The authors of the article explore how the cartoon characters are perceived in advertising products of famous brands among young people. To study this issue, focus groups were held, in which ...representatives of the youth audience took part. To demonstrate the stimulus material, 22 characters from animated films were selected (cartoons of the Soviet period, Disney studios cartoons and other foreign cartoons). For a large number of products, especially for children, the use of cartoon characters is logical and relevant in most cases. The level of popularity of Soviet cartoons is quite high, which gives brands the opportunity to use their characters in advertising communications. The most popular are the heroes of foreign cartoons (Disney studios and others). According to the results of the study, it was concluded that the use of cartoon characters in advertising communications of the brand contributes to its successful promotion, makes advertising bright and memorable, such advertising attracts the attention of the target audience and arouses its interest. At the same time, the authors point out that it is impossible to take the character out of the context of the cartoon, his image should be exactly the way people used to see him. In this case, advertising communication will be really successful. The results of the study can be used by brands when promoting goods and services using cartoon characters.
Image decomposition is one of the most important tasks in image processing. In this paper, we develop a novel saturation-value total variation model for color image decomposition. The approach is to ...propose a variational model containing an energy functional to derive the cartoon and texture decomposition in the saturation-value color space so that the color can be kept in the resulting cartoon component. The proposed idea is different from existing color image decomposition model where color information usually exists in both cartoon and texture components. In the variational model, saturation-value total variation is incorporated for regularizing the cartoon component of a color image, meanwhile, L1 norm is considered for modeling the texture component in the saturation-value color space. Theoretically, we develop a smooth approximation approach to study the existence of the solution of the proposed optimization problem. We formulate an effective and efficient algorithm to solve the proposed minimization problem based on the framework of alternating direction method of multipliers. Numerical examples are presented to demonstrate that the performance of the proposed model is better than that of other testing methods for several testing color images.
Superheld*innen sind in der Krise: Gut und Böse, Richtig und Falsch sind nach starken sozialen und politischen Umbrüchen längst nicht mehr klar und eindeutig. Für das Genre ein eklatantes Problem. ...Religion und Glaube könnten hier Orientierung bieten, verlieren aber - so der gängige Vorwurf - ihrerseits immer stärker an Bedeutung in einer säkularen Welt. Die Beiträger*innen des Bandes bieten einen ersten Zugang zu diesem Phänomen und kommen zu dem erstaunlichen Befund, dass religiöse Motivik dagegen ungebrochene Hochkonjunktur in der superheroischen Popkultur feiert. Figuren, Themen, Ikonographie, Symbole: Das religiöse Spielfeld des Superheroismus ist mannigfaltig.
Occluding effects have been frequently used to present weather conditions and environments in cartoon animations, such as raining, snowing, moving leaves, and moving petals. While these effects ...greatly enrich the visual appeal of the cartoon animations, they may also cause undesired occlusions on the content area, which significantly complicate the analysis and processing of the cartoon animations. In this article, we make the first attempt to separate the occluding effects and content for cartoon animations. The major challenge of this problem is that, unlike natural effects that are realistic and small-sized, the effects of cartoons are usually stylistic and large-sized. Besides, effects in cartoons are manually drawn, so their motions are more unpredictable than realistic effects. To separate occluding effects and content for cartoon animations, we propose to leverage the difference in the motion patterns of the effects and the content, and capture the locations of the effects based on a multi-scale flow-based effect prediction (MFEP) module. A dual-task learning system is designed to extract the effect video and reconstruct the effect-removed content video at the same time. We apply our method on a large number of cartoon videos of different content and effects. Experiments show that our method significantly outperforms the existing methods. We further demonstrate how the separated effects and content facilitate the analysis and processing of cartoon videos through different applications, including segmentation, inpainting, and effect migration.
This paper discusses the word as a discursive and ideological phenomenon in social interactions. To reflect on this issue, we have as a general objective to carry out a theoretical-methodological ...discussions of the word under a discursive perspective, whose support is based on the assumptions of the Bakhtin (2006, 2008, 2019), Volóchinov (2017), Medviédev (2016) and adjacent, like Brait (2006, 2013), Faraco (2009) and others. The methodology of this research followed a qualitative approach of interpretative nature (MINAYO, 2001; SILVEIRA & CÓRDOVA, 2009), based on the research proposal in line with the Dialogic Discourse Analysis, which is supported by the postulates of Bakhtin Circle thinking. The analysis is based on a contemporary cartoon published in digital media by Jota Camelo. The results show that when taken into account the ideological meanings that surround the discursive production, the word takes on an amplitude that crosses structural boundaries and thickens in the responsive character of the constitution of the subject of language.
The informal heuristic practices of the fine arts have much to offer to our understanding of the appearance of phenomenological reality. One interesting example is the use of exaggeration to enhance ...the illusion of liveliness in both living and nonliving subjects. This further eases the uncomfortable sense that the motion is somehow uncanny — especially with inanimate objects. We performed a series of experiments to test the effects of exaggeration on the phenomenological perception of simple animated objects — bouncing balls. A physically plausible model of a bouncing ball was augmented with a frequently used form of exaggeration known as squash and stretch. Observers were shown a series of animated balls, depicted using systematic parameterizations of the exaggeration model, and asked to rate their plausibility. A range of rendering styles provided varying levels of information as to the type of ball. In all cases, balls with small amounts of exaggeration were seen as plausible as those without any exaggeration (e.g., with veridical motion). Furthermore, when the type of ball was not specified, observers tolerated a large amount of exaggeration before judging them as implausible. When the type of ball was indicated, observers narrowed the range of acceptable exaggeration somewhat but still tolerated exaggeration well beyond that which would be physically possible. We contend that, in this case, exaggeration acts to bridge the so-called uncanny valley for artificial depictions of physical reality.
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