D Character." Thesis, University of Canterbury. Computer Science and Software Engineering, 2006. http://hdl.handle.net/10092/1133.
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This thesis describes two new techniques for enhancing the rendering quality of cartoon characters in toon-shading applications. The proposed methods can be used to improve the output quality of current cel shaders. The first technique which uses 2D image-based algorithms, enhances the silhouettes of the input geometry and reduces the computer generated artefacts. The silhouettes are found by using the Sobel filter and reconstructed by Bezier curve fitting. The intensity of the reconstructed silhouettes is then modified to create a stylised appearance. In the second technique, a new hair model based on billboarded particles is introduced. This method is found to be particularly useful for generating toon-like specular highlights for hair, which are important in cartoon animations. The whole rendering framework is implemented in C++ using the OpenGL API. OpenGL extensions and GPU programming are used to take the advantage of the functionalities of currently available graphics hardware. The programming of graphics hardware is done using Cg, a high level shader language.
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Oddy, Robert J. "The Animachine renderer : an accurate system for cartoon frame generation." Thesis, University of Bath, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314526.
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Leão, Carolina Morgado 1986. "A trilha musical do cartoon no período clássico do cinema." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284495.
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Orientador: Claudiney Rodrigues Carrasco<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-23T23:24:38Z (GMT). No. of bitstreams: 2
Leao_CarolinaMorgado_M.pdf: 2729435 bytes, checksum: 3cccc2782d27c4926dca0243044b2804 (MD5)
Leao_CarolinaMorgado_M_Anexo.zip: 2581908598 bytes, checksum: 8acc1a686e30a6fa52cb27e0083ad192 (MD5)
Previous issue date: 2013<br>Resumo: Desde os primórdios do que entendemos hoje como cinema, já se fazia uso de intervenções sonoras. O acompanhamento musical era normalmente executado ao vivo, através de um pianista, um improvisador ou, as vezes, por uma pequena orquestra. Com o passar das décadas, o som para animação foi se transformando e assim, cada vez mais atrelou-se às imagens, se fundindo e unificando. Já na década de 1930, os desenhos animados formam um poderoso elo com a música, produzindo com isso, uma gama de cartoons musicados. Deste momento em diante, a trilha musical recebe a função de narrativa, sua articulação com a imagem cria um significado e possibilita a compreensão do espectador na história. A compreensão do som está associada ao acordo que existe entre o emissor e o espectador, quando este, em uma exibição, entra na sala para "ver-ouvir" uma história contada. O alicerce preeminente na projeção é a narrativa. Portanto, a trilha sonora, através do sincronismo, do seu uso de forma poética e também, através do uso de sons que de certa forma, já estão na memória de toda a sociedade ocidental, integra a articulação e a organização da narrativa na animação, compondo assim, um elemento de sua montagem. E desta maneira, a percepção fílmica é de fato audio-visual e permite numerosas combinações entre sons e imagens animadas<br>Abstract: Interventions with sounds are used since the beginning of what is known today as film. The music was performed live by a pianist, improviser or sometimes by a small orchestra. Over the decades, animation sound changed and became increasingly harnessed viii to the images, merging and unifying. Already in the 1930s, the cartoons are a powerful link with music, thus producing a range of cartoons set to music. From this moment on, the soundtrack gets the role of narrative, its articulation with the image creates meaning and allows the viewer to understand the story. Understanding of sound is associated with agreement that exists between the issuing and the spectator, when, in a view into the room to "see-hear" a story telling. The foundation is preeminent in projecting the narrative. Therefore, the soundtrack through the synchronization, the use of poetic form and also, through the use of sounds that somehow are already in the memory of all Western society integrates the speech and organization of narrative in animation, thus composing an element of its assembly. Sooner, the filmic perception is indeed audio-visual and allows numerous combinations of sounds and visual images<br>Mestrado<br>Fundamentos Teoricos<br>Mestra em Música
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Tremois, Serge. "Le cartoon politique dans la grande presse américaine depuis 1960." Paris 3, 1985. http://www.theses.fr/1985PA03A021.
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Gkountouma, Maria. "Cartoon representations of the migrant crisis in Greek new media." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23162.
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The increasing and irregular flow of migrants in Europe had lead to an unprecedented crisis which European and International stakeholders have been struggling to manage in a challenging context of financial insecurity, political instability, fragile foreign relations and controversial steps and policies. This current context questions Europe’s image as a powerful global key-player and a civilized privileged space/entity and also shutters migrants’ dreams and illusions of a promise-land. Inevitably, the migrant crisis has emerged as top news in most old and new media around Europe and extensive coverage of the topic has been informing the audience almost on a daily basis. Of course, cartoonists have been affected and inspired by the situation, as well. In a time period of twelve months, from April 2015 to March 2016, in Greek new media alone, three hundred and seven cartoons were published on the topic. This project set out to examine the cartoons published in new media over the allocated time period in order to find out what were the main foci of the artists’ attention in relation to the migration crisis and how they related to domestic and international political affairs and further international interests by major stakeholders. It also explored the way immigrants have been depicted, the way Europe is depicted as a promise-land, how all involved stakeholders have handled the crisis and the artists’ degree of active judgment or influence. A mixed research method, combining content analysis, which falls into the realm of quantitative research methods, with elements of psychoanalysis and social semiotics, which observe matters, analyse the visual and critically interpret it was employed. Results showed that the migrant crisis was a favorable topic for Greek cartoonists publishing in Greek new media. They explored the topic from various aspects, including politics, values, everyday life, religion, war and art, shifting from mockery and heavy criticism to sympathy, guilt and a sense of worry about the fellow human depending on their personal political orientation and the aspect of the topic they were commenting on. Evidently, the migrant crisis is a strong humanitarian crisis placing a bomb to fundamental and consolidated values, policies and relations among all stakeholders.
