A Visual Semiotic Analysis on Webtoon Ghost Teller a Thesis by Desy Maya Sary Reg. No.180721004 Department of English Faculty Of
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The Processing, Preservation, and Cataloging of Editorial Cartoons
COMIC RELIEF: THE PROCESSING, PRESERVATION, AND CATALOGING OF EDITORIAL CARTOONS BY PAM HACKBART-DEAN ABSTRACT: The editorial cartoons of the Clifford "Baldy" Baldowski Collection con- sist of over 2,500 individual drawings spanning four decades. Because of the need to manage this special medium, the staff at the Richard B. Russell Library for Political Research and Studies initiated the Editorial Cartoon Description Project (ECDP) for the Baldy cartoons. The plan was to identify, preserve, and catalog at the item-level. Fields in the Minaret database that provide access for item level records are detailed. Also discussed is the background, the planning and implementation, and future devel- opments for this project. A common hazard for those involved in the world of politics is becoming a target of the scathing brush strokes of editorial cartoonists. Cartoonists' drawings address wide- ranging social and political issues, capturing in snapshot form important moments in history. While some editorial cartoonists poke fun at power, others use the power of the pen to portray more serious subject matters. In the 1970s, cartoonist Paul Conrad made fun of United States President Richard Nixon over Watergate, whereas in the 1940s, graphic commentator Herbert Block illustrated the evil of Nazism to encourage the United States to enter World War II. Florence Berryman, a former art critic for the Washington Evening Star, described political cartoons as the branch of art in which the transmission of ideas is paramount. She stressed that a political cartoon must make an immediate impact and that "a draw- ing may be beautifully executed, may have decorative qualities, admirable composi- tion and creative design, all of which will make it good art. -
Smart Speakers & Their Impact on Music Consumption
Everybody’s Talkin’ Smart Speakers & their impact on music consumption A special report by Music Ally for the BPI and the Entertainment Retailers Association Contents 02"Forewords 04"Executive Summary 07"Devices Guide 18"Market Data 22"The Impact on Music 34"What Comes Next? Forewords Geoff Taylor, chief executive of the BPI, and Kim Bayley, chief executive of ERA, on the potential of smart speakers for artists 1 and the music industry Forewords Kim Bayley, CEO! Geoff Taylor, CEO! Entertainment Retailers Association BPI and BRIT Awards Music began with the human voice. It is the instrument which virtually Smart speakers are poised to kickstart the next stage of the music all are born with. So how appropriate that the voice is fast emerging as streaming revolution. With fans consuming more than 100 billion the future of entertainment technology. streams of music in 2017 (audio and video), streaming has overtaken CD to become the dominant format in the music mix. The iTunes Store decoupled music buying from the disc; Spotify decoupled music access from ownership: now voice control frees music Smart speakers will undoubtedly give streaming a further boost, from the keyboard. In the process it promises music fans a more fluid attracting more casual listeners into subscription music services, as and personal relationship with the music they love. It also offers a real music is the killer app for these devices. solution to optimising streaming for the automobile. Playlists curated by streaming services are already an essential Naturally there are challenges too. The music industry has struggled to marketing channel for music, and their influence will only increase as deliver the metadata required in a digital music environment. -
Reuters Institute: the Future of Voice and the Implications for News
DIGITAL NEWS PROJECT NOVEMBER 2018 The Future of Voice and the Implications for News Nic Newman Contents About the Author 4 Acknowledgements 4 Executive Summary 5 1. Methodology and Approach 8 2. What is Voice? 10 3. How Voice is Being Used Today 14 4. News Usage in Detail 23 5. Publisher Strategies and Monetisation 32 6. Future Developments and Conclusions 40 References 43 Appendix: List of Interviewees 44 THE REUTERS INSTITUTE FOR THE STUDY OF JOURNALISM About the Author Nic Newman is Senior Research Associate at the Reuters Institute and lead author of the Digital News Report, as well as an annual study looking at trends in technology and journalism. He is also a consultant on digital media, working actively with news companies on product, audience, and business strategies for digital transition. Acknowledgements The author is particularly grateful to media companies and experts for giving their time to share insights for this report in such an enthusiastic and open way. Particular thanks, also, to Peter Stewart for his early encouragement and for his extremely informative daily Alexa ‘flash briefings’ on the ever changing voice scene. The author is also grateful to Differentology andY ouGov for the professionalism with which they carried out the qualitative and quantitative research respectively and for the flexibility in accommodating our complex and often changing requirements. The research team at the Reuters Institute provided valuable advice on methodology and content and the author is grateful to Lucas Graves and Rasmus Kleis Nielsen for their constructive and thoughtful comments on the manuscript. Also thanks to Alex Reid at the Reuters Institute for keeping the publication on track at all times. -
