동서대학교 동서대학교 디자인대학
홈 회원가입 일반대학원 디자인학과 한국연구재단 SDGs 센터 사이트맵 검색
아카이브학위논문박사논문(PhD Theses)

학위논문 Theses and Dissertations

NO.D.2022.08_04

애니메이션 캐릭터 미학과 역할에 대한 지각과 공감에 관한 연구 -일본과 말레이시아 애니메이션을 중심으로- A Study on Perception and Empathy of Character Aesthetics and Roles in Animation -Focused on Japanese and Malaysian Animation-

  • Name : 모드 로슬리 빈 아르샤드/Mohd Rosli Arshad
  • Info : 박사학위논문/Doctor's thesis/ 2022.08
  • Adviser : 김해윤/Kim Hae Yoon
192.168.95.160

초록

말레이시아 창조경제의 부상은 개발도상국 중 최고의 문화생산국 중 하나로 확인되고 있다. 아용(AuYong, 2018)은 창조경제의 세계 가치는 약 1조 6천억달러이며, 말레이시아 디지털 경제는 2020년까지 말레이시아 국내총생산 기여 목표인 18%를 초과할 것으로 예상된다고 보고했다. 이러한 성공은 지적재산권(IP)을 활용하여 성공한 현지 애니메이션 콘텐츠를 영화로 확장하고 게임, 라이선스 및 머천다이징까지 확장시킨 문화창조 산업 관련자들이었다. 그 결과 말레이시아의 애니메이션 시청자가 확대되고 있으며 수요에 따라 애니메이션 콘텐츠에 대한 말레이시아 관객의 수용도 기하급수적으로 증가하고 있다. 그러나 공감에 대한 논의는 애니메이션 콘텐츠에 대한 관객의 관점에서 인식과 생각을 이해하기 위한 연구자들 사이에서 그다지 인기가 없었고 널리 논의되지 않았다. 따라서 본 연구에서 일본과 말레이시아의 애니메이션 영화, 특히 애니메이션 캐릭터를 볼 때 그들의 마음과 감정 뒤에 무엇이 숨어 있는지 깊이 생각해 보고자 한다. 좋은 게임이나 영화 캐릭터를 디자인하려면 아이디어만 있는 것이 아니다. 좋은 애니메이션 캐릭터를 디자인하려면 애니메이션에서 스토리텔링을 개발하는 일관성 있고 일관된 캐릭터 디자인 기술이 필요하다. 또한, 애니메이션 영화 캐릭터를 볼 때 말레이시아 애니메이션 관객의 의식을 자극하는 즐거움과 만족스러운 경험을 조사하고자 한다. 이러한 현상적 경험은 일본과 말레이시아의 애니메이션 영화 캐릭터를 볼 때 유쾌함을 자극하는 관객의 감정에서 ‘쾌감’의 느낌을 생성하게한다. 또한 관객에 대한 공감의 의미의 상징적 확장을 탐구한다. 따라서 이 연구는 캐릭터 미학의 매력적인 디자인과 말레이시아 관객의 감정에 영향을 미치는 시각적 역할에 대한 탐구이다.
One-Way ANOVA 통계 검정을 사용한 통계 분석은 일본과 말레이시아 애니메이션 영화 캐릭터에 대한 인식을 분류하기 위해 16-30세 사이의 서말레이시아 반도 및 동말레이시아 반도의 응답자 300명으로 구성된 말레이시아 청소년의 감정적 감정을 결정하는 데 사용된다. 가설에 답하기 위해 다른 연구자들이 제안한 방법론을 기반으로 1차 데이터 분석을 위해 정량적 요인 분석 One-Way ANOVA를 사용한다. 애니메이션 영화 캐릭터의 관객인식(Perception), 캐릭터미학(Appearance) 및 캐릭터역할(Personality)에 대한 인식에서 한 그룹의 답변이 다른 그룹과 실질적으로 다른지 여부를 파악하여 성별과 연령이 다른 공감대를 얻는 것이 본 연구의 목표이다. 말레이시아 청소년 관객을 대상의 실험에서는 일본 애니메이션 캐릭터가 큰 영향을 미치지 않는 것으로 나타났다. 일본 애니메이션 캐릭터에 대한 성별과 연령별 반응에서 전반적으로 즐겁고 만족스러운 경험에 대한 인식에는 큰 차이가 없었다. 성별과 연령에 영향을 미치는 일본 애니메이션 캐릭터의 캐릭터 미학과 역할 인식에도 큰 차이가 없음을 보여주었다. 반면, 말레이시아 애니메이션 캐릭터는 만족도 및 전반적인 즐거운 경험 의 2가지 요인에서 분명한 결과를 보여주었다. 캐릭터 미학을 테스트하기 위한 2번째 변수에서 성별 선호도에서는 말레이시아 애니메이션 캐릭터의 남녀 간에 유의미한 차이를 보이지 않았다. 마찬가지로, 말레이시아 애니메이션 캐릭터 미학은 3가지 요소가 연령 선호도 간에 상당한 차이를 나타냄을 분명히 보여주었. 캐릭터 디자인 및 색상 및 의상 등 캐릭터 스타일링에서 말레이시아 관객의 연령층에 대한 인식의 큰 차이를 보여주고 즐거운 경험을 제공했다. 마지막으로, 말레이시아 애니메이션 캐릭터의 캐릭터 역할도 성별과 연령에 대한 그룹 평균에서 유망한 유의미한 차이를 보여 주었다.
말레이시아 애니메이션 캐릭터의 역할이 말레이시아 청소년 관객에게 즐겁고 만족스러운 요소에 기여하는 중요한 요소라는 결과를 도출했다. 따라서 말레이시아 애니메이션 청소년 관객의 공감을 이해하기 위해서는 몇 가지 요소가 경험의 즐거움과 만족감을 결정한다. 첫째, 현지 민속, 신화 및 현실에서 영감을 받은 높은 도덕적 가치와 내용이 말레이시아 청소년에게 개인적으로 영향을 미쳤다. 둘째, 캐릭터 미학적 측면에서 말레이시아 관객이 애니메이션 캐릭터에 가깝게 느낄 수 있도록 장소와 아이덴티티에 따라 중간톤의 색상을 사용하고 디자인을 구성해야 한다. 셋째, 캐릭터의 역할은 말레이시아 관객에게 영향을 미치는 가장 중요한 요소이다. 드라마틱한 스토리라인과 등장 인물 간의 갈등이 관객들 사이에서 가장 선호하는 구도이다. 마지막으로 애니메이션 캐릭터가 그리는 도덕적 가치와 어린 시절의 추억은 애니메이션 감상의 즐거움을 보완하는 그리운 경험을 가져다 줄 것이다.

