• Cartoon and Animation Studies
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• s.11
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• pp.29-39
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• 2007

Nous trouvons frequemment des tendances analytiques qui datent l'origine de la bande dessinee l'ege prehistorique. Ce point de vue risque de susciter des malentendus en ce qui concerne le medium dans son etat actuel. S'il y a un lien entre deux peles lointains, il est tres faible meme si nous ne pouvons confirmer ces origines qui n'ont rien e voir avec la bande dessinee d'aujourd'hui. Nous consid.rons de Richard Felton Outcault en 1896 comme l'origine de la bande dessinee actuelle que nous proposons d'appeler la "bande dessinee moderne" en s'ecartant de ses formes precedentes. Nous tentons de la definir sous la perspective historique dans cet article. Cette approche nous permet bien de comprendre une nouvelle forme de la bande dessinee sur un support neuf, l'ecran d'ordinateur.

• 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.

• 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.

• The Journal of the Korea Contents Association
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• v.15 no.8
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• pp.109-118
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• 2015

Korean Shunjung Manhwa and Shojo Manga have a unique characteristics. These genres have a close relationship each other. This study is story form of Shunjung Manhwa and Shojo Manga. In this article, a subject of study for Shunjung Manhwa is the works between 1950s and 1960s. I set limits to the works from "Shojo Club" the case of Shojo Manga. "Shojo Club" is the only girl's magazine without suspend publication. Furthermore, that magazine is the one that Japan's first Shojo Manga, Tezuka Osamu's 'Princess Knight' was published serially. The results of my research work is that Shunjung Manwha has a remarkable difference on a spatio-temporal background, a genre of story, a length of story as compared with Shojo Manga. In addition, this difference is based on the social background, history of comics, authors, media published serially at that time.

• The Journal of the Korea Contents Association
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• v.7 no.7
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• pp.68-76
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• 2007

The cartoon communicates its messages by cartoon semiotics as a vehicle of emotion, face expression, act, glance, and texts along the story. this style of communication showed in the cartoon can be defined as ${\ulcorner}$Cartoon communication style${\lrcorner}$. Since, the cartoon is cultural and social product, an understanding of ${\ulcorner}$Cartoon communication style${\lrcorner}$ plays a major role in understanding culture and society as well as its production and interchange. To understand what is the ${\ulcorner}$Cartoon communication style${\lrcorner}$, systemic and objective research method through ${\ulcorner}$Cartoon Analysis${\lrcorner}$ is required. The study review cognitive tendency of cartoon expression through semiotic analysis of total 30,081 cuts of Korea, and Japanese published cartoons and consequently, classifies the cartoons by 3 forms - One-Root, One-Idea and One-Style to encode.

• Journal of Korean Library and Information Science Society
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• v.43 no.2
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• pp.227-246
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• 2012

The purpose of this study is to survey the reading reality of comic books for learning in elementary schools, to research the perceptions of students and their parents to reading comic books for learning, and to suggest the methods which librarians and teachers make use of the comic books for learning in their classes. For doing this, firstly 3 elementary schools were chosen and every school, 4 classes from 3rd year to 6th year, total 12 classes' students and their parents were searched. As the results of this, it's revealed that most of students have experiences of reading the comic books which are circulated in school libraries, etc., and both groups of students and their parents thought the comic books to help their academic achievement, and they have the thought that the reading comic books induce themselves to read the other normal books for more informations. It's suggested that the comic books for learning should be thought of the important media for teaching learning, and be utilized as the media for normal reading attitude s and habits of students in elementary school libraries.

• Cartoon and Animation Studies
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• s.28
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• pp.55-78
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• 2012

Underground comics is a trend of comics started by reflecting hippie culture in the 1960's. It reflects hippie culture proclaiming return to nature and denying war with no humanity and social systems of material civilization expresses anti-culture in a radical and humorous way. Robert Crumb adds the features of hippie culture to comics aggressively with issuing comic book, series. Especially received great response from hippie. It became the chance for underground comics to improve further. includes works like 'Whiteman' expressing the hidden desire of conservative middle class or 'Keep on truckin' describing youths in hippie culture as characters lording it over somebody, strutting confidently across various landscape. The Comic was published and distributed independently and character-driven comic that reflected the variety of hippie culture. The Comic represented the characteristics of the underground comics very well. Winding lines and points, a strong contrast, were used for excellent graphical effect. These comics escaped from heroic comics of the era and played great roles in opening an era of underground comics which express satires of social culture more freely.

• Proceedings of the Korean Society for Information Management Conference
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• 2002.08a
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• pp.253-258
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• 2002

시사만화는 시사성이 있는 사건을 풍자적으로 묘사한 만화이다. 우리나라에서는 오랫동안 시사만화가 축적되어 왔으나 이를 편리하고 효과적으로 이용하고 검색할 수 있는 방안은 아직 마련되어 있지 않다. 시사만화의 특성을 분석하여 색인과 검색시 고려되어야 할 요소를 추출하였으며 시사만화 검색요소와 검색결과를 보여줌으로써 시사만화의 검색방법을 제시하였다.

• The Korean Publising Journal, Monthly
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• s.172
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• pp.7-7
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• 1995

만화예술과 산업을 진지한 시각으로 다룬 연구서들이 다양하고 활발하게 출간되고 있다. 우리나라 만화의 역사를 통시적으로 개괄한 연구서, 만화 선각자들의 삶과 작품세계를 작가별로 정리한 책, 만화산업구조를 체계적.과학적으로 분석한 연구서 등은 이제 만화가 당당하게 문화의 한 영역으로 주목받고 있음을 보여주는 본격적인 저작들이다.

• Cartoon and Animation Studies
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• s.10
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• pp.55-72
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• 2006

‘Guidebook of Standard Agreement in Korea Cartoon Business’ was officially announced by Korea Culture & Content Agency. We try to make this as a standard agreement for both cartoonist and publisher through mating the most of it. As this ‘standard agreement’ is the result of government sponsored research, it ought to be used for the profits of both, cartoonist and publisher. After investigation for unequal terms if any , I tried to find other alternatives for the development of this part. The objectives of my study is as follows; first, for the circumstance in which cartoonists can be devoted to his work without any insecurity in the part of ‘agreement’. Second, publisher can publish more of good contents with the help of those cartoonists.