Funny Faces Research Articles

Pragmatic Functions of Emoji on Chinese Social Media

Emojis, expressive symbols on social media, gained popularity due to its convenience and versatility. This paper explores the pragmatic functions of four specific emojis (doge, smile, funny face, love) from comments on Bilibili and Weibo. A corpus of 229 comments is created through manual collection and crawler, and annotated according to the intext functions of the emojis. The results show that the four emojis are mainly used as “external tonal complements” and used for friendliness or joking, which can be explained by the renderings of the emojis. Furthermore, the friendly-looking love emoji and smile emoji also have occasional uses for sarcasm. Emojis used mainly for joking have softening uses, while emojis used mainly for friendliness are found to have sarcastic uses instead of softening uses. A possible cause of these negative uses is the censorship in Chinese social media. The research serves as a basis for Chinese emoji uses research of greater scale and provides insight for sentiment analysis with emojis.

Value Analysis and Comparison of Animation Markets in America, Japan and China

From the invention of the Fenech mirror in 1832 to the release of Humorous Phases of Funny Faces in 1906, from Astro Boy, Space Battleship Yamato, to Neon Genesis Evangelion, from Toy Story to Frozen II, after nearly two centuries of development, The animation industry in various countries has become mature and formed different production technologies and industrial chains: the 3D animation industry led by the United States and the 2D animation industry led by Japan have overwhelming power over the global animation market. With China's active cultural output and capital investment in the world, the animation industry, as one of the best channels, has begun to develop rapidly and become one of the major animation-producing countries. This article will analyze the market value of the above three major animation-producing countries in recent years, elaborate on their respective characteristics and compare them, to try to analyze the trend of the animation market in the future.

Commercial television and primate ethology: facial expressions between Granada and London Zoo.

This article examines the significant relationship that existed between commercial British television and the study of animal behaviour. Ethological research provided important content for the new television channel, at the same time as that coverage played a substantial role in creating a new research specialism, the study of primate facial expressions, for this emergent scientific discipline. The key site in this was a television and film unit at London Zoo administered by the Zoological Society and Granada TV. The Granada unit produced 'Animal expressions', a twenty-five-minute television film based on research on monkeys and apes by the Dutch postgraduate student and soon-to-be-leading-authority Jan van Hooff. Recovering the production and multiple uses of 'Animal expressions', this paper offers the first sustained historical analysis of science on commercial television. I show how Granada patronage helped Van Hooff to support his argument that human expressions such as smiling and laughter shared common evolutionary origins with similar facial movements in nonhuman primates. Emphasizing the mutual shaping of science and ITV, I argue that 'Animal expressions' repurposed televisual conventions of framing talking heads, and blended serious science with the comedy of 'funny faces', thereby epitomizing Granada's public-service strategy at a time when commercial television was defending itself from criticism in the Pilkington report.

The Prettiest Star

The Prettiest Star

(2021) Volume 2, Issue 4 Cultural Implications of China Pakistan Economic Corridor (CPEC Authors: Dr. Unsa Jamshed Amar Jahangir Anbrin Khawaja Abstract: This study is an attempt to highlight the cultural implication of CPEC on Pak-China relations, how it will align two nations culturally, and what steps were taken by the governments of two states to bring the people closer.

(2021) Volume 2, Issue 4 Cultural Implications of China Pakistan Economic Corridor (CPEC Authors: Dr. Unsa Jamshed Amar Jahangir Anbrin Khawaja Abstract: This study is an attempt to highlight the cultural implication of CPEC on Pak-China relations, how it will align two nations culturally, and what steps were taken by the governments of two states to bring the people closer.

