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To understand the deep learning model, the author proposed the research of interactive texture replacement of cartoon characters. For image segmentation, if you want to fill a cartoon without any texture in detail, or replace the unsatisfied texture area, first, we need to separate the filled or replaced area from the cartoon. For this reason, the traditional image segmentation algorithm has been carefully studied and analyzed, and the author chooses the Graphcut texture synthesis algorithm, the algorithm is parallelized and improved, and the innovative point of lighting customization is proposed based on the original algorithm, which can affect the synthesis effect according to the input lighting image. In terms of timeliness and synthesis effect, the Graphcut algorithm has been improved. Experimental results show that the algorithm can maintain the brightness distribution of the original cartoon and the practicability and efficiency of the algorithm proposed by the author.

The aim of this study is to investigate the relationship between skeletal antero-posterior profile of popular family cartoon characters and their perceived personal characteristics. The Internet Movie DataBase (IMDB) was used to identify popular animated family movies released since 2000. Cartoon characters were identified, and classified based on their gender (male/female), skeletal profile (Class I, II or III) and character assessment (protagonist/antagonist). Descriptive statistical analysis was carried out. Chi Square analysis was used to assess the differences (p-value) between gender and character assessment against the skeletal profile. Fifty popular animated family movies were identified. Within these 88 humanoid cartoon characters were identified made up of 32 male protagonists, 27 female protagonists, 22 male antagonists and 7 female antagonists. 40, 30, 21 were assessed as having a Class I, II and III skeletal profiles respectively. Statistically significant differences were observed in both FPFA and MPFP values for Class III characters (P = 0.009 and P = 0.006, respectively). However, no significant variations were noted when comparing the remaining groups. Female antagonists and male protagonists were most likely to be portrayed with a Class III skeletal pattern when compared to female protagonists and male antagonists respectively.

In Anime’s Media Mix, Marc Steinberg convincingly shows that anime is far more than a style of Japanese animation. Engaging with film, animation, and media studies, as well as analyses of consumer culture and theories of capitalism, Steinberg offers the first sustained study of the Japanese mode of convergence that informs global media practices to this day.

Studies on eye movements found that children with autism spectrum disorder (ASD) had abnormal gaze behavior to social stimuli. The current study aimed to investigate whether their eye movement patterns in relation to cartoon characters or real people could be useful in identifying ASD children.BackgroundStudies on eye movements found that children with autism spectrum disorder (ASD) had abnormal gaze behavior to social stimuli. The current study aimed to investigate whether their eye movement patterns in relation to cartoon characters or real people could be useful in identifying ASD children.Eye-tracking tests based on videos of cartoon characters and real people were performed for ASD and typically developing (TD) children aged between 12 and 60 months. A three-level hierarchical structure including participants, events, and areas of interest was used to arrange the data obtained from eye-tracking tests. Random forest was adopted as the feature selection tool and classifier, and the flattened vectors and diagnostic information were used as features and labels. A logistic regression was used to evaluate the impact of the most important features.MethodsEye-tracking tests based on videos of cartoon characters and real people were performed for ASD and typically developing (TD) children aged between 12 and 60 months. A three-level hierarchical structure including participants, events, and areas of interest was used to arrange the data obtained from eye-tracking tests. Random forest was adopted as the feature selection tool and classifier, and the flattened vectors and diagnostic information were used as features and labels. A logistic regression was used to evaluate the impact of the most important features.A total of 161 children (117 ASD and 44 TD) with a mean age of 39.70 ± 12.27 months were recruited. The overall accuracy, precision, and recall of the model were 0.73, 0.73, and 0.75, respectively. Attention to human-related elements was positively related to the diagnosis of ASD, while fixation time for cartoons was negatively related to the diagnosis.ResultsA total of 161 children (117 ASD and 44 TD) with a mean age of 39.70 ± 12.27 months were recruited. The overall accuracy, precision, and recall of the model were 0.73, 0.73, and 0.75, respectively. Attention to human-related elements was positively related to the diagnosis of ASD, while fixation time for cartoons was negatively related to the diagnosis.Using eye-tracking techniques with machine learning algorithms might be promising for identifying ASD. The value of artificial faces, such as cartoon characters, in the field of ASD diagnosis and intervention is worth further exploring.ConclusionUsing eye-tracking techniques with machine learning algorithms might be promising for identifying ASD. The value of artificial faces, such as cartoon characters, in the field of ASD diagnosis and intervention is worth further exploring.

