• Cartoon and Animation Studies
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• s.18
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• pp.37-56
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• 2010

This paper focalizes on the 'evolution' of monster animation and . Actually, Many characters' 'Evolution' is a very powerful convention of Japanese genre animation. Lots of young people feel a huge pleasure about character's evolution. It is a fantastic spectacle to boys and girls. The first characteristic point of characters' evolution is growing-up body to an adult. For example, magical girls genre shows a woman's sexy body. This scene gives a sexual fantasy to young girl spectators, a voyeuristic visual pleasure to young boy spectators. The second point is that a transforming-body gains some super power or magical power. The third point is that a great many characters is in one text. In , characters' numbers go on increasing through 6 ways-hybrid type, mutant-reiteration type, metamorphosis type, simple-grownup type, narrative type, multiple evolution type. The evolution of has to pay attention to only one transforming way. Most Digimon characters are becoming to a human-weapons cyborg. In my opinion, this is very dangerous phenomenon with a political ideology.

• Cartoon and Animation Studies
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• s.49
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• pp.697-712
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• 2017

In recent years, film and animation for cinematic release have embraced stereoscopic vision and the three-dimensional depth it creates for the viewer. The maturation of consumer-level virtual reality (VR) technology simultaneously spurred a wave of media productions set within 3D space, ranging from computer games to pornographic videos, to Academy Award-nominated animated VR short film Pearl. All of these works rely on stereoscopic fusion through stereopsis, that is, the perception of depth produced by the brain from left and right images with the amount of binocular parallax that corresponds to our eyes. They aim to emulate normal human vision. Within more experimental practices however, a fully rendered 3D space might not always be desirable. In my own abstract animation work, I tend to favour 2D flatness and the relative obfuscation of spatial relations it affords, as this underlines the visual abstraction I am pursuing. Not being able to immediately understand what is in front and what is behind can strengthen the desired effects. In 2015, Jeffrey Shaw challenged me to create a stereoscopic work for Animamix Biennale 2015-16, which he co-curated. This prompted me to question how stereoscopy, rather than hyper-defining space within three dimensions, might itself be used to achieve a confusion of spatial perception. And in turn, how abstract and experimental moving image practices can benefit from stereoscopy to open up new visual and narrative opportunities, if used in ways that break with, or go beyond stereoscopic fusion. Noteworthy works which exemplify a range of non-traditional, expanded approaches to binocular vision will be discussed below, followed by a brief introduction of the stereoscopic animation loop III=III which I created for Animamix Biennale. The techniques employed in these works might serve as a toolkit for artists interested in exploring a more experimental, expanded engagement with stereoscopy.

• Cartoon and Animation Studies
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• s.46
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• pp.151-179
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• 2017

The purpose of this study is to analyse the characteristics of the 1920s and 1930s to analyze the emotions of laughter in the popular culture, This period, such as the style of comic books, tools, and textures, has been influenced by the influence of the eodi, and it is in its way to establish the aesthetic aesthetics of the colonial Joseon Dynasty. In the pop culture of the 1920-30s, laughter was a new feeling in the gloomy atmosphere of colonial rule. It was the comic media that showed the sensation to the public, owned it, and injured it. Also, the comic book was an important period in which comic books were produced to produce quantitative and qualitative growth. The study explored how the comics interacted with other media in the 1920s and 30s. And the study analyzed what was selected in there. This can quickly explain how the comics gained, or how they obtained them. This shows how the comics gained, in a way, how they obtained laughter.

• Sijohaknonchong
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• v.24
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• pp.173-197
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• 2006

Works recreated modernly succeeding classics often appear in novels, plays and movies. Observing 'modern succession and transfiguration of classics', 1 became curious about 'recreation of classics' in Sijo genre, and in that interest this thesis begins the argument. I identified that many Sijo are recreations of classics, and also classical literature are continually being transformed into modern Sijo. Especially Sijo of Lee Guang-Soo in 1920s and Sijo of Cho Un In 1940s are pioneering works. Thereafter modern Sijo have been continuously recreated from classics. This paper is about what are the meanings of modern Sijo in this category, and how should they advance. Also this argument will indicate how Sijo will be created in the future. Transforming classics into modern works is a valuable task, because it succeeds traditional culture and connects the classics' age to the modem age. For example, the Sijo of Lee Guang-Soo and Cho Un have significance in terms of literature history. The problem lies in modern Sijo that is creatively experimenting with classics succeeding those. Many modem Sijo are created attaching too much importance to the technique of contents, not comprehending the structural principles and formal aesthetics of Sijo. Thus, Sijo that adopt classics modernly reveals the limit of creation. Furthermore, recreating Sijo with the original contents untouched has no meaning at all. From this standpoint, modern Sijo recreated from classics can be reasonable only when they reflect the life, culture. and reality of present and comprehend the formal aesthetics of Sijo.