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Owen, Benedict Novotny. "Cartoon Conceptualism: Periodical Comics and Modernism in the United States." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1494086092509444.
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Luce, Russell Ralph. "President George W. Bush a portrayal of the Iraq War through cartoons /." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1134156853.
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Thesis (M.A.)--Miami University, Dept. of Speech Communication, 2005.<br>Title from first page of PDF document, author statement from p. [i]. Document formatted into pages; contains [1], iv, 40 p. : ill. Includes bibliographical references (p. 35-37).
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Osborne, Kristen J. "Graphic dissent the editorial cartoon view of urban conflict, 1992-2001 /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 3.11 Mb., 216 p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3220790.
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Huang, YI CHIA, and 黃怡嘉. "The Analysis of Cartoon Appropriateness— An Empirical Evaluation of Three Cartoons." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/51458936513030110828.
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碩士<br>國立臺中教育大學<br>幼兒教育學系碩士班<br>97<br>Cartoons have been recognized as the most popular TV program for early childhood. The interesting stories, bright characters, colorful background and amusing music provide different learning materials and demonstrate special attractions for children.
Nevertheless, violence, gendered stereotypes and rude conversations, commonly appear in many cartoons, also arise critical damages to children’s personalities. Thus, judging the appropriateness of cartoons is very important.
The purpose of this research is to evaluate the appropriateness of cartoon for early childhood based on five factors, including “education, behavior, gender, linguistic and values”. Eight episodes were random selected as the research samples from each of these three popular cartoons, i.e. “Handa Shounen”, “Chibi Maruko Chan” and “Detective conan”. The research applied the check list, content analysis and interviews to further analyze the contents of these cartoons.
The results of our analyses indicated that “Hanada Shounen” and “Chibi Maruko Chan” both provided useful daily life information which plays an important role to
facilitate children’s knowledge. However, the negative content of “Hanada Shounen”,such as violence, gendered stereotypes, rude wording and improper values, were quite
inappropriateness for children to watch. Second, although “Detective Conan” might facilitate the logic inference and causal reasoning for children, the detailed depiction of criminal incidents and violent behaviors also considered as inappropriate materials for early childhood. Finally, the research found that “Chibi Maruko Chan”
demonstrated fewer disadvantages than others in all factors. “Chibi Maruko Chan”described stories related to daily life which were easily accepted by most children.
Thus, we concluded that “Chibi Maruko Chan” is the only appropriate cartoon for early childhood in this research. This conclusions were also supported by post interviews from teachers and parents.
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Faria, Ronald Perrone. "O cartoon sentimental - Expressões faciais em personagens cartoons de Robert Crumb." Master's thesis, 2014. https://repositorio-aberto.up.pt/handle/10216/77215.
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Faria, Ronald Perrone. "O cartoon sentimental - Expressões faciais em personagens cartoons de Robert Crumb." Dissertação, 2014. https://repositorio-aberto.up.pt/handle/10216/77215.
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An, Szu-Ying, and 安思穎. "A Research on Image of Cartoon Characters─Taking Popular Cartoons for Example." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/97644687428828063776.
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碩士<br>大葉大學<br>造形藝術學系碩士班<br>95<br>Twelve comparatively popular cartoon characters, at present time, were selected for this study. Image vocabulary survey was used in the questionnaires on students as research subjects for discovering what people’s impressions on the cartoon characters. Generally, people express opinions on cartoon characters through the stories during cartoon broadcasting; nevertheless, this study intends to find out opinions about the lead characters in cartoons.
The 12 cartoon characters selected were: Keroro, Hello Kitty, Doraemon,Garfield, Snoopy, MashiMaro, Chicken Little, Pikachu, Moomin, Totoro, Anpanman, and Pink Panther. A total of 615 questionnaires were distributed to students, and 536 valid questionnaires retrieved. Using method of semantic differential, eight pairs of bipolar adjectives were selected including: unlikable and likable; dislike and like; stupid and smart; artificial and creative; dull and mischievous; uninteresting and humorous; serious and relaxed; feminine and masculine. Seven steps rank scale was used for evaluation in the study. SPSS10.1 statistical analysis was used after retrieving questionnaires; the research results show the corresponding image of each cartoon character concluded as follows:
1.Hello Kitty was strongly featured as feminine; males do not have clear feminine/masculine image impression on Moomin; other ten cartoon characters have masculine characteristics.
2.It shows inconsistent image impression on the stupid/smart characteristic of cartoon
lead characters for audiences in different gender and status.
3.The carton lead characters who show mischievous, humorous, relaxed image impression are comparatively welcome by audiences; those lead characters very creative in spirits are well-liked by students at all age groups.
Key Words : cartoon, animation, image
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Fernandes, Raquel. "Do Cartoon Ilustrado ao Cartoon Animado. A Construção do Cartoon de Autor e Processos na sua Edição Impressa e Digital." Master's thesis, 2016. http://hdl.handle.net/11110/1074.
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O presente relatório regista a descrição do processo de trabalho de um projecto de
investigação inserido no âmbito do Mestrado em Ilustração e Animação, do Instituto
Politécnico de Cávado e do Ave. Este projecto, intitulado de “Histórias Sem Interesse”,
resume-se no contínuo desenvolvimento de uma série de cartoons, tanto ao nível ilustrado
como animado, e ao estudo das diferenças metodológicas na sua construção para os dois
media.