British Library Conference Centre
The Fifth International Graphic Novel and Comics Conference 18 – 20 July 2014 British Library Conference Centre In partnership with Studies in Comics and the Journal of Graphic Novels and Comics Production and Institution (Friday 18 July 2014) Opening address from British Library exhibition curator Paul Gravett (Escape, Comica) Keynote talk from Pascal Lefèvre (LUCA School of Arts, Belgium): The Gatekeeping at Two Main Belgian Comics Publishers, Dupuis and Lombard, at a Time of Transition Evening event with Posy Simmonds (Tamara Drewe, Gemma Bovary) and Steve Bell (Maggie’s Farm, Lord God Almighty) Sedition and Anarchy (Saturday 19 July 2014) Keynote talk from Scott Bukatman (Stanford University, USA): The Problem of Appearance in Goya’s Los Capichos, and Mignola’s Hellboy Guest speakers Mike Carey (Lucifer, The Unwritten, The Girl With All The Gifts), David Baillie (2000AD, Judge Dredd, Portal666) and Mike Perkins (Captain America, The Stand) Comics, Culture and Education (Sunday 20 July 2014) Talk from Ariel Kahn (Roehampton University, London): Sex, Death and Surrealism: A Lacanian Reading of the Short Fiction of Koren Shadmi and Rutu Modan Roundtable discussion on the future of comics scholarship and institutional support 2 SCHEDULE 3 FRIDAY 18 JULY 2014 PRODUCTION AND INSTITUTION 09.00-09.30 Registration 09.30-10.00 Welcome (Auditorium) Kristian Jensen and Adrian Edwards, British Library 10.00-10.30 Opening Speech (Auditorium) Paul Gravett, Comica 10.30-11.30 Keynote Address (Auditorium) Pascal Lefèvre – The Gatekeeping at -
Understanding and Mitigating Security Risks of Voice-Controlled Third-Party Functions on Virtual Personal Assistant Systems
Dangerous Skills: Understanding and Mitigating Security Risks of Voice-Controlled Third-Party Functions on Virtual Personal Assistant Systems Nan Zhang∗, Xianghang Mi∗, Xuan Fengy∗, XiaoFeng Wang∗, Yuan Tianz and Feng Qian∗ ∗Indiana University, Bloomington Email: fnz3, xmi, xw7, [email protected] yBeijing Key Laboratory of IOT Information Security Technology, Institute of Information Engineering, CAS, China Email: [email protected] zUniversity of Virginia Email: [email protected] Abstract—Virtual personal assistants (VPA) (e.g., Amazon skills by Amazon and actions by Google1) to offer further Alexa and Google Assistant) today mostly rely on the voice helps to the end users, for example, order food, manage bank channel to communicate with their users, which however is accounts and text friends. In the past year, these ecosystems known to be vulnerable, lacking proper authentication (from the user to the VPA). A new authentication challenge, from the VPA are expanding at a breathtaking pace: Amazon claims that service to the user, has emerged with the rapid growth of the VPA already 25,000 skills have been uploaded to its skill market to ecosystem, which allows a third party to publish a function (called support its VPA (including the Alexa service running through skill) for the service and therefore can be exploited to spread Amazon Echo) [1] and Google also has more than one thousand malicious skills to a large audience during their interactions actions available on its market for its Google Home system with smart speakers like Amazon Echo and Google Home. In this paper, we report a study that concludes such remote, large- (powered by Google Assistant). -
Le Marché De La Bande Dessinée Numérique Et Les Ressources Mises À Ma Disposition M’Auront Éclairé Un Peu Plus Sur Le Sujet Et Ses Enjeux
Diplôme national de master Domaine - sciences humaines et sociales Mention – sciences de l’information et des bibliothèques Parcours – publication numérique Septembre 2018 Septembre / Le marché de la Bande dessinée nativement numérique Mémoire de fin d’étude de fin Mémoire Sarah SCHWEIGHOFFER Sous la direction de Benoît Epron Maître de conférences – enssib Remerciements Je tiens tout d’abord à remercier Monsieur Benoît EPRON et Monsieur Antoine FAUCHIE, respectivement Maître de Conférences et Chef de projet Web indépendant, pour leurs précieux conseils quant à l’élaboration et l’orientation de ce mémoire. Je souhaite aussi exprimer ma gratitude envers Monsieur Pascal ROBERT, Professeur à l’Enssib, dont les cours sur la Bande dessinée - en première année de master - m’ont insufflé l’envie de découvrir davantage cet art. Sans votre passion dans votre enseignement, ce mémoire n’aurait certainement pas vu le jour. Merci à vous. Je souhaiterais ensuite remercier le dessinateur et réalisateur Victor Dulon – alias Vidu – pour m’avoir laissé utiliser sans hésitation son œuvre L’Immeuble pour illustrer mes propos sur le Turbomédia. Ce mémoire a gagné en couleurs grâce à vous. Ma reconnaissance va ensuite à Monsieur Denis ZWIRN, Président au sein de l’entreprise Numilog, passionné par la Corée du Sud, lecteur de manhwa et de webtoons : votre point de vue sur le marché de la bande dessinée numérique et les ressources mises à ma disposition m’auront éclairé un peu plus sur le sujet et ses enjeux. Enfin je tenais à remercier les personnes ayant contribué -
