著者

百束 朋浩 Tomohiro HYAKUSOKU 東京工芸大学芸術学部映像学科 Department of Imaging Art Faculty of Arts Tokyo Polytechnic University

出版者

東京工芸大学芸術学部

雑誌

芸術世界 = 東京工芸大学芸術学部紀要 = Artworld : Bulletin of Faculty of Arts, Tokyo Institute of Polytechnics (ISSN:13493450)

巻号頁・発行日

no.22, pp.1-7, 2016

著者

百束 朋浩

出版者

東京工芸大学芸術学部

雑誌

芸術世界 = 東京工芸大学芸術学部紀要 = Artworld : Bulletin of Faculty of Arts, Tokyo Institute of Polytechnics (ISSN:13493450)

巻号頁・発行日

no.22, pp.1-7, 2016

著者

百束 朋浩 Tomohiro HYAKUSOKU 東京工芸大学芸術学部映像学科 Department of Imaging Art Faculty of Arts Tokyo Polytechnic University

出版者

東京工芸大学芸術学部

雑誌

芸術世界 = 東京工芸大学芸術学部紀要 = Artworld : Bulletin of Faculty of Arts, Tokyo Institute of Polytechnics (ISSN:13493450)

巻号頁・発行日

no.23, pp.27-34, 2017

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The purpose of this paper is to compare the difference between the narrative composition of the movie and the cartoon by the behavior of the heroine "Azuki", and to examine the characteristics of each media expression. The heroine in the original nestles closely with the main character, but the heroine of the movie leaving the main character. Original manga can be categorized into a genre called manga cartoonist manga. Its characteristic is that it has a multiple structure that serializes in the "Weekly Jump" while exposing the inside of manga production (such as a questionnaire system, artist's exclusive contract etc..), with the actual editor appearing in real name. The movie always has time constraints. Therefore, elements to be drawn are limited. Movie can't have a complex structure having two or more motifs simultaneously. The movie "Bakuman" dismantled the multilayered structure that is not good, focused on two pairs of rival relations. The movie is a story of young people who aim for manga artists, aiming for first place in "Weekly Jump" magazine, but is not a youth group image. Mashiro, Takagi two people, one manga artist works hard with a genius manga artist "Eiji Nizuma", and eventually it is a story of a confrontation that gains first place in a jump magazine questionnaire. In the original, it is a growing story that the leading character Mashiro becomes a cartoonist, and at the same time it is as story that grows as a heroine Miho Azuki as a voice actor. The stratification of the story is here as well. For the hero heroine is a partner and it is also a rival at the same time. In other words, the hero and the heroine have a man's friendship relationship. In other words, "Bakuman" is also a self-contained story of main character.

著者

久原 泰雄 Yasuo KUHARA 東京工芸大学芸術学部インタラクティブメディア学科 Department of Interactive Media Faculty of Arts Tokyo Polytechnic University

出版者

東京工芸大学芸術学部

雑誌

芸術世界 = 東京工芸大学芸術学部紀要 = Artworld : Bulletin of Faculty of Arts, Tokyo Institute of Polytechnics (ISSN:13493450)

巻号頁・発行日

no.23, pp.35-44, 2017

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In this paper, I propose the "tweet lyric writing method", which is a method of writing lyrics using Twitter tweets. Recently, many original songs are posted on video-sharing websites and many users not only watch them but also compose music because of the technologies of digital audio workstations such as prominent synthesizers and sequencers. Despite the progress of digital music, for a sound creator, it is rather more difficult to write lyrics than to compose music. On the other hand, many people post text messages on social media about their ideas and feelings in daily life. I noticed that the text messages posted are similar in subject to lyrics and developed a method of writing lyrics using Twitter tweets. In this method, users review their Twitter tweets and analyze their situation and feelings when they posted them. Next, they redescribe them in detail using more concrete words. Finally, they refine the words to poetic description. I applied this method in my seminar on song composition. As a result, many students have acquired the ability to write lyrics to their original songs employing the tweet lyric writing method.

著者

牟田 淳 Atsushi MUTA 東京工芸大学芸術学部基礎教育課程 Division of Liberal Arts and Science Faculty of Arts Tokyo Polytechnic University

出版者

東京工芸大学芸術学部

雑誌

芸術世界 = 東京工芸大学芸術学部紀要 = Artworld : Bulletin of Faculty of Arts, Tokyo Institute of Polytechnics (ISSN:13493450)

巻号頁・発行日

no.23, pp.65-73, 2017

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Focusing on the relationship between the preferred shape and the aspect ratio, we selected the face as an example of shape and examined the relationship between the preferred face and the facial aspect ratio, based on the hairstyle. We carried out this examination with about 1000 participants in Japan and the West respectively. To determine the aspect ratio of the face, we classified the hairstyle into three types: The hairstyle that revealed the forehead; the hairstyle that concealed the forehead with the front hair dangling; the hairstyle with the front hair divided. These three hairstyles are classified as the elongated face, the not elongated face, and the middle elongated face respectively.As a result, we found that the middle elongated face is favored by about 40 percent of participants and is the most favored of the three hairstyles, statistically. The elongated face and the not elongated face were also each favored both by about 30 percent of participants. Comparing the results that show that a square rectangle is most favored statistically, we found that the preferred aspect ratio of shapes is different between rectangles and faces.Conversely, in the West, we found that the elongated face is favored by more than 90 percent of participants; the results of which are similar to the results that show that a golden rectangle is relatively favored in a rectangle case.

著者

西村 安弘

出版者

東京工芸大学芸術学部

雑誌

芸術世界 = 東京工芸大学芸術学部紀要 = Artworld : Bulletin of Faculty of Arts, Tokyo Institute of Polytechnics (ISSN:13493450)

巻号頁・発行日

no.22, pp.9-18, 2016

著者

西村 安弘 Yasuhiro NISHIMURA 東京工芸大学芸術学部映像学科 Department of Imaging Art Faculty of Arts Tokyo Polytechnic University

出版者

東京工芸大学芸術学部

雑誌

芸術世界 = 東京工芸大学芸術学部紀要 = Artworld : Bulletin of Faculty of Arts, Tokyo Institute of Polytechnics (ISSN:13493450)

巻号頁・発行日

no.22, pp.9-18, 2016