As tiras – ou comic strips – e os clips animados resultantes, são inspirados no dia-a-dia de
uma jovem adulta (com apontamentos de carácter autobiográfico) e na subsistência social,
académica e profissional, deparando-se com inúmeros episódios do quotidiano urbano. Estas
histórias assumem um olhar humorístico, ainda que baseadas na experiência pessoal
enquanto autora, assim como na dos restantes intervenientes.
A partir desta premissa, pretendeu-se que a análise da relação entre as versões estática e
animada fosse concretizada através de uma comparação de processos de construção e, numa
segunda fase, entre os métodos e resultados da auto-publicação de ambas, levada a cabo por
meio das plataformas digitais.
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Chou, Wen-Peng, and 周文鵬. "Taiwan''s cartoon censorship phenomenon and to domestic cartoon development influence research." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/64029690539926127195.
Full textAbstract:
碩士<br>淡江大學<br>中國文學系碩士班<br>95<br>The development of computer and visual media, let the modern people in the news transmission, the narrative performance, the creation way, no longer take the traditional writing form as the mainstream.
Here more concrete performance ability, the changeable application way, the extended recipient masses and the far-reaching disseminated function, penetrate unceasing complement each other, causes the picture, image and so on the non-writing carrier existence and due the value, has gradually obtained the current social impartial affirmation.
Opposite to acousto-optic science and technology of the movie, television, animation, computer game huge costs, the strip cartoon does not need to consume a good deal of manpower and the resources, therefore follows the objective environment evolution, becomes one kind of superiority, has height productive efficiency, the penetrability, the influence and the creation expression force carrier form.
But while the cartoon industry is the axis of Japan, to promote overall culture, economy, knowledge, entertainment, education and so on each item develops, the 40''s once achieved the prosperous Taiwan cartoon industry at present nearly lacks the promotion ability, at present only to be Japan''s dependency.
By 1962 <Compiled and printed picture-and-story book> counseling means, as the beginning, lasted 25 years “the cartoon censorship”, brain drain, the excessively competition, lots of pirated, the style tends to Japan to melt and so on the influence is without a doubt, intense impact domestic cartoon industry inside and outside structure.
In other words, at present the local cartoon performance slump and Taiwan society has not followed the time footsteps the reason, actually is in this long time control image narrative process, let the talented persons use image system unable the acquire should have receives attendance and cultivated.
In view of this, this article obtains from the cartoon definition and the localization question attempts to race to the source, after return to original state image narrative foundation value, further understands profile of the censorship, the vein, the flaw, the motive and the influence. And compares 2004 year''s end Government Information Office to carry out <Graduation means of Publication and video recording program belt> compares the fit and unfit quality success and failure.
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Pereira, Ana Rita Rodrigues. "C de capitalismo é análogo do C de cartoon: uma análise de conteúdo de cartoons." Master's thesis, 2015. https://repositorio-aberto.up.pt/handle/10216/84754.
Full text
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Pereira, Ana Rita Rodrigues. "C de capitalismo é análogo do C de cartoon: uma análise de conteúdo de cartoons." Dissertação, 2015. https://repositorio-aberto.up.pt/handle/10216/84754.
Full text
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Peng-YenLin and 林邦彥. "Double-Sided Cartoon Image Manipulation." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/22476992410484431806.
Full text
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Wu, Hsienliang, and 吳賢良. "Design Of Interactive Cartoon Robot." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/uv23jy.
Full textAbstract:
碩士<br>臺北城市科技大學<br>機電整合研究所<br>100<br>The study focus on the design of interactive cartoon robots for exhibition and entertainment purposes. The appearance was emphasized to make the cartoon more attractive to the visitors. Therefore, the esthetics design of the robots is crucial in the design procedures.
A computer aided design package, SolidWorks, was used to design a variety of cartoon robots, including SpongeBob robot, Popeye robot, which were very attractive in the cartoon video program.
A computer aided manufacturing machine called rapid prototype printer was applied to print out the three dimensional features of cartoon robots. The esthetics design of cartoon robot attract more visitors to join the museum exhibition, which will facilitate the promotion of robot technologies.
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Cheng, Chia-chi, and 鄭嘉琪. "The Relation between Characters and Dubbing Voice in Cartoon: Examples from the Cartoon Televised in Taiwan." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/42092554907082057922.
Full textAbstract:
碩士<br>國立臺灣大學<br>語言學研究所<br>91<br>Abstract
Though the relation between one’s voice and his/her character may not absolutely relate, there exists a favored or stereotyped voice-character pattern in every culture. In this thesis, we discuss the favored voice-character combinations in Taiwan’s culture. The analyzing data here come from three Mandarin dubbed cartoons televised in Taiwan. Due to cartoon’s highly stereotyped design, it could help to find the Taiwanese favored voice-character patterns and the relation between the voice and the character.
The voices are discussed in six acoustic features, and they are pitch value, pitch variation in sentences, amplitude value, amplitude variation in sentences, speech rate, and voice quality. There are eleven pairs of character adjectives discussed in this thesis, and they are self-doubting/confident, introvert/extrovert, bad/good, timid/bold, cautious/rash, lazy/energetic, solemn/humorous, submissive/dominant, calm/unsteady, indifferent/passionate, and ugly/pretty.
