Animated Personalities: Cartoon Characters and Stardom in American Theatrical Shorts

Author(s):  
Etienne Boumans
Keyword(s):  
2021 ◽  
Vol 12 ◽  
Author(s):  
Paula J. Webster ◽  
Shuo Wang ◽  
Xin Li

Different styles of social interaction are one of the core characteristics of autism spectrum disorder (ASD). Social differences among individuals with ASD often include difficulty in discerning the emotions of neurotypical people based on their facial expressions. This review first covers the rich body of literature studying differences in facial emotion recognition (FER) in those with ASD, including behavioral studies and neurological findings. In particular, we highlight subtle emotion recognition and various factors related to inconsistent findings in behavioral studies of FER in ASD. Then, we discuss the dual problem of FER – namely facial emotion expression (FEE) or the production of facial expressions of emotion. Despite being less studied, social interaction involves both the ability to recognize emotions and to produce appropriate facial expressions. How others perceive facial expressions of emotion in those with ASD has remained an under-researched area. Finally, we propose a method for teaching FER [FER teaching hierarchy (FERTH)] based on recent research investigating FER in ASD, considering the use of posed vs. genuine emotions and static vs. dynamic stimuli. We also propose two possible teaching approaches: (1) a standard method of teaching progressively from simple drawings and cartoon characters to more complex audio-visual video clips of genuine human expressions of emotion with context clues or (2) teaching in a field of images that includes posed and genuine emotions to improve generalizability before progressing to more complex audio-visual stimuli. Lastly, we advocate for autism interventionists to use FER stimuli developed primarily for research purposes to facilitate the incorporation of well-controlled stimuli to teach FER and bridge the gap between intervention and research in this area.


2017 ◽  
Vol 5 (S2) ◽  
pp. AB083-AB083
Author(s):  
Thipwimol Tim-Aroon ◽  
Suphatcharee Leklab ◽  
Marin Satawiriya ◽  
Sirima Ketsuwan ◽  
Duangrurdee Wattanasirichaigoon

2014 ◽  
Vol 610 ◽  
pp. 420-424
Author(s):  
Jing Zhao ◽  
Xiu Juan Fan ◽  
Qin Xu

With the diversification tendency of clothing art, this paper mainly researches on the simulation of concave-convex type carvings on different fabrics by employing some cartoon characters such as Hello Kitty as direct patterns. Spectrum reconstruction processes are carried out on both the vivid characters and the fabrics with different materials and textures so as to integrate the favorable features of both sides. This paper also combines the image processing technology with the computer simulation technology, and sets cartoon elements as one of the pop cultures’ label. Its application in clothing keeps in line with the modern fashion trends, therefore creating a profound influence in this field. Moreover, the application of cartoon characters to the simulation research of textile fabric pattern designs is highly innovative, vivid, and has a very broad potential market.


2014 ◽  
Vol 2014 ◽  
pp. 1-10 ◽  
Author(s):  
Tanasai Sucontphunt

This paper describes a practical technique for 3D artistic face modeling where a human identity can be inserted into a 3D artistic face. This approach can automatically extract the human identity from a 3D human face model and then transfer it to a 3D artistic face model in a controllable manner. Its core idea is to construct a face geometry space and a face texture space based on a precollected 3D face dataset. Then, these spaces are used to extract and blend the face models together based on their facial identities and styles. This approach can enable a novice user to interactively generate various artistic faces quickly using a slider control. Also, it can run in real-time on an off-the-shelf computer without GPU acceleration. This approach can be broadly used in various 3D artistic face modeling applications such as a rapid creation of a cartoon crowd with different cartoon characters.


Author(s):  
Yin Yin Khoo ◽  
Robert Fitzgerald

This study examines the impact of using cartoons shared through mobile devices to promote awareness and to aid in the development of financial literacy among Economics students in Malaysia. The study also investigates the use of these ‘mobile cartoons' to develop students' communication skills. The study involved a quasi-experimental methodology investigating the learning outcomes of 91 undergraduate students. Data was acquired through surveys and interviews. The results showed a higher mean for the experimental group (Mobile Learning Collaborative) than the control group (Conventional Collaborative). Future research may focus on the improvement in the design of the intervention with a particular focus on expanding the range of cartoon characters.


2018 ◽  
Vol 53 ◽  
pp. 02004
Author(s):  
Mohd Rosli Arshad ◽  
Kim Hae Yoon ◽  
Ahmad Azaini Manaf

Current global trends have proved the creative industry to be one of the important sources of economic growth among developed countries. Creativity and its importance for Malaysia have made it imperative for any business organization to use creativity in a range of ways including multimedia content and animation. Malaysian animation viewers are rapidly influenced by digital media entertainment. The rise of such entertainment tends to drive them away from understanding what lies behind it that affect their emotion and thoughts. Therefore, the focus of this paper is to look into the experiences of “pleasantness” in viewer’s emotions that stimulate the perception of pleasure when watching Malaysian animated cartoon characters. A descriptive and One-Way Anova will be implemented in this study to examine the design aesthetics and perception from the animation viewers that affects the psychological experiences in emotions that determines the pleasantness feeling. Overall, the results indicate that perceived pleasantness on Malaysian animated cartoon characters did not differ between age and gender. We believe this finding will benefit the creative content creators and help them to understand more about local animation viewers.


2005 ◽  
Vol 19 (2) ◽  
pp. 77-90 ◽  
Author(s):  
Ewa Gierych ◽  
RafaŽ Milner ◽  
Andrzej Michalski

Abstract: The aim of the present study was to search for event-related potential (ERP) correlates of processing pictures commonly described as “funny” but not preceded by the apparent “context-setting” phase. Three pairs of stimuli were used: (1) famous cartoon characters and images of household objects, (2) pictures reminiscent of a recently seen joke and similar pictures that did not produce such associations, (3) funny caricatures and drawings of neutral human faces. ERP differences in each pair were analyzed in two experiments. In the first experiment, both stimuli were targets in an “oddball” procedure, presented among the more frequent green disks. In the second experiment, they were both nontargets whereas the green disks were task-relevant. Both experiments and all pairs of stimuli produced similar results. ERPs for funny pictures were consistently more positive within the broad latency windows, resembling the effects of emotional arousal. Negative deflections, typical for incongruity processing, were not found. Such results indicated that these types of “humorous” images belonged to the class of affective stimuli that produced attentional reallocation of processing resources. The cognitive phase during which incongruity is detected and resolved was probably reduced to minimum or even absent.


2014 ◽  
Vol 513-517 ◽  
pp. 1744-1747
Author(s):  
Feng Liu

The traditional design method of 3D animation modelings, by which can obtain attractive and precise 3D animation modelings, is to use three-dimensional modeling software such as Maya or 3D Max to draw directly. However, this method is faced with many problems, for instance, the lack of creativity, long design circle, high production costs, etc. For the problem of the lack of creativity, the reason is that animation designers are often subject to the limitation of the existing modelings and design concepts in the design process, therefore, they can not design creative modelings which are attractive and unforgettable enough. [For the problem of long design circle and high production costs, the reason is that although the 3D animation software are powerful, to skillfully master them not only requires users to have knowledge of computer technology and aesthetics at the same time, but also need a long learning process of modeling. Moreover, it takes the designers a lot of time and energy to design, draw and complete each modeling, and this will undoubtedly extend the design circle and increase the costs to some extent. Therefore, how to quickly and automatically generate creative 3D animation modelings has become a research focus of the present computer-aided creative design.


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