FAST 112 HEROES: A kindergarten-based educational stroke intervention for the whole family

Background: Stroke is a worldwide leading cause of disability, and around 50 million people are affected by stroke annually. Public stroke educational and awareness programmes can make a great deal of difference. Young children are in key position to seek urgent medical care if grandparents suffer a stroke, as grandparents are often their secondary caretakers. Objective: The objective of the current study was to design an educational intervention targeting children and, in parallel, directly involve extended family members. Design: Participatory action research. Setting: School-based education stroke intervention in Thessaloniki, Northern Greece. Methods: Over the course of 5 weeks, this intervention sought to educate 66 preschool children and their families through a series of novel activities that revolved around 4 superheroes, the FAST mnemonic and a medical emergency number. One superhero and their unique superpower was introduced every week through a Powerpoint presentation, a short animation video and a wide range of in-class and take-home activities, such as ‘phantom speech’, role-playing, funny face mimicking games, and rhyming poems. Children were also encouraged to identify their own family superhero so as to transfer their learning to real life. Results: Follow-up individual and group assessment pointed to encouraging results. Results from odd-one-out-tasks revealed that children were able to recognise the stroke symptoms in question. However, they performed more poorly on more complex tasks involving recall. Conclusions: Preschool children acquired knowledge of stroke symptoms which appears more solid when recognition is assessed. Assessment tasks involving substantial recall of information do not necessarily reflect the ability to detect stroke symptoms.

幼児期における「変な顔」表現の発達：

幼児期における「変な顔」表現の発達：

Now I Am The Voice: "a journey of self-discovery through the eyes of a Thalassemic".

Now I Am The Voice: "a journey of self-discovery through the eyes of a Thalassemic".

Classification of tweets data based on polarity using improved RBF kernel of SVM

The sentiment analysis has gained its importance in recent years. People had improved their way of expressing their opinions about products, services, celebrities, and current topics in internet portals, blogs and social networks. The social network websites like Face book, Twitter, WhatsApp, LinkedIn and Hike messenger, providing the users to express their feelings by using the different symbols like smiley’s, funny faces, etc., These social media websites provide a platform to display peoples’ opinions on topics like movies, products, fashion trends, politics, technologies were expressed. The E-Commerce portals like Amazon, Flip Kart, Snap deal etc., help the people to express their opinions on products. A framework is proposed in this work to find the scores of the opinions and derive conclusions. The classification of opinions is called opinion mining, whereas deriving the scores for those opinions are called sentiment analysis. Here the Classification techniques are used for opinion mining and the scores to those opinions are given by taking a scale from –5 to +5.In this work, a movie review data set has been collected from the twitter reviews (http://ai.stanford.edu/~amaas/data/sentiment/) between the years 2003 and 2012. The Word net lexicon dictionary is used to compare the emotions for obtaining the score. In this paper, the proposed improved RBF kernel of SVM-performed with 98.8% of accuracy when compared with the existing SVM-RBF classifier and other models.

(In)Animate Semiotics: Virtuality and Deleuzian Illusion(s) of Life

It is well known that, despite his close engagement with cinema, Gilles Deleuze was less concerned with animated film, being somewhat dismissive of its capabilities. In recent years, however, a number of attempts have been made – most notably by William Schaffer, Thomas Lamarre and Dan Torre – to construct Deleuzian positions in animation theory. This article outlines some of these approaches, whilst engaging critically with Torre’s writings. In particular, it foregrounds Torre’s neglect of the post-structural, political dimension of Deleuzian thought through an examination of the concepts of faciality, the close-up, and relation as they occur in Deleuzian and Deleuzo-Guattarian philosophy. This is in part facilitated through a comparison of Stuart Blackton’s Humorous Phases of Funny Faces (1906) – a work directly addressed by Torre, and Emile Cohl’s Fantasmagorie (1908) – a work which he largely passes by. It is claimed here that, despite a number of apparent similarities, the animations of Cohl and Blackton express a radically divergent series of ontological commitments. Cohl offers the audience an experience of chaotic, mutable, relational complexity that revels in its incoherence, whilst Blackton presents a series of more straightforward set pieces, dwelling for the most part upon object-centric representational form. The tension between representation and becoming that occurs between these works is employed to facilitate a critical engagement with Torre’s process-cognitivism. It is suggested that Torre’s work, though exceptional in its pedagogic value, is likewise expressive of this tension, and that in its effort firstly to combine a series of process-philosophical and cognitivist ideas, and secondly to unpack the radical ideas of Deleuze through the more conservative philosophy of Nicholas Rescher, it runs the risk of falling back into a quasi-Kantian philosophy of generality and representation.