According to the results, we find that a confident, extrovert, dominant, energetic, and bold character is related to the voice features of stronger amplitude, larger pitch variation, faster speech rate, and no breathy voice; character features of being passionate, better, and prettier are related to the voices of higher pitch value, larger pitch variation, faster speech rate, clearer, laxer voice qualities; and a rash, humorous, and unsteady character is related to the voice aspects of clearness, tenseness and amplitude.
Besides, a pleasant voice is related to a higher pitch value, a clear and lax voice. The dubbing voice suitable for a main character is higher in pitch value, stronger in amplitude, faster in speech rate, and clear in voice quality.
Keywords: voice, character, cartoon dubbing, pitch, amplitude, speech rate, voice quality
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Chih-KuoYeh and 葉智國. "2.5D Cartoon Animation and Animating Streamlines." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/27984826403786047301.
Full textAbstract:
博士<br>國立成功大學<br>資訊工程學系<br>103<br>This dissertation introduces {em double-sided 2.5D graphics}, aiming at enriching the visual appearance when manipulating conventional 2D graphical objects in 2.5D worlds.
By attaching a back texture image on a single-sided 2D graphical object, we can enrich the surface and texture detail on 2D graphical objects and improve our visual experience when manipulating and animating them.
A family of novel operations on 2.5D graphics, including rolling, twisting, and folding, are proposed in this work, allowing users to efficiently create compelling 2.5D visual effects.
Very little effort is needed from the user's side.
In our experiment, various creative designs on double-sided graphics were worked out by the recruited participants including a professional artist, which show and demonstrate the feasibility and applicability of our proposed method.
Furthermore, we addresses a challenging single-view modeling and animation problem with cartoon images.
Our goal is to model the hairs in a given cartoon image with consistent layering and occlusion, so that we can produce various visual effects from just a single image.
We propose a novel 2.5D modeling approach to deal with this problem.
Given an input image, we first segment the hairs of the cartoon character into regions of hair strands.
Then, we apply our novel layering metric, which is derived from the Gestalt psychology, to automatically optimize the depth ordering among the hair strands.
After that, we employ our hair completion method to fill the occluded part of each hair strand, and create a 2.5D model of the cartoon hair.
By using this model, we can produce various visual effects, e.g., we develop a simplified fluid simulation model to produce wind blowing animations with the 2.5D hairs.
To further demonstrate the applicability and versatility of our method, we compare our results with real cartoon hair animations, and also apply our model to produce a wide variety of hair manipulation effects, including hair editing and hair braiding.
In the end, we present a smooth cyclic variable-speed Repeated Asymmetric Patterns (RAPs) animation model that emulates orthogonal advancing waves from a geometry-based flow representation. It enables dense accurate visualization of complex real world flows using animated streamlines of an elegant placement coupled with visually appealing orthogonal advancing waves. The animation model first performs velocity (magnitude) integral luminance transition on individual streamlines. Then, an inter-streamline synchronization in luminance varying along the tangential direction is imposed. Next, tangential flow streaks are constructed using evenly-spaced hue differing in the orthogonal direction. In addition, an energy-decreasing strategy is proposed that adopts an iterative yet efficient procedure for determining the luminance phase and hue of each streamline in HSL color space. To increase the contrast between flow streaks, an adaptive luminance interleaving in the direction perpendicular to the flow is further applied. We demonstrate the effectiveness of the animation model using some synthetic and real flows.
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Chen, Ta-jen, and 陳大任. "Cartoon Inpainting Based on Color Segmentation." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/44509568056529572649.
Full textAbstract:
碩士<br>淡江大學<br>資訊工程學系碩士班<br>95<br>In this study, we first studied several inpainting algorithms. Inpainting algorithms based PDE (Partial Differential Equation) preserve the construction very well, but time consuming. We propose a new inpainting algorithm for cartoon based on color segmentation to preserve the structure of image. After trying several different ways to find the map of contour lines, we use color segmentation to construct the map of contour lines, and use the law of cosine to estimate the length of contour line we sample. We also estimate the slope of contour lines and compute how they should extend in the inpainting domain. We use the advantage of Bézier curves that fit the curves to the real world to reconstruct the contour lines. The algorithm also fit to more general cases.
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Lin, Yenchun, and 林彥君. "Kazai no hito：A Study of cartoon’s effect on cartoon readers’attitude toward the juvenile criminal policy." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/32169402005303539838.
Full textAbstract:
碩士<br>國立臺北大學<br>犯罪學研究所<br>100<br>Juvenile criminals are considered lacking in their ability to distinguish between right and wrong due to their immature developmental stage. It is possible for them to absorb more criminal acts and tricks by encountering the criminal justice system in their adolescent years. Hence, we hope to reform juvenile criminals through corrective education, assisting them to return to the society. Comic books have generally been regarded as being unfavorable to youth’s overall development; moreover, it’s been generally perceived as a subculture without formal status. Yet, comic books have never been absent in our lives. As we can see, over the past decades, comic books have changed significantly and evolved to higher quality which also reflects the progression of our era, showing a new aspect of cultural creativity.
The comic book “Kazia no hito” is a metaphorical work, depicting children as plants that need tender care to grow up. It shares the point of view of juvenile delinquency through the metaphor of flowers and plants. In this research, we will discuss whether or not the current education has fulfilled general public’s expectation toward the juvenile criminal policy through the comic book with relevant concept.
This research is divided into two parts: the first part is the literature analysis, discussing penalty theory, the related concept of the juvenile act, and the development and the rise of the comics. In addition, the experience of Japanese juvenile law amendment can hopefully provide us some new directions in regards to the juvenile criminal policy. The second part is to understand whether or not the general public has changed their attitude in regards to the juvenile criminal policy after reading “Kazia no hito” by interviews.
