A Study of the Relation between Camera Views and Emotional Expression

• Main Authors: Chi-jung Wang, 王啟榮
• Other Authors: L. Grace Juan
• Format: Others
• Language: zh-TW
• Published: 2003
• Online Access: http://ndltd.ncl.edu.tw/handle/57346510041069812552

碩士 === 樹德科技大學 === 應用設計研究所 === 91 === Animation was introduced to the world at the beginning of 20th century. It is a kind of art that is led by the sense of sight. Animation centers on the originality, sense of beauty, and the way of expression. Therefore, how to reflect the essence of art and how to present a character will be especially important in the creation. It is required to have the concepts of shooting and film language to create a plot that can touch one’s feeling in the animation production. Though many predecessors had looked into shooting and the composition of image, they didn’t dig in the relationship between camera views and emotional expression. Thus, this study decides to focus on this topic to do a thorough research. By applying a method concentrates on quantity and quality, this study intend to find out the rule of design application, to be a useful reference for film creators. First, those archives in vision, conception, image, communication, composition, esthetics, and animation related fields are collected to be the basis of this study. The archive analysis method was taken to sum up the characteristics of image disposition and camera views. Then using the KJ method to sift out six emotion adjectives: love, astonishment, fear, delight, sorrow, and angry, to be the base of the two-step experience. In the first phase of the experience, 3 subjects observe the key scenes together and dissect those manners frequently used be designers by using the content analyzing method. In the second phase, taking the method of Kansei Engineering to design a questionnaire. Six emotional adjectives with 5 level scales were used to evaluate 9 different camera views by 33 subjects. Then analyze those outcomes with single factor to find out the different emotional understanding of people result from different camera views. Finally, comparing the outcomes from each phase, integrate with designers’ ideas and people’s point of view to get the conclusion of the characteristics of camera views and the key points of emotional expression. This study found the results of sample analysis and that of emotional evaluation are quite similar. Love, delight, sorrow and angry are quite match in 2 phases. It indicates that designers and subjects have similar cognition to the expressive manners for these 4 emotions. Love and delight is suitable to be expressed at eye level. Sorrow is fitting with low angle. Fear is fitting with low angle too, but most animation samples displayed by front view and lateral view, and experimental results show the lateral view is not appropriate. Angry is feasible for low angle. Animation samples of astonishment usually use eye level view combined with front or lateral view, but the subjects think high angle and low angle is more proper to use, and lateral view is not appropriate to astonishment. Moreover, when there is only one character in a scene, in most cases it is displayed in front view and rarely appeared in rear view. It indicates using front view to present sentiments is most acceptable by people. The facial expression is fairly helpful for the emotional expression. In majority the designers’ anticipation matches the subjects’ perception. It reveals that people have common emotion, and the different camera views indeed can strengthen or weaken the emotion that a character reveals.