Browse > Article
http://dx.doi.org/10.7230/KOSCAS.2017.49.267

Learning the Civilization of Modern Science and Technology through Animation Film: Focusing on Michel Ocelot's  

Youn, Kyung Hee (중앙대학교 첨단영상대학원 연구원)
Choi, Jeongyoon (중앙대학교 첨단영상대학원 연구원)
Park, Yooshin (중앙대학교 첨단영상대학원 연구원)
Publication Information
Cartoon and Animation Studies / v., no., 2017 , pp. 267-297 More about this Journal
Abstract
This paper attempts a close-reading of Michel Ocelot's short animation film, (1979), and proposes it as an available text in art appreciation class for young students. stimulates the students' attention and intellectual curiosity thanks to the exotic and fantastic atmosphere, beautiful mise en scene, and intriguing plot. Ocelot's technique of decoupage used in this film rejuvenates both the traditional folk art and Lotte Reiniger's early experiments in the history of animation film. Ocelot subverts the ideal of modern male adult subject as unique possessor of scientific knowledge and technology, by adopting a female figure and a young child, who is also female, as main characters. The imaginative and subversive power of animation contributes to creating posthuman beings beyond the homocentric figure of Vitruvian Man. The posthuman condition supposes that human beings have the equal relationship of continuum with not only other humans but also non-human beings like all living things and inanimate matters. In order to teach and learn the posthuman condition, it is necessary to conceive an interdisciplinary and integrated curriculum including art, science, philosophy, history, and social sciences. Animation film serves excellently as educational text for the integrated curriculum of the posthuman.
Keywords
Michel Ocelot; animation; posthuman; Vitruvian Man; decoupage; integrated curriculum;
Citations & Related Records
연도 인용수 순위
  • Reference
1 James D. Williams, An Introduction to Classical Rhetoric: Essential Readings, Wiley-Blackwell, 2009, pp. 51-53.
2 Cary Wolfe, What is Posthumanism? Minnesota Univ. Press, 2013, p. xv.
3 Frank Zollner, Leonardo da Vinci: The Complete Paintings and Drawings, Taschen, 2007, pp. 104-106.
4 "Compagnon," Tresor de la langue francaise informatise, http://stella.atilf.fr/Dendien/scripts/tlfiv5/advanced.exe?8;s=969317985;
5 "Ouvrier," Tresor de la langue francaise informatise, http://stella.atilf.fr/Dendien/scripts/tlfiv5/visusel.exe?12;s=367697505;r=1;nat=;sol=1;
6 https://en.wikipedia.org/wiki/Vitruvian_Man#/media/File:Da_Vinci_Vitruve_Luc_Viatour.jpg
7 https://commons.wikimedia.org/wiki/File:Raphael_-_Pope_Leo_X_with_two_cardinals.jpg
8 https://www.wikiart.org/en/fernando-botero/pope-leo-x-after-raphael
9 https://www.pinterest.co.kr/pin/276549233342293097/
10 http://www.animehouse.gr/t-shirt-simpsons-homer-vitruvian-man.html?sl=EN
11 http://culturepopped.blogspot.kr/2010/12/vitruvian-pikachu.html
12 https://www.pinterest.co.kr/pin/343329171564728171/?lp=true
13 http://www.michelocelot.fr/#bio-longue
14 http://www.michelocelot.fr/#gedeon
15 http://www.michelocelot.fr/#les-3-inventeurs
16 Veronique Martin, Michel Ocelot, Portrait, Nord Ouest, 2006.
17 Nathalie Avella, "Introduction." Ed., Laura Heyenga, Paper Cutting: Contemporary Artists / Timeless Craft, Chronicle Books, 2011. p. 9
18 로타어 뮐러, 박병화 역, 종이, 알마, 2016, p. 58
19 니콜라스 A. 바스베인스, 정지현 역, 종이의 역사, 21세기북스, 2014, p. 377.
20 문재철.김영옥, 미셀 오슬로의 <밤의 이야기>를 통해 본 디지털 실루엣 애니메이션의 미학적 특성 연구, 만화애니메이션 연구, 통권 제32호(2013), pp. 2-3.
21 John R. Catan.Giovanni Reale, A History of Ancient Philosophy I: From the Origins to Socrates. SUNY Press, 1987, pp. 157-159.
22 Adam Benjamin, Making an Entrance: Theory and Practice for Disabled and Non-Disabled Dancers, Routledge, 2002.
23 Rosi Braidotti, The Posthuman, Polity, 2013, p. 2.
24 Richard Cahn.Tyson E. Lewis, Education Out of Bounds: Reimagining Cultural Studies for a Posthuman Age, Palgrave, 2010. pp. 1-16.
25 Christina Hughes.Carol A. Taylor, Posthuman Research Practices in Education, Palgrave MacMillan, 2016, pp. 1-34.
26 Christine Mo Costabella, "Michel Ocelot: << Je n'aime pas les imbeciles ni les salauds >>," Echo Magazine, 2012. 02. 03., p. 26
27 Walter Gropius, "Programme of the Staatliches Bauhaus in Weimar." Ed., Ulrich Conrads, Programs and Manifestoes on 20th-Century Architecture, MIT Press, 1964, p. 49.
28 N. Katheryne Hayles, How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics, Chicago Univ. Press, 1999, pp. 2-3.
29 Craig W. Kallendorf, Humanist Educational Treatises, Harvard Univ. Press, 2008, pp. vii-viii.
30 Mohamed Kone, "Pere de Kirikou, Michel Ocelot devoile son prochain film au Maroc," Le Figaro, 2017. 03. 18.
31 Karin Murris, The Posthuman Child: Transformation through Philosophy with Picturebooks, Routledge, 2016, pp. 1-18
32 Kirsten Thompson, "Animation." Ed., Maurice Charney, Comedy: A Geographic and Historical Guide I, Praeger, 2005, pp. 139-145.
33 M. Vitruvius Pollio, The Architecture of M. Vitruvius Pollio in Ten Books, Pristley and Weale, 1826, p. 79.
34 John A. Weaver, Educating the Posthuman: Biosciences, Fiction, and Curriculum Studies, Sense Publishers, 2010, pp. 1-8.