The result of the study has found:
1.There are different positions towards the juvenile criminal policy between general public and political elites.
2.“Kazia no hito” has enhanced general public’s understanding of the juvenile criminal policy.
3.Comics have its educational function.
The research has the following suggestion:
1.We should break the myth that protection is equivalent to punishment-free.
2.We should not take age as the golden standard for all accountability.
3.We should discern between love and physical punishment.
4.We should acknowledge the professionalism expressed in comics.
Key words: juvenile delinquency, age, juvenile criminal policy, comic.
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Yang, Huei-Lin, and 楊慧琳. "Effects of Effects ofEffects of Effects of Marine Cartoon Marine Cartoon Marine Cartoon Marine Cartoon Viewing BehaviorViewing Behavior Viewing BehaviorViewing Behavior Viewing Behavior Viewing Behavior Viewing Behavior vs. vs. Marine Science Literacy and Marine Education Learning Interests for Elementary School Students." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/80221234704649532178.
Full textAbstract:
碩士<br>國立臺灣海洋大學<br>教育研究所<br>102<br>This study aimed to investigate the influence of marine cartoons on higher-grade elementary school students in regard to marine science literacy and interest in learning about the ocean. The study used random cluster samplingfrom seven administrative regions in Keelung City, applying stratified sampling among 48 public elementary schools and 984 higher-grade elementary school students and an effective sample of 906 individuals.Using questionnaires and interviews as the research instruments, the data were subject to T-tests, one-way ANOVA,Pearson product-moment correlation coefficients and other methods.
Research results are shown in the following:
I.In regard to marine science literacy
1.In a marine science literacy questionnaire for schoolchildren, the average correct answer rate was 58%.
2.Boys scored significantly higher than girls in regard to marine science literacy.
3.Sixth graders scored significantly higher than fifth graders in regard to marine science literacy.
4.Schoolchildren who had experienced visiting marine-related venues saw marine science literacy scores that were significantly higher than schoolchildren who had "never visited."
5.Schoolchildren who enjoyed visiting marine-related venues saw marine science literacy scores higher than schoolchildren who "didn't enjoy" such visits.
6.In regard to the "enjoy marine cartoons" variable, no significant difference was seen in performance for marine science literacy scores.
7.Schoolchildren who frequently watch marine cartoons witnessed higher marine science literacy scores than schoolchildren who "rarely watch" such cartoons.
II.In regard to interest shown in marine education
1.In a matrix assessing schoolchildren's interest in learning about the ocean, the marine recreation dimension was highest, followed by the marine science dimension. Marine society constituted the lowest dimension. However, the overall average dimension witnessed a mean result of 3 or higher.
2.Girls expressed stronger interest in learning about marine recreation than boys.
3.Fifth graders expressed a stronger interest in learning about marine recreation than sixth graders.
4.Schoolchildren who had experienced visiting marine-related venues saw their overall marine learning interest measurement scalesscore significantly higher than schoolchildren who had "never visited."
IV
5.Schoolchildren who enjoyed visiting marine-related venuessaw their overall marine learning interest measurement scales score significantly higher than schoolchildren who "didn't enjoy" such visits.
6.Schoolchildren who enjoy marine-related cartoons saw their overall marine learning interest measurement scales score significantly higher than schoolchildren who "don't enjoy" such cartoons.
7.Schoolchildren who frequently watch marine cartoons saw their overall marine learning interest measurement scales score significantly higher than schoolchildren who "rarely" watch such cartoons.
III.The relationship between marine science literacy and interest shown in marine education
Elementary school children demonstrated a significantly low positive correlation between marine science literacy on the one hand and interest shown in marine education on the other.
Based on the above results, the researchers draw conclusions and provideteaching suggestions for the reference of marine educators, as well as research recommendations for future researchers.
Keyword: marine cartoon, marine science literacy, marine education learning interests
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Lin, Jin-Lung, and 林金龍. "Exaggerative Mesh Animation Retargeting using Cartoon Sequence." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/46023682800449812349.
Full textAbstract:
碩士<br>國立成功大學<br>資訊工程學系碩博士班<br>94<br>Making computer animation has always been a complicated and time consuming job. Traditionally, animation is achieved by first constructing a skeleton on the given mesh, and then by adjusting the skeleton to generate a sequence of poses by which interpolates an animation sequence. However, there are certain models that suitable skeletons cannot be built and we cannot apply traditional animation techniques to those models. In 2D cartoon animations, we often see body parts of the characters are deformed in an exaggerated way, and these deformations are represented by changing shape of that character's contour lines. This thesis presents a new approach of transferring poses and exaggerations of 2D characters onto 3D models to reproduce similar effects on 3D models. We propose a method to evaluate the degree of contour deformations in 2D, and a contour-based mesh-editing tool to produce and control the deformation in 3D. By parameterizing these poses and exaggerated deformations in 2D, we can apply these deformations to the contour of the 3D model first, and then reconstruct the 3D model with the similar contour. Therefore, the exaggerative deformation can be easily transferred from a given 2D cartoon sequence.
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Yawen, Xu, and 許雅雯. "Study of the TV Cartoon Sakura Momoko." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/02408244234438532142.