The Use of Teacher's Joke Increases Students’ Involvement inside Classroom

The purpose of the study was to identify the type of joke and the frequency of joke s used inside the classroom. In addition, studies have also been conducted to examine the involvement of students when element of joke is applied in the classroom and determine the relationship between joke frequency and students’ involvement. This study is a quantitative type of survey. The instrument used is a set of four parts questionnaire. The populations studied involved secondary school teachers in Muallim District while the samples studied was selected using simple random sampling. The number of samples involved is 269 people. The findings show that the majority of teachers in Muallim District use jokes while teaching in the classroom. Among the jokes applied are jests, cynics, funny face expressions and funny stories (n = 92, Percentage = 34.20%). However, the joke frequency inside the classroom is moderate (n = 164, Percentage = 61.00%). Furthermore, the findings show that the use of joke element can make students to feel more at ease with the teacher when speaking or interacting (n = 115, Percentage = 38.50%). Correlation analysis indicated that there was a link between frequency of joke used and student’s involvement when joke was applied in the classroom (r = 0.42, p <0.05). It can be concluded that the application of joke element is commendable inside the classroom, however, the joke frequency needs to be controlled as it can disrupt the students focus on learning.

How Animation Won Over the Lightning Sketch: Re-Evaluating Humorous Phases of Funny Faces

The short film Humorous Phases of Funny Faces, released in 1906 and directed by J Stuart Blackton (1875–1941), is considered to be one of the earliest examples of cinematic animation. This article aims at examining the film’s influence from another perspective, beyond its pioneering use of film camera: the author argues that Blackton’s film has also laid the foundation for common design principles in subsequent animated productions, particularly in the design of animated characters. The analysis of Blackton’s film aimed at supporting this argument is based on Scott McCloud’s seminal book Understanding Comics: The Invisible Art (1993) and this article offers a modified method of McCloud’s ‘Vocabulary of Comics’ to demonstrate how Blackton has introduced the basic building-blocks of animated characters’ design that are common to this day: designs that rely on an emotional, universal core upon which culture-specific items are overlaid. Moreover, through appearance and performance of his animated characters, Blackton broke the design process of animated characters into such building blocks, emphasizing their importance.

Effect of a serious game JeStiMulE in emotion recognition of Moroccan autistic children

Human beings can express their emotions in different ways such as facial expressions, bodily expressions, prosody, or language. However, ASDs are life-long neurodevelopmental disorders characterized by varying levels of social and communicative defcit . The influence of a serious named JeStimule on improving the recognition of facial emotions in children with autism. We have 17 autistic children with different characteristics recruit ed for a cross-sectional study. The level of language comprehension and academic lear ning is slightly heterogeneous. We have more boys than girls with an average age of 11.23. It has been concluded that children have a gradual ease in recognizing the following emotions: Happiness, surprise, sadness, anger, pain, fear, but the result of the 3 emotions that is lacking (Neutral, funny face, Disgust) was unsatisfactory and very difficult for the child to understand. This type of educational game for children with autism is effective and important for this child profile, to improve these skills to recognize the emotions of others. However, there is a need to carry out more research to put in place specific educational games in the context of a Moroccan child. Autism recognition of emotions is a cognitive remediation area of great interest to this population.

Fashion/Photo/Film: The Intertextual Discourse of Funny Face (1956)