View Annual Report
As filed with the Securities and Exchange Commission on March 29, 2019 UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 Form 20-F (Mark One) ‘ REGISTRATION STATEMENT PURSUANT TO SECTION 12(b) OR (g) OF THE SECURITIES EXCHANGE ACT OF 1934 OR È ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended December 31, 2018 OR ‘ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 OR ‘ SHELL COMPANY REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 Date of event requiring this shell company report For the transition period from to Commission file number 001-37821 LINE Kabushiki Kaisha (Exact name of Registrant as specified in its charter) LINE Corporation Japan (Translation of Registrant’s name into English) (Jurisdiction of incorporation or organization) JR Shinjuku Miraina Tower, 23rd Floor 4-1-6 Shinjuku Shinjuku-ku, Tokyo, 160-0022, Japan (Address of principal executive offices) Satoshi Yano Telephone: +81-3-4316-2050; E-mail: [email protected]; Facsimile: +81-3-4316-2131 (Name, telephone, e-mail and/or facsimile number and address of company contact person) Securities registered or to be registered pursuant to Section 12(b) of the Act. Title of Each Class Name of Each Exchange on Which Registered American Depositary Shares, each representing New York Stock Exchange, Inc. one share of common stock Common Stock * New York Stock Exchange, Inc. * Securities registered or to be registered pursuant to Section 12(g) of the Act. -
Elements of a Political Cartoon
POLITICAL CARTOONS Cartoonists use 5 main elements to convey their point of view. ● symbolism – using an object to stand for an idea. ● captioning & labels – used for clarity and emphasis. ● analogy – a comparison between two unlike things that share some characteristics. ● irony – the difference between the way things are & the way things are expected to be. ● exaggeration – overstating or magnifying a problem or a physical feature or habit: big nose, bushy eyebrows, large ears, baldness, etc. Examples of Symbols Used in Political Cartoons ● peace – dove, olive branch, victory sign, scales of justice. ● United States – Uncle Sam, flag, stars and stripes, shield, lady liberty. ● Democrats – donkey. ● Republicans – elephant. ● death – vulture, skeleton w/ shroud, skull and crossbones, grim reaper. ● love – heart, Cupid, Venus ● money – dollar bill or dollar sign. Steps to analyzing a political cartoon: 1) Identify the characters, symbols, and objects in the cartoon. 2) Look for clues and details that would give further meaning. 3) Identify the main idea of the cartoon by reading any captions and by putting the message in your own words. 4) Identify any bias the cartoonist might have (what side of the issue is he/she on?). Questions to answer: 1) What is the event or issue that inspired the cartoon? 2) What background knowledge do you need to understand the message? 3) Are there any real people in the cartoon? 4) Did the artist use caricatures? (caricature: a picture, description, or imitation of a person or thing in which certain striking characteristics are exaggerated in order to create a desired effect) 5) Are there any symbols in the cartoon? What do they represent? 6) What is the cartoonist’s opinion about the topic portrayed? 7) Does the caption help you understand the message? How? 8) Do you agree or disagree with the cartoonist’s message? Why? . -
Using and Analyzing Political Cartoons
USING AND ANALYZING POLITICAL CARTOONS EDUCATION OUTREACH THE COLONIAL WILLIAMSBURG FOUNDATION This packet of materials was developed by William Fetsko, Colonial Williamsburg Productions, Colonial Williamsburg. © 2001 by the Colonial Williamsburg Foundation, Williamsburg, Virginia INTRODUCTION TO LESSONS Political cartoons, or satires, as they were referred to in the eighteenth century, have provided a visual means by which individuals could express their opinions. They have been used throughout history to engage viewers in a discussion about an event, issue, or individual. In addition, they have also become a valuable instructional resource. However, in order for cartoons to be used effectively in the classroom, students must understand how to interpret them. So often they are asked to view a cartoon and explain what is being depicted when they really don’t know how to proceed. With that in mind, the material that follows identifies the various elements cartoonists often incorporate into their work. Once these have been taught to the students, they will then be in a better position to interpret a cartoon. In addition, this package also contains a series of representative cartoons from the Colonial period. Descriptors for these are found in the Appendix. Finally, a number of suggestions are included for the various ways cartoons can be used for instructional purposes. When used properly, cartoons can help meet many needs, and the skill of interpretation is something that has life-long application. 2 © C 2001 olonial  POLITICAL CARTOONS AN INTRODUCTION Cartoons differ in purpose, whether they seek to amuse, as does comic art; make life more bearable, as does the social cartoon; or bring order through governmental action, as does the successful political cartoon. -