Every living American adult likely prized one childhood toy that featured the happy image of an animated cartoon or comic strip character. There is an ever-growing market for these collectibles, and stacks of books pose as pricing guides. Yet Tim Hollis is the first to examine the entire story of character licensing and merchandising from a historical view. Toons in Toyland focuses mainly on the post-World War II years, circa 1946-1980, when the last baby boomers were in high school. During those years, the mass merchandising of cartoon characters peaked. However, the concept of licensing cartoon characters for toys, trinkets, and other merchandise dates back to the very first newspaper comics character, the Yellow Kid, who debuted in 1896 and was soon appearing on a variety of items. Eventually, cartoon producers and comic strip artists counted on merchandising as a major part of their revenue stream. It still plays a tremendous role in the success of the Walt Disney Company and many others today.Chapters examine storybooks (such as Little Golden Books), comic books, records, board games, jigsaw puzzles, optical toys (including View-Master and Kenner's Give-a-Show Projector), and holiday paraphernalia. Extending even beyond toys, food companies licensed characters galore--remember the Peanuts characters plugging bread and Dolly Madison snacks? And roadside attractions, amusement parks, campgrounds, and restaurants--think Yogi Bear and Jellystone Park Campgrounds--all bought a bit of cartoon magic to lure the green waves of tourists' dollars.

2024 National Communication Association's Latino/a Communication Studies Division and La Raza Caucus Book of the Year Award  2024 National Communication Association's Critical and Cultural Communication Studies Division (CCSD) Book of the year award 2023 National Communication Association's Feminist and Gender Studies Division Bonnie Ritter Outstanding Feminist Book AwardIn the summer of 2016, Disney introduced its first Latina princess, Elena of Avalor. Princesa of the Periphery explores this Disney property using multiple case studies to understand its approach to girlhood and Latinidad. Following the circuit of culture model, author Diana Leon-Boys teases out moments of complex negotiations by Disney, producers, and audiences as they navigate Elena's circulation. Case studies highlight how a flexible Latinidad is deployed through corporate materials, social media pages, theme park experiences, and the television series to create a princess who is both marginal to Disney's normative vision of princesshood and central to Disney's claims of diversification. This multi-layered analysis of Disney's mediated Latina girlhood interrogates the complex relationship between the U.S.'s largest ethnic minority and a global conglomerate that stands in for the U.S. on the global stage. 

This research examines effects of on-package licensed characters on children’s and caregivers’ choices of healthy and indulgent food and children’s consumption amount. The authors propose that food liking exerts the greatest influence on children’s choices and consumption, such that the impact of on-package characters will be limited to choices between equally liked options. Caregivers’ choices are primarily influenced by their food goals for their children; thus, the impact of characters will likewise be limited to caregivers’ within-category choices. Two experiments show that a character influences children’s choices between two same-category options but not between indulgent and healthier options. A third experiment reveals that food liking influences amount consumed, while the presence of a character influences neither amount consumed nor food liking. Two additional experiments show that characters influence caregivers’ choice between the same foods, but not between different food types or intention to purchase a food. The expanded framework for the effects of licensed characters—taking into account choice versus consumption, children versus caregivers, and healthy versus unhealthy foods—enhances understanding for consumers, practitioners, and policy makers.

The history of comics has centered almost exclusively on men. Comics historians largely describe the medium as one built by men telling tales about male protagonists, neglecting the many ways in which women fought for legitimacy on the page and in publishers' studios. Despite this male-dominated focus, women played vital roles in the early history of comics. The story of how comic books were born and how they evolved changes dramatically when women like June Tarpé Mills and Lily Renée are placed at the center rather than at the margins of this history, and when characters such as the Black Cat, Patsy Walker, and Señorita Rio are analyzed. Comic Book Women offers a feminist history of the golden age of comics, revising our understanding of how numerous genres emerged and upending narratives of how male auteurs built their careers. Considering issues of race, gender, and sexuality, the authors examine crime, horror, jungle, romance, science fiction, superhero, and Western comics to unpack the cultural and industrial consequences of how women were represented across a wide range of titles by publishers like DC, Timely, Fiction House, and others. This revisionist history reclaims the forgotten work done by women in the comics industry and reinserts female creators and characters into the canon of comics history.