• Korean Security Journal
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• no.14
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• pp.517-534
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• 2007

Since the beginning of human society, there have always been struggles and competitions for survival and prosperity, terrorism is not a recent phenomenon, however in modern times it has progressed to reflect the advances in civilization and power structures. At the time of the 9.11 terrorist attacks in the U.S. A., a new world order was in the process of being established after the breakdown of the Cold War era. The attacks drove both the Western and the Islamic worlds into heightened fear of terrorism and war, which threatened the quality of life of the whole mankind. Through two war campaigns against the Islamic world, it seems the U.S. has been pushing its own militaristic security road map of the Greater Middle East democratic initiative, justifying it as a means to retaliate and eradicate the terrorist threats towards themselves. However, with its five-year lopsided victories that cost the nation almost four thousand military casualties, and the war expenses that could match the Vietnam war, the U.S. does not yet seem to be totally emancipated from the fears of terrorism. Terrorism, in itself, is a means of resisting forced rules a form of alternative competition by the weak against the strong, and a way of expressing a dismissive response against dictatorial ideas or orders which allow for no normal changes. Intrinsically, the nature of terrorism is a reaction opposing power logics. Confronted with the absolute military power of the U.S., the Islamic strategies of terrorism have begun to rapidly evolve into a new stage. The new strategies take advantage of their civilization and circumstances, they train and inspire their front-line fighters on the Internet, and issue their orders through the clandestine network of the Al Qaeda operatives. These spontaneously generated strategies have been gained speed among the second, and third Islamic generations, many of whom are now spread throughout western societies. This represents a failure of the power-driven, one-sided overseas security initiatives by the U.S., and is creating a culture of fear and distrust in western societies. It is feared that the U.S. war campaigns have made the clash of religions far worse than before, and may ever lead to global ethnic separations and large-scale population movements. Eventually, it may result in the terrorist groups, enlarged and secretly supported by the huge sums of oil money, driving all mankind into a series of irreparable catastrophes.

• Cartoon and Animation Studies
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• s.43
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• pp.321-342
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• 2016

The "uncanny valley" curve describes the measured results of the negative emotion response which depends on the similarity between the artificially created character and the real human shape. The "uncanny valley" effect that usually appears in the animation character design induces negative response such as fear and hatred feeling, and anxiety, which is not expected by designers. Especially, in the case of the commercial animation which mostly reply on public response, this kind of negative response is directly related to the failure of artificially created character. Accordingly, designers adjust the desirability of the character design by avoiding or utilizing the "uncanny valley" effect, inducing certain character effect that leads to the success in animation work. This manuscript confirmed the "uncanny valley" coefficient of the positive emotion character design which was based on the actual character design and animation analysis. The "uncanny valley" concept was firstly introduced by a medical scientist Ernst Jentsch in 1906. After then, a psychologist Freud applied this concept to psychological phenomenon in 1919 and a Japanese robert expert Professor Masahiro Mori presented the "uncanny valley" theory on the view of the recognition effect. This paper interpreted the "uncanny valley" effect based on these research theory outcomes in two aspects including sensation production and emotion expression. The mickey-mouse character design analysis confirmed the existence basis of the "uncanny valley" effect, which presented how mickey-mouse human shape image imposed the "uncanny valley" effect on audience. The animation work analysis investigated the reason why the produced 3D animation character should not be 100% similar to the real human by comparing the animation baby character produced by Pix company as the experimental subject to the data of the real baby with the same age. Therefore, the examples of avoiding or utilizing the "uncanny valley" effect in animation character design was discussed in detail and the four stages of sensation production and emotional change of audience due to this kind of effect was figured out. This research result can be used as an important reference in deciding the desirability of the animation character.