• Proceedings of the Korea Information Processing Society Conference
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• 2002.11a
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• pp.789-792
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• 2002

컴퓨터 기술의 발달에 따라서 최근 애니메이션이 학계나 산업계의 주목을 받고 있다. 결코 예술로서는 존중받고 있지 않으나 늘 가까이 두는 기호 식품처럼 애니메이션은 예술성이나 문화성과는 별개로 자연스럽게 두터운 매니아 계층을 확보하고 있다. 이러한 환경아래서 애니메이션과 웹과의 결합은 앞으로 영상매체나, 영화, 광고, 텔레비젼 등의 시장을 쉽게 석권하리라고 생각된다. 이러한 애니메이션 필요성에 따라서 국내에서도 이와 관련된 학과들이 수없이 많이 생겨나고 있으나 애니메이션 제작에 대한 디지털 컨텐츠가 매우 부족해서 수 작업이나 과거 만화 애니메이션 형태에 국한하고 있는 곳이 대부분이다. 본 논문은 이러한 점에 착안해서 애니메이션에 가장 기본적인 동작인 "다양한 동물의 움직임", "인물표현과 동작", "자연현상", 등의 원시자료와 기본이미지, 애니메이션 과정 등을 수록한 디지털 애니메이션 모델을 선계하고 구현하였다.

• Cartoon and Animation Studies
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• s.24
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• pp.135-154
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• 2011

Simulacra theory as propounded by Jean Baudrillard in his seminal treatise, "Simulacra and Simulation," explores the significance of images, media and art in contemporary culture. Its central theoretical premise is the simulacrum, a sign or symbol that plays a crucial role in constructing perceived reality but which lacks a real-world referent. In Michel Gondry creates simulacra in the form of hallucinatory dream imagery by combining stop-motion animation and live-action elements. As experimental film-making that combines analog and minimum digital technologies, the result is a tour-de-force of synchronization. This study analyzes the film's technique and expressive content and, by adopting simulacra theory as a conceptual framework, aims to provide a better understanding of Gondry's work.

• The Journal of the Korea Contents Association
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• v.18 no.4
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• pp.27-37
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• 2018

A satirical cartoon is a time-limited medium in the context of specific social phenomena. On the other hand, satirical cartoons based on 'Sewolho' was published with 74 works by Kyunghyang Shinmun and 46 works by Joongang Ilbo. This is because it is a social phenomenon with a special meaning that satirical cartoons based on 'Sewolho' is a political issue that is called out of time constraints. In this study, I compared and analyzed the expressive elements of Kyunghyang Shinmun and Joongang Ilbo in the social phenomenon 'Sewolho'. The elements of the character, frame, and speech bubble which are the picture elements of satirical cartoons, combine to form the narrative structure. And the elements of the Speech, name and commentary which are also the same. The results of this study are meaningful that the analysis of the narrative structure through the expressive elements of satirical cartoons is meaningful by comparing and analyzing the satirical cartoons of two newspapers with different tendencies.

• Journal of Korea Multimedia Society
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• v.7 no.7
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• pp.956-966
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• 2004

The Korean animation has enjoyed the brisk formation and establishment of its world-class infra for the last several years without unified titles or concepts, under the name of a national strategic project in the age of digital image. It also enjoys its new evaluation as digital animation that it's one of the greatest money making business in the non-education and frivolous culture and has the closest relations with the modern time. A great portion of popular image media has been taken by animation for the last 30 years. In this paper we propose a motion algorithm using an animation technology. It was developed for education purposed and accessible through the internet. For instance, in Cyber Clam Museum, 1000 gesture contents, the visual processes were used to design a screen with a realistic image and create an animation that makes possible show at 360 and every such transformation as translation, rotation, and scaling can be applied in the image interactively for the convenient and effective viewing.