Full textAbstract:
碩士<br>國立臺東大學<br>兒童文學研究所<br>95<br>Study of the TV Cartoon Sakura Momoko
Graduate student: Xu Yawen
The Graduate Institute of Children’s Literature
National Taitung University
Abstract
Since 1986 the Sakura Momoko was launched, the cute appearance not only has seized the children’s hearts, but also made many adults smiling from their hearts. Beside Japan and Taiwan, there are even professional websites about Sakura Momoko in Germany. The caricature Sakura Momoko was serialized at the magazine RIBON from August 1986 to June 1996, and during the period this magazine created its highest sale record. From 1990 to 1992, the Sakura Momoko was shot in cartoon and screened at Fuji TV, and the audience rating of the Sakura Momoko I of the first season was 17.8% and the audience rating of the Sakura Momoko I of the second season was 24.6%. On October 28, 1990, the audience rating of it reached 39.9%, which created the cartoon record with highest audience rating in Japan since the record begun on September 26, 1977.
Why there are so many people like Sakura Momoko? What are the characters? These are the cores we will discuss in the paper.
This paper is divided into 5 chapters. The Chapter I gives brief introduction about the study purpose, study method and steps, and aims the study extension to illustrate the bottleneck and limitation. The Chapter II will explore the development course of Japanese TV cartoon, know about the times background of the TV carton producing and analyze the advantage and disadvantage of business cartoon. And we will generally presented the author Sakura’s life about the learning, work, family, marriage and children, and then discuss the author’s emotion to do the pure-hearted self-expression and respect the status of children according to the creation course, famous work and writing idea. The Chapter III researches the structure, polt and representation of the cartoon, and also will discuss the roles tone and dialogue dubbing, humor talk and description of scene. The Chapter IV aims the content of 3-generation, campus activities, pet feeding which affect the childhood experience, and the Japanese styles represented in the work to analyze the four subjects. The Chapter V summarizes and explores the main reason why the Sakura Momoko is so popular and tries to point out the problems valuing to think about.
Key words: Sakura Momoko TV cartoon cartoon Japanese caricature
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Ching-Yun, Lee, and 李菁芸. "Discussion of cartoon movie and child's drawing." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/18961416988045440775.
Full textAbstract:
碩士<br>國立臺北教育大學<br>幼兒教育學系碩士班<br>94<br>This research focuses on discussing that how is the cartoon influence on the children’s animal and general representations; as well as the themes,, the forms, and related to the artistic element of child’s drawing. The independent variance of this research is the cartoon intervention and the gender; the dependent variance is the representation of child’s drawings. The goal of this research is studying the relationships between the child and media environment, the symbolic representation of children’s drawings; further to discuss the relationship between the cartoon teaching and image drawing.
There are 119 preschool children participates into this research, they are from the Da-an District, the Zhongshan District and the Songshan District. They are randomly assigned to two groups: the control group and the experimental group. All subjects are required one picture of animal and general drawing before the experiment. There is only the experimental group have to watch the five different cartoons tapes during the experimental process. Later, both of two groups are asked to make a picture of animal and general drawing. Having all the child’s drawings, the researcher invite the other two person to analyze the drawings with "The convey of the child’ drawing “ edited by the research.
The results of this research are as following::
1. There is significant difference in the theme of drawing between the cartoon tapes and the child’s animal and general drawing
In the process of experiment, both of two groups except to "the theme is primarily animal drawing " and "the artistic element of drawing appears the cartoon role" are significant differences. Mentioning to the general drawing, except to "the theme is primarily animal drawing”, another facts are significant differences. Certainly, two groups are significant differences in the theme representation.
2. There is significant difference that watching cartoon tapes influence on the form of the child’s animal and general drawings.
In the process of experiment, both of two groups in "the appearance of the contour line ", and "using a line as the symbol of the image action" are not significant difference; while in "using complex line to represent image", and "the appearance of baseline", "using colorful " , and " using lines or colors to decorates the image" are significant differences. But the general drawings are significant differences except to "the appearance of the contour line ".
3. There is significant difference for watching the cartoon tapes influence on the artistic element of children’s animal and general drawings.
There is significant differences in drawing of "the drawing image is more", "the image represents diversity composition ", and “ the overall image is full drawing”
4. The gender not consistently influence on the theme of drawing in both of the child’s animal and general drawings
Both of two group children’s drawings of the theme are not effected by the gender. But there is signification difference in the theme performance of the child’s general drawing in "animal is the theme of the drawing" and "the drawing element appears the cartoon role". The girls of experimental group represent obviously more than the boys do.
5. The gender is not consistently influence on the relationships between watching the cartoon tapes and the form in the child’s animal and general drawings.
The gender has no significant difference in both of group’s drawing in "the image represents diversity composition ", "appearing the baseline drawing", and "appearing the contour line",. But the gender has significant difference in "drawing a line as the image motion", "colorful ", and "using line or color to decorate the images".
6. The gender has not any influence on the representation of artist element both in the child’s animal and general drawing
Only is the gender related to the experimental group’s animal drawings of "the quantity of drawing images are more". But it does not matter with "the image represents diversity composition "and" the overall image is full drawing" in both of animal and general drawings.
Finally, I hope this research can provide new thought of art development to the pre-school education institution and mass media. Moreover, they can provide high quality education achievement to children.
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Ferreira, António Carlos Martins. "Animated cartoon humor in second language learning." Master's thesis, 2017. http://hdl.handle.net/1822/45937.
Full textAbstract:
Dissertação de mestrado em Língua, Literatura e Cultura Inglesas<br>The thesis discusses the importance of foreign language learning which constitutes one
of the basis for a good education. The use of animated cartoon humor as a complementary tool
to English learning is the main focus of such work. A set of teaching techniques and several
linguistic analyses of humor are presented as well.
