• Cartoon and Animation Studies
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• s.25
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• pp.1-39
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• 2011

It is important to create animation storytelling because it is the most critical factor to make animation successful at the box-office. As such, lots of researchers have paid attention to Disney's animations because the Walt Disney company has produced the largest number of interesting animations. One of Disney's strategies to make story interesting is the application of original works that were already open to public. On this point, this article explores how Disney deals with characters in its animation that is based on an original work. Drawing a comparison between characters of and those of "Hua Mulan", which is its original work, this article focuses on how characters are created and used for the purpose of managing animation storytelling. Significant differences between two works exist. That is to say, actively makes the use of characters. First, it creates several new characters that are not seen in "Hua Mulan." Those characters can be divided into three groups by their roles; realistic characters, unrealistic characters, and realistic characters of unrealistic personalities. Second, Mulan in has both masculine initiative and feminine adaptability, and each one is used as necessary through the whole narrative. Last, it sets up a relationship between characters either in a blood-based family category or in a social category. Through these results, it is possible to confirm that this modification of characters is solely to manage the narrative with more flexibility.

• Cartoon and Animation Studies
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• s.25
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• pp.203-225
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• 2011

This study investigated hypothesized relationships between three personality traits, as defined by PEN model (Psychoticism, Extraversion and Neuroticism), and individual media dependency. The basic idea of the study was that individuals' goals are related to active media use, and the goals will be different based on differences in individuals' personality types. In addition, this study attempted to find whether there are gender difference in constructing media dependency relations with the media. The study was conducted online and the total number of participants was 337 (158 male and 179 female). Correlation analyses indicated no relationship between the extraversion and any of the IMD media use categories. Lower levels of psychoticism were related to a greater likelihood of utilizing the media in an effort to obtain self understanding and having fun more than higher levels of psychoticism. Individuals with higher levels of neuroticism were significantly more likely to depend on the media for achieving self understanding than those with lower levels of neuroticism. When the variable of participant gender was controlled for, there were different patterns of the relationships between personality types and IMD goals. This study showed that to varying degrees certain personality types are related to the goals individuals seek to fulfill with the media use. The implications of the study were discussed.

• Cartoon and Animation Studies
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• s.39
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• pp.349-363
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• 2015

As the market sheare of the Chinese game market across the world has been largely expanded over a decade, big game exporters of USA, Japan, Korea have developed Chinese factors and promoted export strategies, that target China. The Purpose of this study is to analyze the popular game characters of USA, Japan and Korea in order to provide empirical analysis of traditional Chinese elements applied in existing games. The RPG games in USA, Japan and Korea were selected for the contents analysis of the Chinese elements to show how the existing game companies used Chinese elements. The main findings of the research from survey data are rather inconsistent with the content analysis. In particular, all the RPG game companies of USA, Japan and Korea showed a remarkable ratio of using Manzu clothes more than Hanzu clothes. But, the preference of real game users on the Manzu style were lower than Hanzu style. Moreover, Chinese users showed more preference of the game character background that users more deepen Chinese culture. We suggest that applying Chinese elements need to be more selective based on real user's demand.

• Cartoon and Animation Studies
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• s.39
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• pp.297-320
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• 2015

Modern technology in the development and convergence of art brought the rapid development of the media arts actively accommodating 'media art' digital media. It has to go to expand the area and limitations as a basis of communication in the 21st century, a new artistic creativity, through the gathering of the existing chain of modern digital mobile technologies and new genre public art that is based on interactive communication break down the boundaries between sectors It has evolved into. This fusion of high technology and the art of mobile interactive media art is to overcome the limitations of time and physical space, as an active subject of interaction and participation, and expanding the range of experiential communications, such as art and science, cultural industries giving provides a flexible platform for a variety of applications. This study presents an expanded paradigm of the new communication and interactive media that define the reporting year review through the literature on art, experiential mobile communications through a case study of mobile interactive media art that is used as a medium of artistic expression the interactive effect was analyzed as a possible new public art. Convergence and interactivity, mobile interactive media art as a buzzword experience has proposed a new approach to high-tech and art and meet the new sensibility of our life and communication, unlimited possibilities worthy of the contemporary trend of convergence and consilience with a new art genre is expected to continued to evolve and develop.