• Cartoon and Animation Studies
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• s.36
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• pp.91-119
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• 2014

This paper analyzed and compared the storytelling of female characters in Korean, American, Japanese animations and revealed the ideal image of woman of each culture. Chapter 2 analyzed the superficial images of the female characters and figured out how these images reflected awareness of a reality. This paper revealed that female characters act as a representative cultural symbols and embodies the paradigm and the order of those cultures. In Chapter 3, this paper analyzed and compared how the female characters solve the dramatic events in the entire narrative structure, and revealed the cultural implications of their action and these events. Korean characters were imitating the idols as an extension of the real world, and American characters were drawn as unreal Super Heroes who were utilized to enhance the order of the world if the United States. Japanese characters, the magical girls are led to create a magic circle and then become surreal goddesses. In this way, this paper revealed that female characters in animation reflect the male-centered ideology of each culture according to the awareness of a reality and cultural paradigm.

• Cartoon and Animation Studies
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• s.40
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• pp.109-137
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• 2015

As Digital technology developed, drawing animation, using traditional production method which expresses many feelings with drawn lines loses the youth group, the primary audience, to the realism of the digital cinema. Drawing animation, which drew attention of the youth by the spectacles in the film such as hectic pace, dynamics and punch, declined for a while. However, it has been developed a way to express pace and dynamics of its own by establishing an effective directing method, which combines digital technology as it is needed. This study has a purpose to investigate what causes the dynamics and feeling of fast movement of the character in Japanese limited animation. Though some action-animated films that heroes with supernatural powers take the leading role that feeling of velocity and dynamics are emphasized we compare the directing method before and after the introduction of the digital technology. This research reaches the conclusion by factoring each Bergson and McLuhan's discussion to the intervention of indexical signs and the audience's participation according to skipping technique. This study has a significance of researching the element of drawing animation that maximizes the expansion of the senses by defying the limitation of the law of physics through its unique way of directing together with growth of the hero films, which will continue.

• Cartoon and Animation Studies
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• s.37
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• pp.307-334
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• 2014

Satirical cartoon features figure characters that liken to particular figures or social phenomenon to satirize particular figures or social phenomenon. Through the words and actions of figure characters in satirical carton, fraudulentact of man in power or irrational social phenomenon is revealed. The National Intelligence Service (NIS) female agent that is the figure character of this study has been appearing in satirical cartoon for a long time and it likens to social phenomenon instead of a actual figure. The reason why the NIS female agent has been appearing as a figure character in satirical cartoon for a long time is because related social phenomenon has not ended and is still in progress. In addition, the reason why it likens to social phenomenon instead of an actual figure is based on the fact that it is not easy to identify her face that has been hidden, which makes it difficult to exaggerate the characteristic of the figure. Her hidden face is also an expression of the desire to hide that is symbolized by baseball cap and muffler. Her hidden face and the desire to hide make it easy to substitute to other related figure or social phenomenon instead of actual figure. Namely, outward appearance of the NIS female agent has a good condition for combining 'added significance' in satirical cartoon. Irrelevant to actual NIS female agent, a satirical cartoon figure of NIS female agent is being combined with various meanings when needed and it is substituted as another figure, group or social phenomenon as the actual figure disappears. Accordingly, the purpose of this study is to reveal the role of figure character in satirical cartoon by symbolically analyzing the figure character that appears in satirical cartoon as 'NIS female agent'. The followings were revealed through the symbolic analysis of figure character in satirical cartoon in this study. First, satirical cartoon satirizes social phenomenon. Figure character in satirical cartoon satirizes social phenomenon in place of actual figure. Second, satirical cartoon satirizes core or embarrassing area of irrational social phenomenon created by politics. Figure character in satirical cartoon satirizes core or embarrassing area of social phenomenon by revealing it in place of actual figure. Third, satirical cartoon sends a message of warning to a responsible person of irrational social phenomenon created by politics. Figure character in satirical cartoon sends a message of warning to responsible person of irrational social phenomenon created by politics in place of actual figure. Fourth, satirical cartoon provides catharsis for enduring wound or stress received by individual due to irrational social phenomenon created by politics. Figure character in satirical cartoon provides catharsis for enduring wound or stress received by individual due to irrational social phenomenon through satirizing and ridiculing actual figure.