• (The)Study of the Eastern Classic
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• no.68
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• pp.439-472
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• 2017

The purpose of this paper is to confirm how traditional legends are changing and existing in modern times, and how they are inheriting and developing legendary values and meanings. The subject of the study is uncanny stories concerning army that is judged to be worthwhile alongside uncanny stories concerning school. The uncanny stories concerning army are urban legends that are active in the internet. It can be defined as 'a narrative story that raises fear with supernatural and strange experiences in the army'. In addition to the internet community sites, humor sites and game sites are actively handed down. Recently, ghost stories have appeared on the site, and uncanny stories concerning army are easily collected from these various sites. The uncanny stories concerning army can be divided into three types: ghost experience type, Bulgogi GP type, mystery radio type. The ghost experience type has the largest number of version, the contents are rich and varied. It does not deviate much from the traditional notion of ghosts. Bulgogi GP type has a frenzied horror from its name. It is related to actual events and raises horror. Mystery radio type is a romantic material used in movies and dramas. However, unlike movies and dramas, uncanny stories concerning army are perceived as fearsome. The uncanny stories concerning army continues to emphasize that the story is actually experienced in the title and content. It has presented concrete evidence. The emphasis on truthfulness is intended to make fear more realistic. This comes from the desire for safety. Uncanny stories concerning army focus on horror. So It tries to reveal the history and truthfulness of the story itself. As a result, the history of reality, the truth of reality, and the realistic ideology are erased. Historical and truthfulness of traditional legends has been varied in the case of uncanny stories concerning army.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.369-376
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• 2021

3D architectural visualization animation has become more important in architectural presentations due to the rapid development of digital technology. Unlike games and movies, architectural visualization animation most focuses on delivering visual information, and aims to express the sense of space that viewers feel in an architectural space, rather than simply providing an image of viewing buildings. The sense of space is affected not only by physical elements of architecture, but also by immaterial elements such as light, time, and human actions, and it is more advantageous to express it in animations that can contain temporality compared to a fixed image. Therefore, the purpose of this study is to search for elements to effectively convey a sense of space in architectural visualization animation. To this end, the works of renowned architectural visualization artists that are open to the public were selected and observed to search for elements to effectively convey a sense of space to viewers. The elements that convey the sense of space that are common to the investigated architectural animations can be classified into the movement and manipulation of the camera, the movement of surrounding objects, the change of the light environment, the change of the weather, the control of time, and the insertion of a surreal scene. It will be followed by a discussion on the immersion of architectural contents.

• Cartoon and Animation Studies
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• s.33
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• pp.597-616
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• 2013

Character industry is not only knowledge-based industry chiefly with copyrights but also motive power for creative economy to take a role functionally over the fields of industries because it has industrial characteristic as complement product to promote sale value in manufacturing industry and service industry and increase profit on sales. Since 2003, the national policy related to character has aimed to maximize effect among connected industries, extend its business abroad, enforce copyrights through the improvement of marketing system, develop industrial infrastructure through raising quality of character products. With the result of this policy, the successful cases of connected contents have been crystallized and domestic character industry has stepped up methodically since 2007. It is needed to reset the scales of character industry and industrial stats because there are more know-how of self industry promotion and more related characters through strategy of market departmentalization starting with cartoon, animation, games, novels, movies and musicals. Especially, The Korea government set our target for 'Global Top Five Character Power' since 2009 and has started to carry out to find global star characters, support to establish network among connected industries, diversify promotion channels, and develop licensing business. Particularly, since 2013, There have been prospered the indoor character theme park with time management just like character experimental marketing or Kids cafes using characters, the demand market of digital character focusing on SNS emoticon, and the performance market for character musical consistently. Moreover, The domestic and foreign illegal black markets on off-line have been enlarged, so we need another policy alternative. To prepare for the era of exploding character demand market and diversifying platform, it is needed to set up a solid strategy that is required the elements of policy changes in character industry to vitalize character industry and support new character design and connected contents. the following shows that the elements of policy changes related to the existing policy, the current position of market. Nowadays, the elements of policy changes in domestic character industry are that variety of consumers in the digital character market according to platform diversification, Convergence contents of character goods for the Korean waves, legalization of the illegal black contents market, and controling the tendency of consumers in departmentalized market. This can help find the policy issue entirely deferent with the existing character powers like US, Japan or Europe. In its final analysis, the alternatives are the promotion of models with contract copyrights of domestic and foreign connected contents, the diversification of profit models of platform economy, the additive development of target market related to enlarging the Korean waves, and the strategy of character market for the age-specific tendency according to developing character demand market.