• Journal of Digital Contents Society
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• v.17 no.6
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• pp.613-621
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• 2016

This paper has the first aim to analyze Elsa's magic power of why and how she, as a heroine in the animation of Frozen, is in the emotion of fear and anger. This paper will explain why these two emotions are twisted compound to identify Elsa's iced emotion in the ice kingdom. And secondly, this paper attempts to connect Elsa's fear emotion in her real life is the other flip with that of anger throughout the characters' network in Frozen, which symbolically reflect the feminine pattern of real society that Walt Disney prospects for the dream society. Through the cognitive process for Elsa's ice kingdom between emotion status and social network, we can assume the pattern of social network with emotional chart and the archetype of human emotion through the cognitive-emotional storytelling on the emotion of Elsa in Frozen.

• Cartoon and Animation Studies
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• s.40
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• pp.211-242
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• 2015

Recently, the shrunk influence of printed cartoon has been superseded by the influence of Webtoon in the comic industry. Webtoon has gained popularity and interest by being served on internet quickly and easily. Their novel material and sympathetic topic have made it possible for many Webtoons to be reproduced into tv dramas and movies, so, the influence of them has been increased as the copyright industry of culture contents industry. The increasing interest for Webtoon has induced academic studies for the subject. Among the various studies in need on Webtoon, the most important study topics in need are 'Story' and 'Quality' which are criterion for readers to choose Webtoons to read. To create the Webtoon that are great at 'Story' and 'Quality', the study on plots should be preceded, which recast episodes organically through a logical causal relationship. Therefore, in this study, the plots of Webtoons have been analyzed through Rescue plot in and the Riddle plot in selected from the Kang Full's Webtoon series, 'mystery psychology horror season', which are evaluated as the great work at 'Story' and 'Quality.' The analysis was implemented based on Tobias' theory which suggests 'the characteristics of plot' and '8 principles for good plot.' First, Kang Full's webtoons were analyzed through 'the characteristics of plot' and '6 principles for good plot' which is modified from '8 principles of good plot' based on Tobias' theory. Applicability was checked if Tobias' theory could be applied to Kang Full's Webtoon checking through the scenes and contents of the Webtoon. (1) Tobias' 'the characteristics of plot' could be applied to both Rescue plot in and the Riddle plot in . (2) Among '6 principles for good plot', 5 principles are shown in The Lighting Store and all of the 6 principles in Neighbor. The result shows that Tobias theory could be applied to the plot of Webtoon. The fact that Kang Full's Webtoons are composed in a formulaic form could be identified through 'the characteristics of plot' and '6 principles for good plot' shown in Rescue plot in and the Riddle plot in .

• Cartoon and Animation Studies
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• s.28
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• pp.27-53
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• 2012

American superhero comics are being produced in numerous different forms for multiple, and cross-platform media. In cinema, films based on superhero comics top the list of all time box office records. The same phenomenon of the 'Invasion of Superhero' is duplicated in Korean box office 2012, however, the korean fans are not familiar with the superheroes from the publication which provides the original source of characters and stories for other superhero related media products. Based on observing the multiple and vastness of world building characteristics of superhero comic, this paper attempts to associate the continuous creative nature and the infinite repetition of superheroes and comic texts with the identity of superhero on ontological level. First, chapter 2 examines how one superhero exists in multiple and different worlds individually by utilizing the concept of 'multi-universe' or 'multiverse' in comic texts. Initially, duplicating a superhero on multiple settings and series destroyed continuity and allowed contradiction and paradox confused narrative as a whole, but it also gave chances for comics to be more vibrant and experimental with their stories and characters. Chapter 3 analyzes the superhero comic texts in the light of repetition, concept developed by french philosopher Gilles Deleuze, and make the argument that the superheroes and texts are not repeated to generate surplus of source for economic utilitarian purposes, but it is, first and foremost, a repetition of creativeness and capability. Many concepts introduced by Deleuze in his early masterpiece, $\acute{e}$rence et R$\acute{e}$p$\acute{e}$tition> are taken to support this argument. Mainly, his critical views on generality of the identity and his effort to replace the Plato's system of representation with vibrant creative, and renewal energy of r$\acute{e}$p$\acute{e}$tition. According to Deleuze, repetition is similar concept, if not identical, to what Nietzsche called the 'eternal return' which allows the return of the Overhuman or the Superhuman, and he extends his idea that the returning Overhuman is the singular simulacre which opposes the generalization of identity, in the likes of Plato's Idea. Thus, the superhero's identity is ever changing, ever returning, and ever renewing Overhuman. The superhero must be repeated to fully actualize his/her existence. Also, based on Deleuze's reading of Bergson's texts on the Virtual, the superhero, for example Superman, is actualization of his/her multiplisit$\acute{e}$, the internally multiple, and differentiated variations from itself. These every Supermans' multiplisit$\acute{e}$ shares common memory, past, and duration, thus the Virtual of Superman. Superman becomes himself only by actualizing the movement and differentiation from these multiplisit$\acute{e}$ in his virtual on the surface of reality. On chapter 4, a popular Korean comic book character Oh, Hae-Sung's r$\acute{e}$p$\acute{e}$tition and multiplist$\acute{e}$ are analyzed, and makes comparison to that of Superman to distinguish the repetition from r$\acute{e}$p$\acute{e}$tition, and multiplicit$\acute{e}$ from diversity.

