• Cartoon and Animation Studies
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• s.16
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• pp.79-99
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• 2009

The aim of the thesis is to examine why children comics books are not popular in Korea and how to analyze the causes for solution. The way for solving the problems is to make academic events and make a public opinion about children comic books. In the subject, we introduce children comic books and define them, actually when we do that, we have realized that most people misunderstand children comic books so we should change them to take the adventagement. Next, Through academic events, we have enumerated the variety of opinions. Mainly, we have concluded about the improvement of the misunderstanding comics. There are some prejudices of children comics. First, we are in a need of comics, that are very creative and sensitive. They are very important to develop children's character. Second, Korean people think, The most important part of the literature is a letter more than pictures, That causes not to develop motion pictures, cartoons and even plays. Third also, creative children comics don't effect not only studying but also children violence. Fourth, We can't ignore the prejudice of the comic books from parents, The main reason why comic books aren't popular in korea is the University entrance examination system that makes student like a studying meachine. The conculusion of this study is that We will educate Korean people to understand comic books and redefine them for development the comic books.

• Cartoon and Animation Studies
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• s.50
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• pp.131-151
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• 2018

Notwithstanding various discourses among scholars on the unique characteristics of comics, in Korea there is nevertheless a scarcity of quality research on the subject. Therefore, to promote quality research, it is important to consider how to best use source materials in the field of comics scholarship. Source materials can generally be categorized into three types: pre-existing comics, scholar-generated comics and user-generated comics. For this study, user-generated comics are the primary source materials, specifically comics created by mothers of children with disabilities. It is intended that this research will contribute to the future direction of education for mothers who suffer from a relative sense of alienation as the primary caregivers of children with special needs. Although therapeutic arts and cultural programs make a tremendous difference in the lives of these mothers, teaching methodology and educational opportunities are extremely limited. Furthermore, existing scholarship focuses primarily on either the psychological transformation of the individual or a phenomenological approach for parents to understand and deal with the problematic behavior of children with disabilities. However, this research does little to help improve learning programs for these parents. Against this backdrop, this research sets out to consider the potentiality and effectiveness of using comics in the education of mothers of children with disabilities. These mothers, by creating comics, develop better awareness of themselves in a positive and enriching way. It is therefore hoped that this research provides a useful analysis for developing the potentiality and effectiveness of these programs.

• 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.

• Cartoon and Animation Studies
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• s.3
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• pp.132-193
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• 1999

• Cartoon and Animation Studies
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• s.2
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• pp.60-71
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• 1998

• Cartoon and Animation Studies
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• s.7
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• pp.259-281
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• 2003

• Cartoon and Animation Studies
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• s.8
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• pp.253-292
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• 2004

• Cartoon and Animation Studies
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• s.16
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• pp.1-20
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• 2009

This paper explores the research trends in the area of the comics studies in Korea. In this article, the 664 academic articles are examined in terms of the characteristics of the researchers, the field of comics studies, the research theme and the research methodology. This study is on the basis of the recognition that there have been no consensus on what the core essence of comics studies is. As a result, there are a few articles on the academic identity of the comics studies. The comics studies have not consider the distinctive characteristics of the Korean comics significantly. In Korea, over 50% of the academic articles on the comics have been published by comics scholarships in the field of pedagogy and human sciences. Since the 1990's, comics studies have started to consider the value of the comics positively. The comics text studies also have increased since the 1990's in Korea. The comics studies on the comics policy and comics industries have been increased since 2000. The rise of comics studies is concomitant with the increased awareness of comics in Korea. The article concludes that the comics studies need to become an independent academic discipline in the future. The interdisciplinary studies on the comics is necessary to study the diverse aspects of the comics. In addition, the infrastructure for the comics studies should be established in order to improve the comics studies.

• Cartoon and Animation Studies
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• s.4
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• pp.52-63
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• 2000

• Cartoon and Animation Studies
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• s.28
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• pp.1-25
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• 2012

The rapid digitalization across all aspects of society since 1990 led to the digitalization of cartoons. As the medium of cartoons moved from paper to the web, a powerful visual culture emerged. An encounter between cartoons and multimedia technologies has helped cartoons evolve into a video culture. Today cartoons are no longer literate culture. It is critical to pay attention to cartoons as an "expanded fest" and as visual and video culture with much broader significance. In this paper, the investigator set out to diagnose the current position of cartoons changing in the rapidly changing digital age and talk about future directions that they should pursue. Thus she discussed cases of changes from 1990 when colleges began to provide specialized education for cartoons and animation to the present day when cartoon and Multimedia Comics fests exist in addition to the digitalization of cartoons. The encounter between new technologies and cartoons broke down the conventional forms of cartoons. The massive appearance of artists that made active use of new technologies in their works, in particular, has facilitated changes to the content and forms of cartoons and the expansion of character uses. The development of high technologies extends influence to the roles of appreciators beyond the artists' works. Today readers voice their opinions about works actively, build a fan base, promote the works and artists they favor, and help them rise to stardom. As artist groups of various genres were formed, the possibilities of new stories and texts and the appearance of diverse styles and world views have expanded the essence of cartoon texts and the overall cartoon system of cartoon culture, industry, education, institution, and technology. It is expected that cartoons and Multimedia Comics will continue to make a contribution as a messenger to reflect the next generation of culture, mediate it, and communicate with it. Today there is no longer a distinction between print and video cartoons. Cartoons will expand in every field through a wide range of forms and styles, given the current situations involving installation concept cartoons, blockbuster digital videos, fancy items, and characters at theme parks based on a narrative. It is therefore necessary to diversify cartoon and Multimedia Comics education in diverse ways. Today educators are faced with a task to bring up future generations of talents who are capable of leading the culture of overall senses based on literate and video culture by incorporating humanities, social studies, and new technology education into their creative artistic abilities.