Webtoons: the Next Frontier in Global Mobile Content
Media Webtoons: The next frontier in global mobile content Overweight (Maintain) Webtoons: No. 1 in Korea = No. 1 in the world Korea is the birthplace of webtoons. As a “snack-culture” format optimized to Industry Report smartphones, Korea’s webtoons have made significant progress over the years and September 20, 2019 now boast the strongest platform/content competitiveness in the world. As demand for mobile entert ainment continues to grow, webtoons are capturing the eyes and wallets of an increasing number of users, presenting a significant opportunity for Korean platform providers. Mirae Asset Daewoo Co., Ltd. Webtoons to take shape as a distinct market [Media ] Webtoons are more than just an online conversion of paper-based comic books. They Jeong -yeob Park represent a new form of content created by the mobile internet ecosystem. Not only is +822 -3774 -1652 the potential audience larger, but the time spent on webtoons tends to be longer than [email protected] time spent reading paper comics. In Kor ea, webtoons already account for the second largest share of time spent on apps, after videos. When assuming full monetization, the size of the webtoon market is on a completely different level than the traditional comic book market. Webtoons are also gai ning traction among younger people in the global market, similar to what we saw in Korea five to 10 years ago. With the help of marketing and a well-established user/writer base, webtoons look likely to take root as a new culture in overseas markets. Of note, LINE Webtoon has seen impressive user growth in the US , with 8mn monthly active users (MAU). -
Informational Materials
- t------------ - -- - !I ::·- .J_ -. ~ - ; Received by NSD/FARA Registration Unit 03/26/2018 9:51 :59 AM - ON KOREA 2018: ACADEMIC PAPER SERIES Volume 11 Received by NSD/F ARA Registration Unit 03/26/201.8 9:51 :59 AM Received by NSD/FARA Registration Unit 03/26/2018 9:5 I :59 AM - KEI EDITORIAL BOARD KEI Editors: Kyle Ferrier Contract Editor: Gimga Group Design: Gimga Group The Korea Economic Institute is registered under the Foreign Agents Registration Act as an agent of th_e Korea Institute for International Economic Policy, a public corporation · established by the Government of the Republic of Korea. This material is· filed with the D_epartment of Justice, where the required registration statement is available for public inspection. Registration does not indicate U.S. government approval of the contents of this do_cumerit. KEI is not engaged in the piactice bf law, does not render legal services, and is not a lobbying organization. The views expressed in this publication are those of the. authors. While this monograph is part of the overall program of the Korea Economic Institute endorsed by its Officers, Board of Directors, and Advisory Council, its c_ontents do not necessarily reflectthe views of individual members of the Board or of the Advisory Council. Copyright© 2018 Korea Economic.Institute of-America www,keia.org Printed in the United States of America. ISSN 1937-9196 Received by NSD/F ARA Registration :unit 03/26/2018 9:51 :59 AM Received by NSD/F ARA Registration Unit 03/26/2018 9:51:59 AM - CONTENTS KEI Board of Directors .................................................... -
Media/Entertainment Rise of Webtoons Presents Opportunities in Content Providers
Media/Entertainment Rise of webtoons presents opportunities in content providers The rise of webtoons Overweight (Maintain) Webtoons are emerging as a profitable new content format, just as video and music streaming services have in the past. In 2015, webtoons were successfull y monetized in Korea and Japan by NAVER (035420 KS/Buy/TP: W241,000/CP: W166,500) and Kakao Industry Report (035720 KS/Buy/TP: W243,000/CP: W158,000). In late 2018, webtoon user number s April 9, 2020 began to grow in the US and Southeast Asia, following global monetization. This year, NAVER Webtoon’s entry into Europe, combined with growing content consumption due to COVID-19 and the success of several webtoon-based dramas, has led to increasing opportunities for Korean webtoon companies. Based on Google Trends Mirae Asset Daewoo Co., Ltd. data, interest in webtoons is hitting all-time highs across major regions. [Media ] Korea is the global leader in webtoons; Market outlook appears bullish Jeong -yeob Park Korea is the birthplace of webtoons. Over the past two decades, Korea’s webtoon +822 -3774 -1652 industry has created sophisticated platforms and content, making it well-positioned for [email protected] growth in both price and volume. 1) Notably, the domestic webtoon industry adopted a partial monetization model, which is better suited to webtoons than monthly subscriptions and ads and has more upside potent ial in transaction volume. 2) The industry also has a well-established content ecosystem that centers on platforms. We believe average revenue per paying user (ARPPU), which is currently around W3,000, can rise to over W10,000 (similar to that of music and video streaming services) upon full monetization.