• Cartoon and Animation Studies
• /
• s.26
• /
• pp.57-78
• /
• 2012

This article deals with the change of disney feature-length drawn animation since using digital technology. The spread of digital technology in the territory of traditional animation brought a massive transformation. Analogue production system for disney drawn animation was gradually replaced by digital production system and in the process, the overall quality of disney drawn animation was improved, although drawn animation industry had declined considerably due to the success of 3D computer animation. Currently, disney drawn animations not only just adopt digital technology but also use it for expressing the distinctive sensibility of the drawn animation.

• The Journal of the Korea Contents Association
• /
• v.14 no.11
• /
• pp.575-583
• /
• 2014

Roland Barthes views a myth as a chain of connotative concepts that are mutually connected. For him, a myth appears through a chain connotation that is mutually related, due to the first-stage signification system. In other words, the connotation of a particular scene is already inherent in a culture in the form of social convention or social values before it is made. In the case of Disney animation, as mentioned Barthes, it has also two layers of denotation and connotation for signification. However, Disney animation shows the tendency that seek the denotative representation and the direct communication, based on the typified character, to the representation and delivery of the myth that is inherent. Therefore, the tendency of denotative signification is seen Disney animation can be said as a branch of research methodology for the approach to the aesthetics of Disney animation.

• The Journal of the Korea Contents Association
• /
• v.15 no.11
• /
• pp.50-57
• /
• 2015

The fact that Disney studio produced several propaganda animations for the U. S. Government during World War II, is not widely known to the public. Der Fuehrer's Face that this essay centrally deals with totally includes the characteristics of signification and aesthetics in Disney animation. And, Der Fuehrer's face shows the tendency that represent the connotative theme of the work and myth to the audience, based on the typified character and the imagery of spaces in the work. Therefore, from this perspective, the semiotic studies on Der Fuehrer's Face is ultimately the approach to the characteristics of Disney animation's representation and communication that is established, through experimental trials and efforts.

• Journal of Digital Contents Society
• /
• v.18 no.7
• /
• pp.1217-1226
• /
• 2017

The Disney Studios have been aiming at the animation storytelling of the signification system that the contemporary audience can universally accept. And it can be said that such storytelling is aesthetic expression based on the contemporary mainstream dominant mythology. Seen from this perspective, the changes of the masculinity of male characters that are represented in the Disney feature animation Frozen are not just a simple aesthetic phenomenon but a strategy of animation storytelling that reflects the contemporary cultural and social trend. The gender identity of the male characters of Frozen is completely freed from the existing stereotypes about Disney feature animations, and it positively presents the changes of the gender roles that reflect the changes in social value and the needs of the times.

• Journal of Convergence for Information Technology
• /
• v.10 no.1
• /
• pp.28-34
• /
• 2020

This paper intends to examine the recent acquisition of 21st Century Fox by Walt Disney Co. in terms of how information communication technology, especially the internet, has been reshaping the media industry. In particular, it looks at the deal as Disney's attempt to adapt to the rapidly shifting media environment and strike back at the challenges from online streaming services. After looking at the overview of the deal and some of the major changes and challenges the rise of streaming services has brought to film and media landscape, the paper looks at Disney responded to them by launching its own streaming services and how its acquisition of Fox assets factors in this. It also examines the implications of Disney's move as well as the opportunity and challenges it faces.

• Proceedings of the Korea Contents Association Conference
• /
• 2019.05a
• /
• pp.59-60
• /
• 2019

