• Cartoon and Animation Studies
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• s.14
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• pp.65-82
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• 2008

The animation is expressed by fusing the character's aesthetic feature and action in the entire structure and such creation of the character is needed to approach with understanding its socio-cultural background and dramatic structure. This study has started for the reason that there is a need of making an animation character based on reality, as well as to develop a individual character and narrative skill at the same time. In this study, analyzing through the DSM-IV (Diagnostic and Statistical Manual of Mental Disorders) by the American Psychiatric Association, APA), I have been able to come to a conclusion in which the character's personality is presented more exaggeratingly than its ordinary tendency. So it is used as a means to occur a dramatic motive-induction and probability. Futhermore, applying the same condition of the personality disorders to the animation character has changed the narrative development and it showed a result that even the character is not having the problem of personality disorders, it shows the nature of personality disorders-like is being appeared exaggeratingly or increasingly.

• Journal of Information Technology Services
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• v.13 no.2
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• pp.55-69
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• 2014

As Korea's global IT sourcing is sluggish and supply of qualified IT personnel does not meet the demand, IT developers currently do not worry about their job security. The sluggish global sourcing is attributed to the lack of system design and analysis skills as well as lack of communication skills of IT personnel. Most of big Korean IT service firms operate in captive market. This is also attributed to the cause of the sluggish global sourcing. Some IT managers, especially in global IT service firms, concerned about the negative long term effect of the sluggish global sourcing on competitiveness and human infra capability of Korea's IT service industry. Managers in IT service firms expect skill requirement changes in the future when global sourcing becomes active. The skills and knowledge that they wish to retain in-house is business knowledge, system analysis and design knowledge, customer relation management skills, project management skills and industry knowledge. The jobs with the above knowledge usually involve customers.

• Proceedings of the Korean Society of Computer Information Conference
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• 2017.07a
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• pp.301-304
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• 2017

본 논문에서는 모바일 애플리케이션의 사용자 잔존율 향상을 위한 방안으로써 내러티브 모션을 기반한 온보딩을 제안한다. 모바일 기술의 발전과 새로운 미디어에 대응하는 디지털콘텐츠 애플리케이션에 대한 관심이 증가하고 있는 가운데 사용자에게 외면받아 사라지는 애플리케이션의 증가가 가속화되고 있다. 이에 따라 사용자의 긍정적 경험 제공을 위한 사용성 향상 연구는 빠르게 진행되고 있으나 애플리케이션의 첫인상과 지속적인 사용을 결정하는 온보딩에 대한 연구는 아직 미비하다. 경쟁이 가속화 될수록 보다 효과적인 사용자경험을 제공하기 위한 온보딩 개발의 중요성은 증대되어 갈 것이며, 결국 온보딩 개발의 핵심 쟁점은 사용자의 긍정적인 인지적 반응과 태도를 이끌어낼 수 있는 요인인 모션이 될 것으로 예측된다. 따라서 본 논문에서는 모바일 온보드에서 제공되는 애플리케이션의 다양한 특성을 표현하기 위한 요인으로서 내러티브 모션을 제시하고 애플리케이션 지속사용 여부에 영향을 미치는 요인을 도출하여 둘의 상관관계를 실증적으로 분석함으로써 앞으로 등장할 새로운 서비스 및 플랫폼의 애플리케이션 개발 필요한 모션요소를 도출하고자 한다.

• The Journal of the Korea Contents Association
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• v.15 no.7
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• pp.117-127
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• 2015

Colors in the film can communicate with the audiences without a dialogue as deep as possible, and then colors make a audiences sympathy as a role playing like a main character. The movie that I chosen by this thesis is The mother(UK film, 2003). This movie is so powerful imagetelling movie I've ever seen in the meaning of tool as a character-narrative film. This imagetelling in the movie is so useful and powerful, and then image is more important than any other things in the movie as a narrative tool and storytelling.

• The Journal of the Korea Contents Association
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• v.16 no.3
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• pp.61-71
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• 2016

This paper intends to prove that the props in movies can be used to communicate messages ans themes to the audience very usefully. I selected the movie "her" to investigate by the use of props. The props in the film can communicate with the audiences without a dialogue and visual. At the same time, the props can make a audiences sympathy as a role playing like a main character. As a result, the props used in the movie were explained to study their relevancy to the narratives of the movie. The props in the movie is so useful and powerful, and then image is more important than any other things in the movie as a narrative tool and storytelling.