• Archives of design research
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• v.11 no.1
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• pp.185-197
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• 1998

The domestic publishing market has heen ranked at No.7 in the word publishing market(stastics material in Cultu re and Gymnastics m inistrv )Es pe cia Ill'. publishing quantity of children'book is about to reacb No.3. Such a publishing condition i." showing that Korean publishing world has limit,llion of kind and genre despite of its quant.iative improvement On the ot.her hand. t',reign juvenile publi."hing has multi-publishing form, which is a simultaneous publishing with dolls, audio stuff, game programs and CD-ROM t.itles. Even the animation is considered as of the publication at the planning s tsge. However, when we take a look at domestic condition we come to know that Korean juvenile publishing has been occupied mostly by the studying book. Also, the cautious book selection by the well educated parents in l990's has brought up the change of juvenile publishing world. Such a presen t condition bears of juvenlie publi.,;hing world. Such a present condition bears problem, which is the checking 190 translat.ions among the published picture- books of the last ye ar children's book Nevertheless, there was a sucessful domestic planned creative picture book last year. That is "Puppy s shit", which was sold out 15 000 copies and be st se ller of children's book. Whe n we take a look at the commercial success of "Puppy s shit", it is possible that domestic work holds a position in the publishing market. "Puppy s shit" is the story about valuable nature with Korean styled illustration, which tells the prefemece of Korean book in do mestic pu blis hin f.i market. With the motto "Finding prospect of the Korean creative children's book", this paper was went throu gh. By searchinf.i for creative com ponent.s of picture-book planning such as theme, story, illustration, and edit design through the foreign picture-book "What 1 want. to know from the little mole is who made it on top of his head"-and domestic creative picture/book 'Puppy's shit", this study tried to tell a couple of things like followings publication of Korean creative picture book in t.he world. professional and more artistic inner fabric and originality(the relatio nship be tween stort and illu,tration), improvement of illustration through new formative language with well expressed con ten t, planning improvem ent of Korean creative pictive picture book including literary, artistic and educative component and finally examples of planning, artict and educative component and finally example, of planning the good book with a story and illu,;tration which can in the long run improve the value of life for the children.h can in the long run improve the value of life for the children.

• The Korean Journal of Archival Studies
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• no.28
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• pp.35-81
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• 2011

Manhwa is a mass media (to expose all faces of an era such as politics, society, cultures, etc with the methodology of irony, parody, etc). Since the Manhwa records is primary culture infrastructure, it can create the high value-added industry by connecting with fancy, character, game, movie, drama, theme park, advertising business. However, due to lack of active and systematic aquisition system, as precious Manhwa manuscript is being lost every year and the contents hard to preserve such as Manhwa content in the form of electronic records are increasing, the countermeasure of Manhwa contents management is needed desperately. In this study, based on these perceptions, the need of Manhwa records management is examined, and the characteristics and the components of Manhwa records were analyzed. And at the same time, the functions of record management process reflecting the characteristics of Manhwa records were extracted by analyzing various cases of overseas Cartoon Archives. And then, the framework of record-keeping regime was segmented into each of acquisition management service areas and the general Manhwa records archiving strategy, which manages the Manhwa contents records, was established and suggested. The acquired Manhwa content records will secure the context among records and warrant the preservation of records and provide diverse access points by reflecting multi classification and multi-level descriptive element. The Manhwa records completed the intellectual arrangement will be preserved after the conservation in an environment equipped with preservation facilities or preserved using digital format in case of electronic records or when there is potential risk of damaging the records. Since the purpose of the Manhwa records is to use them, the information may be provided to diverse classes of users through the exhibition, the distribution, and the development of archival information content. Since the term of "Manhwa records" is unfamiliar yet and almost no study has been conducted in the perspective of records management, it will be the limit of this study only presenting acquisition strategy, management and service strategy of Manhwa contents and suggesting simple examples. However, if Manhwa records management strategy are possibly introduced practically to Manhwa manuscript repositories through archival approach, it will allow systematic acquisition, preservation, arrangement of Manhwa records and will contribute greatly to form a foundation for future Korean culture contents management.

• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.658-675
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• 2022

With the advent of the OTT platform, the world has become an era in which the same media content is shared and reacted in real time by being grouped into one culture. This study attempts a producer study of web novel writers, who are producers of the web novel market that is expanding into webtoons, dramas, and movies with IP (intellectual property rights) of the original story at a time when Korean K-content such as "Squid Game" and "Weird Lawyer Woo Young-woo" leads the global market. In this study, web novel writers were viewed as producers of commercial media content, not just 'Novelist', and their identities and characteristics of the labor process were examined. Web novel writers began writing web novels as a side job or two jobs, and cited the fact that they can make profits alone without barriers to entry and without incurring capital or facility costs. Although there is no barrier to entry, most writers experience severe failure in their first work, which is attributed to the misunderstanding that the word "writer" is someone who writes what they want in any genre. Web novels are different, so writers go through the process of realizing that in order to succeed by writing web novels, they must be thoroughly in the audience's shoes and write them according to the trends and codes they want. Web novel writers expressed their identity as "story sellers," "story producers," "people who can produce IP alone," and "people who satisfy fantasies that cannot be achieved in reality," and in common, there was a strong sense of being a person who provides stories and makes profits or sales. Regarding the burden of writing a huge amount of web novels, the writer with a high income expressed a generous position that "the income is higher than the effort," but ordinary writers complained of difficulties in the hard work, saying, "It seems like I am working hard on writing that I have to write constantly.