Several advantages of the humor present in animated cartoon (particularly in Peppa Pig)
as a complementary tool to transmit concepts from a foreign language are addressed. Some of
the questions concerning the matter are the following:
(i) What are the benefits of learning a foreign language at an early stage?
(ii) How can educators and parents contribute to an effective second language
acquisition?
(iii) How can animated cartoon humor introduce vocabulary and grammatical
constructions to the younger audiences?
(iv) What composition do animated cartoons’ episodes present so as to teach/revise a
foreign language?
(v) How does one use animated cartoon humor in a practical situation?
(vi) What follow-up activities can a teacher or educator implement after showing an
episode of an animated cartoon in class?
It can be firmly acknowledged that a proper teaching and learning of EFL (English as a
Foreign Language) is due to an appropriate education system, combined with a strong willpower.
International agreements and education policies are cited that endorse the importance of
language learning. Similarly, it has become vital that for workers in areas such as medicine and
other health sciences to be skillful in more than one language and have a knowledgeable
constructive language learning experience. Many methods of how to teach EFL to children, since
they constitute the most auspicious age group to be effectively educated are explored as well.
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Ting, Elle Kwok-Yin. "Wartime ideology and the American animated cartoon." Thesis, 2000. http://hdl.handle.net/2429/10985.
Full textAbstract:
The animated film serves as a means for interrogating the political and social
ideologies which influenced its development; features of its construction and aesthetics also
gesture towards the historical and psychological factors affecting its production, albeit
indirectly. This paper investigates the use of the animated cartoon as a medium for
transmitting propaganda in America during the Second World War between the years 1941
and 1945; specifically, it examines the animated cartoon as documentation of homefront
psychology in the Second World War, and includes an historical overview of Hollywood
animation in addition to a critical analysis of both the cartoon propaganda aesthetic and the
psychological factors shaping the design and dissemination of propaganda in entertainment
media. The animated cartoon is positioned as a favourable focal point for the re-examination
of popular wartime productions as propaganda as well as an entry point for examining
presuppositions regarding the efficacy of mass entertainment as a pedagogical tool.
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Chen, Hui-Chun, and 陳惠君. "Development of Customized Mold For Cartoon Models." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/7hrfte.
Full textAbstract:
碩士<br>國立臺灣科技大學<br>機械工程系<br>104<br>Recently many people enjoy making hand-made goods at home, such as soaps and chocolates. The demand of molds particular for cartoon models are increasing. However, those molds design are quite standard, and not all of them are appreciated by users. Therefore, this study plans to apply APP in smart device to communicate with clients and to integrate 3D printing technology to develop customized mold for cartoon models.
An APP for smart device was developed together with e-Business model in order to allow users to make orders at any time. The information of orders was stored in the cloud server. The customized 3D models were designed by 3D CAD software, and fabricated by 3D printing technology that heats the ABS material into half melting status to deposit onto the substrate layer by layer to form the complete models. The customized cartoon models were transferred to silicone molds as final products. Moreover, modular mold designs were proposed to reduce cost and to provide variety of products for customers’ choices.
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Haley, Elizabeth Ann. ""But it doesn't mean anything, it's just a cartoon": Cartoons as primes for stereotypes of women in the workplace." Thesis, 1997. http://hdl.handle.net/1911/17092.
Full textAbstract:
This study looked at the influence of cartoons as primes for stereotypes about women in the workplace. Three sets of cartoons (neutral animal, non-agentic women, and feminists) were used and subjects were exposed to just one set based on their assigned condition.
After rating the funniness of the cartoons, subjects read about ambiguous behaviors recorded by a supervisor about a social worker. Subjects evaluated the social worker on both performance issues and personal traits. Subjects then read additional information and rated the supervisor. The gender of the social worker and supervisor were manipulated.
Three general performance measures and five traits, identified in a pilot study, were analyzed. Priming did occur but inconsistently across the measures. Some interesting patterns representing contrast effects for males in the feminist cartoon condition and females in the non-agentic condition surfaced. The gender composition of the subordinate-supervisor dyad contributed to the priming effect for some measure.
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Mallikarjunaiah, Bhuvana. "Cartoon Noir: A Comparative Study of Visual Parody." 2010. http://hdl.handle.net/1969.1/ETD-TAMU-2010-12-8592.
Full textAbstract:
American film parody can be characterized as a distorted, comical and yet affectionate imitation of a given genre or specific work. Film noir as a genre with its distinct visual styles has been an easy target for such "creative criticism." Mel Brooks, famous for his series of successful parody films, has exhorted that the situation alone must be absurd while the actors must be serious, not funny to make a comedy funnier. He also said that funny is in the writing and not in the performance itself. Film noir through its unconventional visual styles and convoluted story lines engenders feelings of anxiety and paranoia in the audience, providing rich fodder for parody. The animated theatrical series Looney Tunes with its trademark slapstick style is well suited for making serious situations look absurd, affording "creative criticism".
In this thesis I first analyze canonical examples to distill the distinct visual characteristics of these two different genres. I then employ the use of parody to bring together a few salient visual elements from each of these genres, thus enabling computer-generated visual parody. Finally, still image examples of such parody are produced by systematically combining visual elements from the two distinct genres, film noir for its expressionistic lighting and elliptical compositional elements, and Looney Tunes for its mischievous mise-en-scene and ingenuous characters.
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"Beijing cartoon: a contested site of cultural production." 1999. http://library.cuhk.edu.hk/record=b5896334.