• Korean Journal of Childcare and Education
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• v.6 no.1
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• pp.177-199
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• 2010

The purpose of this study was to provide a better understanding of prospective teachers' experiences during their toddler educaring practicum and what the meanings of their experiences are. A narrative study on practicum experiences was conducted with four junior students who major in early childhood education in A university in Seoul. The experiences of prospective teachers in daycare centers for toddler were diverse. Such diverse experiences allowed teachers to find the meaning of the relationship between teacher and toddler and to learn what being a teacher was like. And they showed positive changes in their attitude toward practicum and becoming toddler care and education teachers following improved understanding about the lives and development of toddlers and care-giving and teaching skills. The meaning of toddler educaring practicum was explained as building justification for existence and essential identity through continuous self-reflection, and experiencing happiness of caring and teaching toddlers. During the practice, they also learned that teachers in charge of toddlers should understand their lives, provide child friendly and stable environments, and be receptive and sensitively respond to them according to their needs and developmental levels. Student teachers realized that their role was to give loving care and to have sincere concern about the lives of toddlers.

• Journal of Digital Convergence
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• v.19 no.12
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• pp.443-450
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• 2021

This study focused on Ana Lilly Amirpour's movie 'The Bad Batch, 2016'. The core topic of the paper, 'Uncanny anthropology', was specially used in the sense of aiming for ideal anthropology, starting with the meaning of looking at Sigmund Freud's 'Uncanny' theory from 'human relationship (subject and other). The anthropology of F. W. Nietzsche, Martin Heidegger, and Emmanuel Levinas is the theoretical background of 'Uncanny anthropology', starting with Kirkegor for the discussion of a new theory of 'Uncanny anthropology'. However, this paper focused on Emmanuel Levinas' relational anthropology due to limited paper relations. The most important thing in this film is that it sublimated the malicious relationship with humans into love. He chose topics that were not routine, expressed themes and contents by disconnecting causality in the narrative, and Emmanuel Levinas' 'Uncanny anthropology' is evaluated as a film that expresses only.

• Cartoon and Animation Studies
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• s.45
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• pp.367-396
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• 2016

As an animation educator at Mahidol University International College, Bangkok, for eight years I have been in a privileged position to be educating a small section of a new generation of Thai animators. Thailand has had little animation experimentation of their own and pre-internet had limited access to such diversity so I have attempted to bring some of the wealth of animation history, in particular British and European, as this is my background, into the classroom. In particular my teaching aim has been to introduce various possibilities to the choices of medium, styles and textual narratives that early (and current) experimental and independent animators have explored. Since the release of the first commercial feature film, Khun Kluay 2006, the Thai animation industry has gone through various highs and lows in the commercial sector, building a skilled workforce, many of whom trained and worked abroad then returned. Now there is strong evidence of an independent animation starting to emerge. In a continuation to my research on Thai Animation this paper will analyze selected independent works in more detail, exploring the themes, style and technology used. Whilst also acknowledging the possible mis- interpretation as that this is coming from the perspective of an outsider whose cultural language and interpretation may transcend the creators' given experiences and add alternative interpretation. The aim will be to contextualize the content, ideas and cultural perspective and bring more Thai works into the gaze of animation studies academics

• 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.49
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• pp.677-696
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• 2017

Cartoons and consequently animation are an effective way of visualizing futuristic scenarios. Here we look at how animation is becoming ubiquitous and an integral part of this future today: the cybernetic and mediated society that we are being transformed into. Animation therefore becomes a form of speech between humans and this networked reality, either as an interface or as representation that gives temporal form to objects. Animation or specifically animated films usually are associated with character based short and feature films, fiction or nonfiction. However animation is not constricted to traditional cinematic formats and language, the same way that design and communication have become treated as separate fields, however according to $Vil{\acute{e}}m$ Flusser they aren't. The same premise can be applied to animation in a networked culture: Animation has become an intrinsic to design processes and products - as in motion graphics, interface design and three-dimensional visualization. Video-games, virtual reality, map based apps and social networks constitute layers of an expanded universe that embodies our network based culture. They are products of design and media disciplines that are increasingly relying on animation as a universal language suited to multi-cultural interactions carried in digital ambients. In this sense animation becomes a discourse, the same way as Roland Barthes describes myth as a type of speech. With the objective of exploring the role of animation as a design tool, the proposed research intends to develop transmedia creative visual strategies using animation both as narrative and as an user interface.