• Cartoon and Animation Studies
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• s.39
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• pp.261-295
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• 2015

Cyber singer appeared in the late 1990s has disappeared briefly appeared. although a few attempts in the 2000s, it did not show significant successes. cyber singer was born thanks to the technical development of the IT industry and the emergence of an idol training system in the music industry. It was developed by Vocaloid 'Seeyou' starting from 'Adam'. cyber singer that differenatiated typical digital characters in a cartoon or game may be subject to idolize to the music as a medium. They also feature forming a plurality of fandom. therefore, such attempts and repeated failures, this could be considered a fashion, but it flew content creation and ongoing attempts to take advantage of the new media, such as Vocaloid can see that there are expectations for a true Cyber-born singer. Early-Cyber singer is made only resemble human appearance, but 'Sciart' and 'Seeyou' has been evolving to becoming more like the human capabilities. in this paper, stylized cyber singer had disappeared in the past in the process of developing the technology to evolve into own artificial life does not end in failure cases, gradually led to a change in public perceptions of the image look looking machine was an attempt in that sense. With the direction of the evolution of the mechanical function to obtain a human, fun and human exchanges and mutual feelings. And it is equipped with an artificial life form that evolved with it only in appearance and function. in order to support this logic, I refer to the study of the coevolution of man and machine at every Bruce Mazlish. And, I have analyzed the evolution of cyber singer Bruce research from the perspective of the development process since the late 1990s, the planning of the eight singers who have appeared and design of the cyber character and important voices to be evaluated as a singer (vocal). The machine has been evolving coevolution with humans. cyber singer ambivalent development targets are recognized, but strive to become the new artificial creatures of horror idea of human desire and death continues. therefore, the new Cyber-organisms are likely to be the same style as 'Seeyou'. because, cartoon forms and whirring voice may not be in the form of a signifier is the real human desires, but this is because the contemporary public's desire to be desired and the technical development of this type can be created at the point where the cross-signifier.

• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.257-263
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• 2006

Nowadays, 3-D(Three-dimensions) is used in various field such as Games, Movies, Animations etc. Especially the Role of 3-D computer graphic is being generalized by turnover of Screen from '2-dimensional' to '3-dimensional'. There are not enough data about 'Motion Capture' even though it plays main function in 3-dimensional movement. 'Motion Capture' could be also unfamiliar for people. And as a matter of fact, the use of this equipment is limited due to its high cost. Therefore, I studied the outline of Digital Motion Capture system and its application to 3-D game Character Animation. And I checked the movement of 3-D Character after transplanting the Motion Data to the 3-D Character. I acquired Motion Data by Optical Motion Capture Equipment which we possess and transplanted it into the 3-D Character then Implemented it as walking, running and hitting which are the basic motions of Expression.

• Korea Science and Art Forum
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• v.24
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• pp.375-388
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• 2016

Integrated analysis of OST and VST of animation Alladin is carried out in this study. The OST is classified into 4 stages (Introduction, Bridge Passage, Climax, and Ending) and their OST and VST characteristics are found for each step. Especially, high dynamic characteristics of OST elements (sound, tonality, tempo, major range, intensity, and instrumentation) and VST elements (image structure, camera shot, camera movement) are found in the Climax stage. Full Shot is highly used up to 47.9% and this helps to show that the two characters become one in the completion stage of love. This is common factor shown in the previous analysis of OST "Beauty and the Beast". It is also found that specific musical instruments are matched to specific characters in "Beauty and the Beast" and high/low position or up/down movement of the object in the screen are matched to specific musical instruments in 'Alladin'.