• Cartoon and Animation Studies
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• s.37
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• pp.197-219
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• 2014

, one of the Disney's animations, hit the 10 million audience mark for the first time in the history of animations released in Korea. not only raised the fever with its theme song, 'Let it go', as well as Elsa, Anna, and Olaf's character products but caused sensations in many ways. If so, we need to think about what kind of meaning did create in Korea to be so sensational. This study examines the value that Frozen intended to deliver and the meaning it generated by using Greimas actant model and semiotic square. From the actant model analysis on Anna and Elsa from , it was identified that Anna desired to recover her relationship with Elsa and to take summer back in Arendelle. Her desires can be interpreted as her love toward Elsa and people in Arendelle. Meanwhile, Elsa always desired freedom although she confined herself because of her ability to freeze. In other words, Elsa desired to free herself from her freezing ability by finding out how to control her ability. Such desires of Anna and Elsa were achieved by their actions of true love, and the solution of all the conflicts in was an action of true love. From the semiotic square analysis on the meaning of , it was found out that created past-oriented value with which characters tried to change their abnormal lives of the present into their normal lives of the past. The characters tried to change their present lives where freezing winter comes in the middle of summer, communication between the sisters is cut off, and people try to take advantage of the abnormal state deliberately, into the past when the sisters had a good relationship and the natural season of summer in Arendelle. The past-oriented value that tried to tell us is similar to our reality. In our reality with a lot of unbelievable news and unstable circumstances, we desire to go back to the past when we were filled with affection and hope even though our lives were tough and difficult. This sentiment must have contributed to the huge success of in Korea.

• Cartoon and Animation Studies
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• s.13
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• pp.163-179
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• 2008

It is no longer an issue that there is a big audience for Korean movies. More than 120 Korean movies are made each year. Many win prizes at film festivals around the world. But the number of animation movies made in Korea is decreasing even though the government tried to revitalize the animation industry in the mid-1990s. The problem is that all Korean animation movies were box-office failures, even though "Mary's Story" and "Oseam" were awarded prizes in world-famous animation festivals. Korean animation movies also face hurdles because of different cultural tastes of Korean audiences and problems with distribution. But there is a tremendous amount of potential and possibilities for Korean animation movies to be box-office blockbusters and artistic successes. There are ways to develop and revitalize the Korean animation industry and make it of the most important businesses and cultural influences in Korean society.

• Cartoon and Animation Studies
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• s.30
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• pp.27-57
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• 2013

Animation which appeared with films in the late 19th century was a medium which came on obtaining nourishment from art historical style of modernism. However, the relation establishment between animation and modernism has been focused mainly on animation shapes, namely painted images. This sprang from explaining the relationship between animation and paintings, and for this reason, discussions of movements in animation were understood in tradition of chromophotograph of Muybridge and Jules Marey, or some characteristics owned by the live-action film. However, movements of animation were essentially different from the indexical sign of films or photogram, and objects of reproduction were different between them. Movements reproduced by animation are not ordinary movements, but expressions of or compressed movements and considerably systematic movements. As a result, these movements are far from reproduction of live-action film photogram. Rather, the logic of movements reproduced by animation comes near to controlling their motion scopes, time, distance etc. after dividing each part of the body. This is concluded in a standpoint of modern mechanism which is represented by Descartes and La Mettrie who tried to understand human body as a exchangeable machine. Design of modern mechanism ranging from modern society to industrial society and the age of modernism came to lead to analysis of physical motions of modern industrial society called composition of efficient movements understanding them as the law of nature rather than movements as nature. In the late 19th century, Taylor, F. W. and Gilbreth, Frank Bunker's studies of workers' working hours and 'motion study' were a way of constituting the frame of machine-human, which indicates that tradition of modern mechanism affected the entire modernism passing through industrial society. Further, we can see that motion studies conducted by them have almost similar characteristics to action analysis to study animation later in the name of 'timing'.