• Cartoon and Animation Studies
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• s.30
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• pp.113-137
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• 2013

The accessibility and effect of cartoon on children are very significant. Since cartoon is a medium of conveying information through text and pictures, it has a characteristic of being easily approached by children than any other medium. Its accessibility to children is inevitably more exceptional than any other medium in the sense that it is a method of not only telling or reading stories but also showing stories. The main audience of is children. It has a characteristic of being easily accepted by children since it's mythology seen in cartoon than read in text. However, gods conducts are full of unethical expressions. Sexual expressions of intermarriages between mother and son, between brother and sister and between uncle and niece, as well as extramarital intercourse are very unethical that could have negative effects on children. This study analyzed the unethical expressions of gods that could have negative effects on children at current point in time. Zeus was often unfaithful to his wife with many stories about the children of Zeus that were created from extramarital intercourse. Standard of value on rational decision has been established for adult readers, but children can readily accept things since they lack their own rational decision on what's right and wrong. As an alternative to children's uncritical observatory study, there is a need for author's intervention to help children form desirable values. The purpose of this study is to analyze the sexual expressions of Zeus and gods in that could affect children's social study.

• Cartoon and Animation Studies
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• s.12
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• pp.27-43
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• 2007

The article concerns the continuity and transformation of the cartoon strip for the musical performance. Recently, the cartoon strip has been considered as a resource for creating the musical performance. However, There are a few articles on the relationship of the cartoon strip and the musical performance. In this respect, the article seeks to examine the characteristics of the cartoon strip and the musical performance in terms of planning system, storytelling structure, character formation and marketing strategies. The case on the musical entitled 'The Great Catsby', which is rooted in the cartoon strip entitled 'The Great Catsby', is examined. As a result, on the one hand, the characteristics of the cartoon strip has continuously affected the process of creating the musical performance in terms of storytelling, character formation, stage management and the marketing activities. On the other hand, the musical performance considers the music and sound, the moving image and stage management, performance of the actors as an essential part in comparison with the cartoon strip. In addition, the musical performance simplifies and recontructs the cartoon strip according to the principles of the musical performance.

• Product Safety
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• s.46
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• pp.26-31
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• 1996

만화같이 생긴 주인공의 턱이 탁자에 떨어지기도 하고, 가슴속에 있던 심장이 갑자기 쿵쾅거리면서 밖으로 튀어 나온다. ('마스크')컴퓨터 그래픽으로 연출한 사자가 마치 사람처럼 연기할 뿐 아니라 갈기의 움직임과 동작이 극도로 자연스럽다. ('쥬만지')소름끼치는 눈빛, 포악한 동작, 자연스러운 피부와 근육의 움직임을 보여 주는 티라노사우르스가 20세기에 등장하여 모든 사람들을 경악시켰다. ('쥬라기 공원') 최근까지 화제를 모았던 헐리우드 영화의 일부분이다

• Cartoon and Animation Studies
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• s.24
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• pp.49-64
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• 2011

Comics is sequential art. In comics, the story is developped by its sequential panels which have their own sizes and sites. Accordingly, comics is closer to 'space' art than text. The reading order in a page of comic book follows the human long-standing reading habit, and it is the same as that of textbook. When we read a korean comic book, our eyes run from left to right, and downward on the page. But some factors related to panels or comic structures can change the typical reading order. Meanwhile, breaking the typical reading order is easier in the "infinite canvas" by reason of unconstrained spatial composition. This paper introduces the factors that change the comic book readers' reading order and proposes a tablet PC comic book layout which includes an arbitrary reading path using interaction

• Cartoon and Animation Studies
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• s.32
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• pp.159-187
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• 2013

The purpose of this study is to verify the status of current digital comics research trends and the characteristics in Korea. For this purpose, 87 articles and dissertations published between 19900 to 2012 were analysed by a meta-analysis methods. Digital comics platforms, topics, methods were examined to understand the landscape of the digital comics in Korean context. The main results of this study are as follow. First of all, the number of researches on the digital comics has been in the rise, and the various academic journals have published articles to understand the digital comics on the basis of their own academic background. Despite of the short history of digital comics researches, the range of research subjects has been broaden, and more integrated approaches have been taken from the various research fields. The content of articles, however, was skewed to a certain platform, topic and the method such as the website based comics, the text analysis, and the qualitative methodology. Thus, the more systematic and integrated approaches are needed to understand the digital comics issues and to build up the digital comics studies.

• Cartoon and Animation Studies
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• s.9
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• pp.143-160
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• 2005

This study was performed on purpose to consider the charade function of props in directing animation. The prop is gradually expanded its role and scope in modern animation. Its scope covers dramatic factors, creating and changing characters, the means of psychological description or emotional expression, mise-en-scene, montage, creating products etc. Like this, the prop has an important function emotionally or indispensably in human life. Thus, the prop should be a subject that can speak to audiences or viewers, not worthless and silent subject. Hence, the prop should be recognized as a charade having productional function. Nevertheless, the prop has been unnoticed up to now. The function of props should be valued hereafter. The prop itself is meaningless, but it always speaks to audiences on the screen.