2016년 개봉한 <말레피센트>는 디즈니 애니메이션 영화 <잠자는 숲속의 공주>를 원작으로 한 판타지 영화이다. 원작 <잠자는 숲속의 공주> 이야기를 바탕으로, 기존의 전통적인 공주와 왕자의 사랑이야기를 벗어나지 않으면서, 마녀가 진정한 사랑을 깨닫는 이야기로 각본되었다. 이러한 각본의 특징은 최근 반복적인 이야기 구조에서 벗어나 시청자와 공감대를 형성하려는 스토리로써 크게 성공하고 있다. 때문에 디즈니 애니메이션의 캐릭터 변화에 대한 연구를 통해 최근 여성 가치관의 변화에 관한 연구가 필요하다. 이를 위해 본 연구에서 디즈니 애니메이션의 대표작품을 선정하고 주요 여성 캐릭터를 대상으로 외모측면, 권력 및 계급 측면, 젠더 측면 등의 캐릭터의 대비를 진행하였다. 연구결과 전통적인 여성 캐릭터 이미지와 의미는 능동적이고 주체적으로 변화되고 있는 것으로 확인되었고, 현 시대가 공감하는 여성의 가치를 중심으로 스토리를 더욱 현실감 있게 표현하여 영화를 성공으로 이끌 수 있었음을 알 수 있었다.

• The Journal of the Korea Contents Association
• /
• v.10 no.7
• /
• pp.142-148
• /
• 2010

In the society where contradiction of modernism in 20th century was vividly exposed and paradigm was being changed from text culture into visual culture according to the development of technology, Benjamin tried to practically suggest solutions for socio-historical problems he was facing. In contrast with Adorno who criticized cultural industry, Benjamin found out the possibility to overturn existing value order and innovate reality in mass art media having emerged according to the development of new technology. And such Utopian possibility appears in his thought on the early Disney animation even if it is fragmentary. This thesis reviews how Utopian possibility was realized in the early Disney animation, which had been thought by Benjamin.

• Cartoon and Animation Studies
• /
• s.19
• /
• pp.37-50
• /
• 2010

The purpose of this paper is to explore the hegemonic masculinity in Disney animated feature films in terms of Antonio Gramsci's hegemony and R. W. Connell's hegemonic masculinity. According to Gramsci, hegemony refers to the predominance of a dominant group over other groups. By the same token, Connell uses the term hegemony as the configuration of gender practice which embodies the domination of men and the subordination of women. He describes four masculinities to explore male hierarchy in male groups: hegemonic masculinity, subordinated masculinity, complicit masculinity, and marginalized masculinity. Through Connell's terms, this study investigates masculinities in Disney films, especially Beauty and the Beast (1991) in relation to hegemonic masculinity. As a result, Disney describes repeatedly hegemonic masculinity as hard body defined by Susan Jeffords and supports tacitly the domination of a specific male group.

• The Journal of the Korea Contents Association
• /
• v.14 no.9
• /
• pp.76-84
• /
• 2014

Despite the fact that culture and the industrial market is growing rapidly and becoming competitive, Disney animation studio has kept its reputation. They have their own know-how accumulated for a long time to stimulate the audience's sensibilities beyond time and space. This study is looking for the strategy of Disney animation using effects and forms of Hero's narrative. As a result, the original works have been adapted by 3 spaces of hero's narrative and songs was prepared according to the journey. Characters was constructed by combining original and it made an antithetical Antagonist and the triangle of helpmates. These strategies satisfy contemporary needs, as well as Disney's ideology using transformational resilience. Research will be needed to utilize the elements of culture through the analysis of the common strategy for success in spite of the time change.

• Design Convergence Study
• /
• v.14 no.3
• /
• pp.61-72
• /
• 2015

This research attempts to provide greater understandings about 'Transbranding' theory by an analysis of , a 3D animation produced by Disney Studio released in 2013 partly in comparison with . Furthermore, this research shows the branding strategy of "Disney", reputed for its well-devised marketing strategy, in the era of Transmedia. This research analyzes the animation with four components of 「Transmedia Mix strategy」 and the 「2F(Flexible Fit) strategy」. In the 「2F(Flexible Fit) strategy」 analysis, is compared with another Disney-made animation . not just maintains the core values of Disney animations but also implements diverse strategies for developing the evolving interactions, the collaborative creation, and the multi-experience. has achieved successful branding identity/image by securing the strategic flexibility by differentiating itself from the existing Disney animations. Disney also establishes itself as a new and modern brand through 2F strategies.