In this paper I mobilize Funny Face (dir. Stanley Donen, 1956) to examine the intertextual nexus between fashion, fashion photography, and film. Set in New York City and Paris, with costume design by Hubert de Givenchy and Edith Head, the film is a latter day telling of the Pygmalion myth, such that photographer Dick Avery (Fred Astaire) and Maggie Prescott (Kay Thompson), the dictatorial Fashion Editor of Quality, take up the challenge of converting Jo Stockton (Audrey Hepburn), whom they regard as an unprepossessing bookstore intellectual, into a top model. Thus I analyze how a film that is more generally regarded as a benchmark in the Hollywood musical for its exuberant use of colour and songs is, more particularly, a cinematic locus for both the mediation and mediatization of fashionable identities. To this end, I assess how the film elaborates the power of the fashion industry as a matter of social practice in regards to Foucauldian discourse and the related concept of the énoncé, or event/statement. Thus I evince I two events/statements — “Think Pink!” and “Bonjour Paris” — to discuss in particular the relationship of style to national identities and the need or desire for America to assert cultural leadership in fashion photography, art, and design over France in the context of 1950s Cold War politics. By comparison, I enlist the statements, “Take the Picture!” and “A Bird of Paradise,” to examine respectively the dynamic of looking/gazing between the fashion photographer and designer and their (in this case) female models, the nexus between star designing, clothing, and gender identity, and what Foucault calls assujetissement — subjection — which connotes the dual process of Jo’s subordination as well as the act of her becoming or “being made” a subject according to a system of power.

Glamour’s gaze and two modes of glamour

Abstract Glamour is seldom defined as an inward disposition. However, the inward constituents of glamour contain the key to its lasting allure. Audrey Hepburn is held to be a paragon of glamour yet she continually disrupts glamour’s tendency towards static, idealized forms. In Funny Face (Donen, 1957) she plays an inquisitive woman unfazed by ‘fashion magazines’, endorsing ‘self-impressions’ and hence an introspective mode of evaluation. Repeatedly, Hepburn’s characters give glamour a parodic edge. We are led towards a mode of glamour defined by how it is lived and how it regards itself. The significance of this is brought into sharp contrast by comparison with the glamour exhibited by Art Deco artist Tamara de Lempicka. In 1966 Audrey Hepburn and Tamara de Lempicka graced the museums of Paris – Hepburn in William Wyler’s film, How to Steal a Million (1966), and de Lempicka in the Musée des Arts Décoratifs’s exhibition, which consecrated Art Deco style. The apparently antagonistic modes of glamour presented by Hepburn and de Lempicka, who was herself infatuated with Hollywood, highlight how glamour’s defining feature lies in how it is lived. The most significant gaze ultimately belongs to the subject itself rather than to the viewer.

Scott Moir’s “Funny Face”: Make Belief, Camp, and Masculine Performance

Despite the high number of homosexual male athletes involved in figure skating, heteronormative performance is integral to the sport, particularly in ice dance which requires teams or “couples” to portray a close relationship on the ice. In their 2012 free dance programme, Canadian ice dance champions and Olympic gold medalists Tessa Virtue and Scott Moir facilitated their portrayal of a romantic relationship by skating to music from Funny Face, a 1957 Hollywood musical starring Fred Astaire and Audrey Hepburn. Using Richard Schechner’s distinction between “make believe” and “make belief” performances and Susan Sontag’s definition of camp, I argue that Moir not only wants to “make believe” that he is performing the role of Fred Astaire, but also wishes to “make belief” that he is as skilled as the American dancer in presenting his partner. Moir, though, introduces a camp aesthetic into the performance through his exaggerated facial expressions and gestures which causes him rather than Virtue to be the feminized object of the gaze. This element of camp thereby introduces a queer resistance to the heteronormative gender roles demanded in ice dance and highlights how male figure skaters have to make belief in their masculinity.

Tiger and Badger by Emily Jenkins (review)