• Cartoon and Animation Studies
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• s.27
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• pp.79-97
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• 2012

Comic book readers have respectively different reading speed and this means that time in comics is translated by readers' view. The authors arrange panels and gutters to control time, but time recognition in comics depends on the readers and generally it is the readers' role. On the contrary, the phenomenon having occurred by infinite canvas varied the authority of timing. Infinite canvas can give the comic book authors more authority of controlling timing than the readers by intervening in readers' relative time as an agents and transforming their fictive time into absolute time. Following to the concept of "Agency" in games, agency is the power which satisfies the players by reemergence of their intentions. Since some of digital comics absorbed the properties of other media such as animation and sound, we can see that the reader's timing agency is shifted to the author's timing agency. The purpose of this study is to analyse this phenomenon and to remind that agency motivated by the balance between material constraints and formal constraints becomes a condition of readability of digital comics but excessive timing constraints given to the readers causes a decrease of the readers' timing agency. This also can be a considerable matter when we produce digital comics.

• Cartoon and Animation Studies
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• s.19
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• pp.113-126
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• 2010

The digital cartoons market is looking for a new growth momentum as the radical increases of the demands and markets about the mobile contents with portable instrument popularization. The conventional digital cartoons markets which are based on web-toon, page viewer cartoons and e-paper cartoons have been studied various fields to overcome some limitations such as the traditional cartoons had. The mobile cartoons which have been changed more and more, have some canvas limitations due to the mobile screen size. These limitations lead to the communication problems between the cartoonists and the subscribers and resulting some obstacles of mobile cartoons activations. In this paper, we developed a authoring tool applied the Screen Flow method to overcome inefficiency of conventional authoring methods. This proposed method can reflect the cartoonists' during the process of authoring mobile cartoons, thereafter we studied about the authoring method of mobile cartoons and its effects. For the convenience of users creating and distributing content in a way has been studied.

• Cartoon and Animation Studies
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• s.36
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• pp.349-374
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• 2014

The light is the language. Directors have to describe the scene component effectively his intention to configure the scene as an appropriately. After this act of the character, the layout of the props and scene lights will enter to the scene components. Those things help to audiences can understand narrative of work and emotion that producer want to send. Expressing their emotions especially using the lights by adjusting the colors and contrast makes audience to concentrate on work and understand naturally. This lighting technique clearly appears on early year theaters stage of England and Rembrandt's paintings. Properly dividing and controlling the lights dramatically increases the beauty of the work elements to express a variety of emotions such as worries and fear. Therefore, it can be evolve depending on director's intent of using lights on his work. Lights can increase involvement of human emotion through basic features that cognition of object, visualization of space-time and by artistic method in the product. This study will examine the role and how to use lighting to express the proper sentiment based on the narrative of the work. Making research named "Lighting Research of 3D animated film which applying light features to express emotion" previous study and have to combine emotional vocabulary and emotion-based theory for classifying the emotional language that can be applied on 3D animation. And choosing most emotional scene from 3D animation for analyze how they used lighting to expressing emotions. Directors trying to show up about the light role through light method that matched perfectly with an emotional language. Expecting this research work of directing 3D animations light for expressing emotional feelings will be continue successfully.

• Cartoon and Animation Studies
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• s.50
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• pp.101-130
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• 2018

Since the advent of the Smart Devices, the smartphone has become a popular tool to view Webtoon. This phenomenon has caused the convergence of cutting-edge technologies and Webtoons in diverse forms, creating unique versions of Webtoons including, but not limited to Smart-toon, Effect-toon, Cut-toon, Dubbing-toon, Moving-toon, AR-toon, VR-toon, and Interaction-toon. By comparison to these rich diversities of Webtoons in the online industry, there is a lack of academic research on this topic. There are some papers which talk about the different types of multimedia technology conversion and its case presentation or the effectiveness and problems of visual effect, but the effects of these convergence technologies on comic readers' concentration and reading effectiveness have never been investigated so far. Therefore, this paper will discuss the unique method of immersive storytelling that is often used in comics and analyze each aspects of immersive method in technology-converged Webtoons along with its problems. Furthermore, this paper will analyze different aspects of "immersion" and interaction elements that can be found in the popular Interaction-toon, (Encountered). Through this, this paper discusses the positive influence of the interaction elements on comic readers' immersion level and its limitation. To classify the technology-converged Webtoons in terms of the immersion level, the Effect-toon sometimes interferes viewer's flow by using excessive use of multimedia effect, creating information overload. The Smart-toon which applied motions to each frame under horizontal mode of smartphones was a good try, but it hindered the readers' activeness and made it hard for the readers to be fully absorbed in the story. The VR-toon, which utilizes virtual reality gadgets to allow viewers to explore the world of Webtoon was also a nice try to overcome the limitation of vertical screens. However, it often caused dispersion of user's attention and reduced the users' immersion level. The Moving-toon which only emphasized the reading convenience also invaded readers' activeness and disturb users' concentration. On the other hand, the cartoonist Il-Kwon Ha applied high technologies such as face recognition technology, augmented reality techniques, 360-degree panorama technology, and haptic technology to his cartoon (Encountered). This allowed the readers to form a sense of closeness towards the cartoon characters which let the readers to identify themselves with the characters and interact with them. By this way, the readers can be fully immersed in the story. However, technology abuse, impractical production and hackneyed storylining often showed later in the story remains as its limitations.