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- W2498717070 abstract "Introduction The challenge of communicating emotional content to an audience via animated characters has existed since the art form first appeared. As animation techniques and technology have advanced, animators and character designers find themselves with a multitude of resources and tools for the creation of facial expressions so as to effectively communicate the emotions of their animated characters within each scene. However, by using evolved forms of symbolic facial expression, which are widely accepted, these technologies and techniques often overlook the unconscious communication conveyed via actual human facial expressions. The fundamentals of this instant and unconscious emotional communication have been well studied and documented, yet the systems developed by the scientific community for reading and interpreting facial communication have only occasionally and recently been applied by animators. As they relate to emotional experiences, facial expressions can be divided into two main types: spontaneous facial expressions; and deliberate facial expressions (Ekman & Rosenberg 1997). Animated characters traditionally use a third type of facial expression: symbolic or artistic facial expressions. Executions of animated facial expressions may have a natural tendency to fall into the third category, but certain types of emotional communication may be aided by attempts to include hallmarks of the spontaneous expression type, or a hybrid of these two. Studies have suggested that the reading of facial expressions is an unconscious process and that our reactions to these facial expressions can be unconsciously generated (Murphy & Zajonc, 1993). This finding is supported by previous publications by Paul Ekman (2003) and Carl Jung (1974). This suggests that a deeper understanding of how to execute facial expressions which can be unconsciously read as true expressions of emotion may be a useful tool for effective communication of emotion when creating animated characters. These symbolic expressions are effective at generating two of the three main responses to facial expressions – environmental expectation and behavioural expectation – which are described in the paper ‘Facial Expressions as modes of Action Readiness’ (Frijda & Tcherkassof 1997). The third main type of response is the generation of an empathic response. The paper Components and Recognition of Facial Expression and Communication of Emotion by Actors (Gosselin, Kirouac, et al, 1997) has found that empathic emotional responses are generated more effectively through spontaneous facial expressions, than through symbolic or deliberate facial expressions. Formal systems for the decoding of facial expressions established by other disciplines may offer animators new opportunities to draw upon methods outside their own practice to create facial expressions that communicate emotions effectively to the audience without any requirement that they look realistic. For example, the use of Ekman and Friessen’s Facial Action Coding System (FACS) in the creation of the character Gollum in Lord of the Rings – The Two Towers (2002), (Kerlow, 2004) resulted in a character performance which was widely regarded by critics as emotionally believable and well integrated with the action and other characters in the film." @default.
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- W2498717070 date "2007-01-01" @default.
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- W2498717070 title "Animation Studies - Animated Dialogues, 2007" @default.
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