Reviewed by: Tiger and Badger by Emily Jenkins Jeannette Hulick Jenkins, Emily Tiger and Badger; illus. by Marie-Louise Gay. Candlewick, 2016 [32p] ISBN 978-0-7636-6604-0 $15.99 Reviewed from galleys R 4-6 yrs Badger and Tiger are best friends, but can that friendship stay intact through the typical sniping (who gets to sit in the chair, who gets the only popsicle, who gets to decide what to play) and the occasional physical spat between two young buddies? Well, yes, it can. Refreshingly, it’s not thoughtful apologies or adult intervention that bring the pair back together, but humor, as Tiger pulls a funny face and makes Badger laugh, which breaks the tension and allows the anger to pass. In her brief, clear narrative, Jenkins presents, with keen precision, the kind of antagonizing behavior in which youthful friends engage: “Tiger puts on Badger’s hat. He sits in Badger’s chair. He eats two of Badger’s orange slices. ‘That’s my chair,’ says Badger. ‘I was sitting there,’ says Badger. ‘I was sitting there before you came.’ Tiger eats another orange slice. And another.” While this will make an entertaining readaloud selection, the simple vocabulary and frequent use of repetition will put this within reach of many novice readers as well. Gay’s art, in watercolor, acrylic ink, acrylic paint, and pencil, effectively captures both the motion and emotion of the furry friends, with lively body positions and swirly lines conveying movement and mood and occasional dark, scribbly anger clouds appearing above each figure’s head to add emphasis at times. Pair this with Kirk’s You Are Not My Friend, but I Miss You (BCCB 1/15) for a story session about friends making up after a fight, or pair up primary-graders to buddy read with it. Copyright © 2016 Board of Trustees of the University of Illinois

Funny Face, Sunny Face by Sally Symes (review)

Funny Face, Sunny Face by Sally Symes (review)

It's all in the mime: Actions speak louder than words when teaching the cranial nerves

Cranial nerve (CN) knowledge is essential for students in health professions. Gestures and body movements (e.g., mime) have been shown to improve cognition and satisfaction with anatomy teaching. The aim of this pilot study was to compare the effectiveness of didactic lecturing with that of miming lecturing for student learning of the CNs. The research design involved exposure of the same group of students to didactic followed by miming lecturing of CNs. The effectiveness of each lecturing strategy was measured via pre‐ and post‐testing. Student perceptions of these strategies were measured by a survey. As an example of miming, gestures for CN VII included funny faces for muscles of facial expression, kangaroo vocalization for taste, spitting action for saliva production, and crying for lacrimal gland production. Accounting for extra duration of the miming lecture, it was shown that pre‐ to post‐test improvement was higher for the miming presentation than for the didactic (0.47 ± 0.03 marks/minute versus 0.33 ± 0.03, n = 39, P < 0.005). Students perceived that the miming lecture was more interactive, engaging, effective, and motivating to attend (mean on five‐point Likert scale: 4.62, 4.64, 4.56, 4.31, respectively) than the didactic lecture. In the final examination, performance was better (P < 0.001, n = 39) on the CN than on the non‐CN questions—particularly for students scoring ≤60%. While mediating factors need elucidation (e.g., learning due to repetition of content), this study's findings support the theory that gestures and body movements help learners to acquire anatomical knowledge. Anat Sci Educ 8: 584–592. © 2015 The Authors. Published by Wiley Periodicals, Inc. on behalf of the American Association of Anatomists.

‘Clothes make an awful difference in a girl’: Mlle. Modiste, Irene and Funny Face as Cinderella fashion musicals

Abstract The world of fashion has been a frequent setting for the many Broadway musicals inspired by Charles Perrault’s Cinderella (1697). Using two Broadway musicals and one Hollywood musical as cross-historical case studies, this article examines how the American musical has variously adapted and interpreted themes of ‘clothes make the woman’ by posing Cinderella as a shop girl or model in fields of consumer fashion. The 1905 Victor Herbert/Henry Blossom operetta Mlle. Modiste, and the 1919 Cinderella musical Irene (by James Montgomery, Harry Tierney and Joseph McCarthy) both assert the democratizing power of fashion. In Mlle. Modiste, the resourceful title character uses both her singing talent and her access to stylish clothing to rise in the world as an opera diva, as well as a viscount’s wife. Irene emphasizes themes of masquerade and meritocracy, as the eponymous Irish American shop girl models dresses for couturier ‘Madame Lucy’, fools high society as a pedigreed lady and marries her Prince Charming. By contrast, the 1957 Paramount movie musical Funny Face problematizes its heroine’s fashion-world makeover. While Funny Face’s narrative depicts the transformation of Jo Stockton (Audrey Hepburn), a bookish ‘Greenwich Village Cinderella’, into a glamorous Paris mannequin, Funny Face’s musical numbers, use strategies of camp and parody to undercut the concept of ‘The Quality Woman’.