摘要

Abstract

The rise of the creative economy in Malaysia has been identified as one of the top cultural producers among developing countries. AuYong (2018) reported the global value of the creative economy is approximately US$1.6 trillion, and Malaysia's digital economy is expected to exceed its target of contribution to the country's gross domestic product of 18 per cent by 2020. The main contributions to these successful figures mainly came from the creative industry players. They managed to utilize (IP) intellectual property rights, expand their successful local animation contents into film, and move on to games, licensing and merchandising. As a result, Malaysian animation viewer is expanding, and the reception of Malaysian audiences on animation content has increased exponentially due to the demand. However, the discussion on empathy has not been very popular and widely debated among researchers to understand the perception and thoughts from the audience's perspective toward animation content. Therefore, this research will seek a deep thought of what lies behind their mind and emotion when seeing Japanese and Malaysian animated films, especially animated film characters. Designing a good game or movie character requires more than only having an idea nowadays. Designing good animated characters requires a coherent and consistent character design skill from developing storytelling in animation. Moreover, this study tries to investigate the experiences of enjoyment and satisfying experiences of Malaysian animation audiences' that stimulate their consciousness when watching animated film characters. These phenomenological experiences create and rejuvenate the feeling of “pleasantness” in audiences' emotions that stimulate their sense of cheerfulness when watching Japanese and Malaysian animated film characters. Additionally, it explores the symbolic extension of the meaning of empathy toward audiences. Therefore, this study will highlight the appealing design in the character aesthetic and the visual role that affects the emotions of Malaysian audiences.
A statistical analysis using a One-Way ANOVA statistical test is used to determine the emotional feeling among Malaysian youth comprising of 300 respondents from West and East Malaysia Peninsular aged between 16- 30 years old to categorize the perception of Japanese and Malaysian animated film characters. This study employs a quantitative factorial analysis One-Way ANOVA for the primary data analysis based on the methodology proposed by other researchers to answer the hypotheses of this study. The objective is to find whether one group's answers are substantially different from another group's between the perception of audiences' perception (Perception), character aesthetics (Appearance), and character roles (Personality) in animated film characters to gain empathy among different gender and age groups in Malaysian audiences. Based on the outcomes of this study, it was found that overall factors proposed in this study and tested toward Malaysian youth audiences show that Japanese animated characters do not significantly impact them. There are no significant differences in perceptions of overall enjoyable and satisfying experiences on gender and age toward Japanese animated characters. Similarly, the results show no significant differences in character aesthetics and role perception in Japanese animated characters that affected gender and age. On the other hand, Malaysian animated characters showed clear results in two factors: satisfaction and overall enjoyable experience. On the second variable to test the character aesthetic, gender preferences have shown no significant difference between males and females in Malaysian animated characters. Likewise, the character aesthetics of Malaysian animated characters clearly show that three factors indicated a significant difference among age preferences. In character design and character styling such as colors and costumes, it showed a big difference in the perception of the Malaysian audience for the age group and provided an enjoyable experience. Finally, the character roles of Malaysian animation characters also showed promising significant differences in the group mean for gender and age.
Overall results summarized that Malaysian animated character roles are the crucial factors contributing to the enjoyable and satisfying factors for Malaysian youth audiences. Therefore, to understand empathy among Malaysian animation youth audiences, several factors will determine their sense of enjoying and satisfying experiences. Firstly, the high moral values and content inspired by the local folklore, myth and realities of life have personally impacted Malaysian youth. Secondly, in terms of character aesthetics, the use of medium-tone color and the design must be constructed according to place and identity to make the Malaysian audience feel close to the animated characters. Thirdly, character roles are the most important factors that affect Malaysian audiences. Dramatic storylines and conflict between characters are the most preferred among the audience. Finally, the moral values portrayed by the animated characters and childhood memories will bring nostalgic experiences that supplement the enjoyment of watching animation.

