• Journal of Digital Contents Society
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• v.7 no.4
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• pp.219-225
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• 2006

The appearance of digital culture contents swiftly has changed the culture in domestic and international areas in recently and the digital cartoon and animation have become the most important expression media in contemporary age. The digital cartoon and animation industry have attracted the attention of the people as the business of the OSMU(One Source Multi User) which has the possibility to expand and to enhance the added value not only for the field of image and character business but also for the area of the advertising and tourist business. Therefore, in this paper, 1 study on education and development of the digital cartoon and animation. Firstly, I study on definition and type of the digital cartoon, and work flow of the cartoon contents production. Secondly, the purpose of this study is to analyze and research the domestic business trend of the digital cartoon and animation. Finally, 1 propose the plan of policy and education of the digital cartoon and animation.

• The KIPS Transactions:PartD
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• v.10D no.7
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• pp.1213-1224
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• 2003

In recently, digital comic content distribution was not stable for illegal distribution and the weak of intellectual property right in the internet. The research activities of suggest the distribution model and secure intellectual property right are going in international standard communities, not yet in Korea. As the basis of the research, the general framework of international projects and standards such as MPEG-21, IMPREMATUR, FILIGRANE was analysed. Targeting on the domain of digital comics industry, the digital comics distribution structure and business flow model are defined adapting secured distribution system, DRM. The detail content of this research consist of three themes. The first, survey and analysis of the international standard ＆ leading DRM project's models. The second, suggestion of the service scenario on the digital comic content distribution. The third, suggestion of the model on the secured distribution of digital comics. Through this research targeting at the digital comics business, we found that standards technical items and requirements was well adapted into target domain, and would affect other domain in digital content industry.

• The Journal of the Korea Contents Association
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• v.8 no.7
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• pp.153-160
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• 2008

It devides that a comic book is based on paper and the other one is serviced through the medium of internet. Each one called conventional form of comic book and digital one. Currently digital comics are published on the various portals and WEB sites and they become one of the comic media and service. However, it is simply uploaded scan-images of comic book on monitors instead of paper. This is just only difference of output form of comics and it does not bring out any digital feature. Now we need a new comic research and experiments that are applied characters of digital for the conventional comic directing. Thus this research presents that the new possibility of digital comics with the core of digital contents, interactivity is applied for comic frame-manner and user customized storytelling.

• Proceedings of the Korea Contents Association Conference
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• 2006.05a
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• pp.290-293
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• 2006

Whereas comics were printed on a paper in the past, it is now possible to produce digital comics thanks to the development of computer technology. However, it only came to be implemented on a monitor instead of paper and did not fully utilize a digital environment. That is because most digital comics or published comics have been made to be transferred in 'one-way' which means that contents of authors are transferred only to readers not vice versa. Recently, the notion of the 'interactive' in the digital contents takes its own shape even at the 'interactive way' of the communications change through the author and the reader's interactivity using the digital technology. As such, the study put more importance on the digital comics in a proper interactive story-telling structure and one of its category through the suggestion of the above and the soil where to develop the following study.

• Proceedings of the Korea Contents Association Conference
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• 2007.11a
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• pp.652-656
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• 2007

It devides that a comic book is based on paper and the other one is serviced through the medium of internet. Each one called conventional form of comic book and digital one; however, it is simply uploaded scan-images of comic book on monitors instead of paper. This is just only difference of output form of comics and it does not bring out digital feature. Thus the new possibility of digital comics will be searched with the core of digital contents, interactivity is applied for comic frame-manner.

• Journal of Game and Entertainment
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• v.2 no.2
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• pp.35-44
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• 2006

Whereas comics were printed on a paper in the past, it is now possible to produce digital comics thanks to the development of computer technology. However, it only came to be implemented on a monitor instead of paper and did not fully utilize a digital environment. That is because most digital comics have been made to be transferred in 'one-way' which means that contents of authors are transferred only to readers not vice versa. Recently, the notion of the 'interactive' in the digital contents takes its own shape even at the 'interactive way' of the communications change through the author and the reader's interactivity using the digital technology. As such, the study put more importance on the digital comics in a proper interactive story-telling structure and one of its category through the suggestion of the above and the soil where to develop the following study.

• Digital Contents
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• no.9 s.160
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• pp.83-83
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• 2006

한국콘텐츠산업연합회(KIBA)와 월간「디지털콘텐츠」는‘ 건강한 DC 유통환경 조성 캠페인’의 일환으로 DC기업들이 경영일선에서 부딪히는 다양한 저작권관련 사례들을 소개합니다. 이번 호에서는 DC기업이 만화저작권자와 계약한 이후 계약서 항목 중 계약기간 자동 연장이 가능한 지 여부와 디지털만화콘텐츠 저작권보호방법에 대해서 살펴봅니다

• Review of Korea Contents Association
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• v.13 no.2
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• pp.20-23
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• 2015

• Journal of Digital Convergence
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• v.11 no.12
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• pp.709-723
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• 2013

This study aims to diagnose the present condition of the Digital comics industry, including the "webtoon", which is receiving attention as the new Korean wave (Hallyu) cultural content, and explore ways to vitalize these contents. Considering the fact that the distribution rate of smart devices in Korea is the highest in the world as of June 2013, and that comics as contents have been known to show the easiest and fastest adaptation to changes in the media, the Digital comics industry is certainly an area with high expected growth, but its actual size of the industry shows a very low growth rate compared to other digital contents. This study analyzes the present condition of the Digital comics industry through theoretical and precedent study, and deducts 7 major factors that inhibit the growth of Digital comics industry by summing up the industry structure through making surveys of major businesses in the industry. Further, problems and possible solutions of the digital comics industry are discussed through in-depth interviews with total 10 digital comics industry experts. Building a ecosystem based charged service, realizing a total management system, government support and improvements on restrictions are discussed as solutions to a sustained growth of the Digital comics industry.

• Cartoon and Animation Studies
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• s.44
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• pp.235-261
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• 2016

Media consumers in the context of the Internet and digital media are using the same content to a variety of platforms. As such, the content of various genres is converted to the form of a new content through the process of fusion, combination, transformation, differentiation, reproduction, etc on the basis of digital media. That is referred to as trans-media. In order to create the successful content in trans-media era, it requires the work of Edi-curation. Edi-curation work is the act of editing and adding meaning to the curation work of curators. In that sense, this paper analyzed the definition and meaning for Edi-curation of publishing and comic(webtoon) content in trans-media era. Edi-curation process induces the changing role of consumers and producers of content in the digital media experience. In process of Edi-curation, consumers(producers) will soon lead to a media producer(consumer), namely proconsumer / produser. Diversification of digital platforms and devices, digital 1 person (or SNS) appeared in the media, etc. are also required to Edi-curation of content and comic(webtoon) published in a variety of ways. Depending on the intention of media producers (or consumers), content through the process of replication, montage, disassembly, dismantling, hypertext, compression, and reconstruction births to new content. The work of Edi-curation has the significance that it affects the way the media producers work in creative process, as well as the reading content of the media consumers. In the publishing content, Edi-curation work is the logicality destruction of a chapter or a paragraph, a sentence of colloquialisms, card news, the deformation of the utilization of video and media content. Meanwhile in the comic(webtoon) content, we mention the destruction of cut(frame), the various modifications of speech bubbles, onomatopoeia, and mimetic word.