Full textAbstract:
by Cheung Hiu Wan.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 1999.<br>Includes bibliographical references (leaves [135-140]).<br>Abstracts in English and Chinese.<br>Acknowledgement<br>Abstract<br>List of figures<br>Chapter Chapter 1. --- Introduction<br>Chapter 1.1 --- Scope of Study --- p.1<br>Chapter 1.2 --- Literature Review --- p.3<br>Chapter 1.3 --- Methodology --- p.13<br>Chapter 1.4 --- Structure of the Thesis --- p.17<br>Chapter Chapter 2. --- Historical Development of Comics in China<br>Chapter 2.1 --- Comics History before1949 --- p.24<br>Chapter 2 . 2 --- Comics under the Reign of Chinese Communist Party --- p.29<br>Chapter 2.3 --- Beijing Cartoon after the Open Door Policy --- p.31<br>Chapter 2.4 --- Concluding Remarks --- p.39<br>Chapter Chapter 3 . --- Interaction with the Leaders of Beijing Publishing House<br>Chapter 3.1 --- Leaders´ةExpectation for Beijing Cartoon --- p.41<br>Chapter 3.2 --- The Discrepancy between the Senior and Junior Editors --- p.51<br>Chapter 3.3 --- Editors' Comments on Interaction with the Leaders of the Beijing Publishing House --- p.54<br>Chapter Chapter 4. --- Interaction with the Senior Artists<br>Chapter 4.1 --- Cartoon Art Festival98 --- p.57<br>Chapter 4.2 --- The Invasion of Japanese Comics --- p.59<br>Chapter 4.3 --- The Essence of Comics with Chinese Features --- p.63<br>Chapter 4.4 --- The Expected Role of the Chinese Government --- p.67<br>Chapter 4.5 --- The Editors´ة Comments on Cartoon Art Festival98 --- p.68<br>Chapter 4 . --- 6 Concluding Remarks --- p.70<br>Chapter Chapter 5. --- Interaction with the Junior Artists<br>Chapter 5.1 --- Social Status of the Junior Artists --- p.12<br>Chapter 5.2 --- Cooperation with Beijing Cartoon --- p.11<br>Chapter 5.3 --- Why do they Join the Comics Business --- p.79<br>Chapter 5.4 --- Agreement and Terms of Payment --- p.87<br>Chapter 5.5 --- Summer Camping: Market Mechanism and Autonomy in Artists' Creation --- p.88<br>Chapter 5.6 --- The Editors' Expectation on the Roles of The Artists --- p.96<br>Chapter 5.7 --- Artists' Comments on the Educational Aspect of Comics --- p.98<br>Chapter 5.8 --- Concluding Remarks --- p.102<br>Chapter Chapter 6. --- The Interaction with the Readers and Elders<br>Chapter 6.1 --- Whom were and Whom are the Comics for? --- p.104<br>Chapter 6.2 --- Parents and Teachers: Comics for Education --- p.105<br>Chapter 6.3 --- Parents and Teachers: Sex and Violence in Japanese Comics --- p.107<br>Chapter 6.4 --- More than Sex and Violence in Japanese Comics --- p.110<br>Chapter 6.5 --- Nippon´ؤcentric and Militarism of Japanese Comics --- p.115<br>Chapter 6.6 --- Better Academic Performances and More Choices --- p.115<br>Chapter 6.7 --- The Popularity of Comics among the Teenagers --- p.118<br>Chapter 6.8 --- Feedback from the Comics Readers --- p.121<br>Chapter 6.9 --- The Conflicts: More Education or More Entertainment --- p.122<br>Chapter 6.10 --- Concluding Remarks --- p.12 5<br>Chapter Chapter 7. --- Conclusion --- p.127<br>Appendix<br>References
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WANG, SHIH-CHIEH, and 王世傑. "A Research on Gender Portrayals in Cartoon Programs." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/w5nt2h.
Full textAbstract:
碩士<br>國立臺灣藝術大學<br>廣播電視學系碩士班廣播電視組<br>105<br>The purpose of this study is to explore the current gender representation brought by cartoons in Taiwan. Taking the cartoons rated top 10 during summer vacation in 2015 as examples, the study is processed from different aspects such as country of origin, sex ratio, role’s clothing, role’s trait, occupation and recreation to discuss the stereotype implied by cartoon.
The research shows, the sex ratio of males to females is gradually becoming equal, as about 6：4, and if they are differentiated by nationality, overall the ratio of males to females is 6：4. The overall sex ratio among Korean cartoons is about 7：3. Among them, the most disparate ratio shows in cartoons from the United States, as the sex ratio of males to females is nearly 8：2, and only the sex ratio of males to females in British cartoons is 4：6, as women are more than men. In aspect of traits, males are easier to show positive images than women, and the most positive images were shown in British cartoons.
The most negative characteristics and images were shown in the Korean cartoons, and Asian cartoons from Japan and Korea have more inner qualities than cartoons from Europe and the United States. Over all, they already appeared to have traditional images different from the ones in the past.
As for the occupational distribution, the occupation of male roles separates very widely, as they often serve in high-level positions or being active in the public domain, but female role's occupation could not get rid of traditional constraints.
Particularly, in British and Korean cartoons, there is also phenomenon of fathers carrying works and housekeeper in the same time, it shows on occupation, there is a trend that men are going back to home. As on recreation, women began to attach importance to life quality and stopped staying only indoors. However, men would also pay attentions on recreations that require patience and carefulness. On recreations, cartoons no longer stick to the traditional framework of gender.