키워드

  • #지각
  • # 즐거움
  • # 공감
  • # 애니메이션 영화 캐릭터
  • # 캐릭터 미학
  • # 캐릭터 역할
  • # 일본 애니메이션
  • # 말레이시아 애니메이션


  • #Perception
  • # Pleasantness
  • # Empathy
  • # Animated Film Characters
  • # Character Aesthetics
  • # Character Roles
  • # Japanese Animation
  • # Malaysian Animation

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[Proceedings]

1. AuYong, H. N., Making Full Use of a Creative Economy: Review of the Development of Malaysia As a Hub for Creative Content Technologies. 2nd Conference on Technology & Operations Management (2nd CTOM), Universiti Utara Malaysia, Kedah, Malaysia, 2018
2. Brento, H., Gillies, M., Ballin, D., & Chatting, D., The uncanny valley: does it exist. 19th British HCI Group Annual Conference: workshop on human-animated character interaction, 2005
3. Chaminade, T., Hodgins, J. K., Letteri, J., & MacDorman, K. F., The uncanny valley of eeriness. SIGGRAPH07: Special Interest Group on Computer Graphics and Interactive. California: Association for Computing Machinery, 2007
4. Eves, B., & Hewitt, J., Semiotics, Design Character Language. International Conference on Engineering and Product Design Education. Barcelona, Spain: Universitat Politecnica De Catalunya, 2008
5. Filho, J. R., Machado, L. R., Junior, N. A., Franco, A. d., & Maia, J. G., Character Design: a new Process and its Application in a Trading Card Game. Conference: Proceedings of SBGames- Arts and Design Track. São Paulo: XV SBGames., 2016
6. Goetz, J., Kiesler, S., & Powers., A Matching Robot Appearance and Behavior to Tasks to Improve Human-Robot Cooperation. The 12th IEEE International Workshop on Robot and Human Interactive Communication, USA: IEEE, 2003
7. Ionescu, B., Lambert, P., Coquin, D., & Study, B. A., Color-Based Content Retrival of Animation Movie: A Study, International Workshop on Content-Based Multimedia Indexing. Talence, France: IEEE, 2007
8. Kia, K. K., A study on visual styles of Wayang Kulit Kelantan and its capturing methods. Sixth International Conference on Computer Graphics, Imaging and Visualization. Tianjin: IEEE, 2009
9. MacGillivray, C., How Psychophysical Perception of Motion and Image relates to Animation Practice. Computer Graphics, Imaging and Visualization, 2007
10. Mutalib, H., Sang Kancil - Ke Mana Kau? Filem Animasi di Era Globalisasi - Masa Depan dan Cabaran. Kuala Lumpur: Dewan Bahasa dan Pustaka, 2000
11. Mutalib, H., Spices of the Cinema: The Influence of Anime on Malaysian Animation Filmmakers. Paper presented at International Anime and Manga Forum. Tokyo, Japan, 2003
12. Mutalib, H., Animation Trends by Emerging Media in Malaysia. Seminar Paper Presented at the Asia Pacific Regional Seminar on Animation Culture and Industry for Promotion of Cultural, 2008
13. Wang, M., Discussion on Japan's Animation Culture and Its Influence. International Conference on Economic Management and Sosial Sciences, Xi'an, China: Atlantis Press, 2014.

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