• Digital Contents
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• no.5 s.48
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• pp.87-87
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• 1997

솔빛(대표 박현제)에서 개발한 '이것이 여행영어다'는 해외 여행을 즐겁게 하기 위해 필요한 여행관련 어휘들로 구성되어 있다. 즉 외국 생활에서 터득한 살아있는 미국영어 가운데 해외 여행자를 위해 꼭 필요한 내용만을 뽑아 재구성한 실용적인 영어학습 타이틀로서 본격적인 애니메이션 영어회화 타이틀로 획기적인 인기를 끌고 있는 '이것이 미국영어다' 시리즈 중 하나이다.

• Digital Contents
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• no.3 s.118
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• pp.30-31
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• 2003

올해로 40회를 맞는 NATPE 2003 Conference and Exhibition이 미국 재즈의 본고장 뉴올리언즈에서 지난 1월 20일부터 23일까지 개최되었다. MIPTV, MIPCOM이 유럽을 중심으로 한 국제 프로그램 견본시장이라면 NATPE(넷피)는 미주 특히 미국을 중심으로 한 견본시장이며 "The Alliance of Media Content Professionals"을 표방하는 NATPE(National association of Television Program Executives)가 주관하는 TV Business network과 Syndication중심의 세계적 미디어 비지니스 이벤트이다.

• Water for future
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• v.37 no.2
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• pp.47-52
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• 2004

오늘날 대중매체와 인터넷의 발달로 인하여 우리는 정보의 홍수 속에 살고 있다. 이는 수자원 분야에서도 마찬가지이다. 우리나라의 다목적 댐의 수문 자료와 수질 정보, 실시간 하천 수위 자료뿐만 아니라 댐의 실시간 수문 영상까지도 안방에서 원할 때마다 볼 수 있다. 더구나 각종 자료를 생생한 사진과 영상, 애니메이션 등으로 실감나게 보여주고 있다. 그렇다면 미국에서는 물과 관련된 어떠한 사이트가 있는지 그리고 어떤 정보를 제공하고 있는지 표 1과 같이 대표적인 몇 가지를 소개하고자 한다.(중략)

• Cartoon and Animation Studies
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• s.10
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• pp.121-135
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• 2006

At present, it is very common to use techniques beyond the 2D (two-dimensional) in animations which are found in motion pictures, OVA and TV series. As you can see, PIXAR and Disney have reduced their 2D departments and recently put more effort into 3D (three-dimensional) animation. There is no doubt that producing 3D animation is the big trend. Along with this trend, the national education institutions and the national support policies are also changing to be supportive of 3D animations. We, however, should ask ourselves, if we are on the right track with this change. Through the analysis of the methods of creating 2D animation which we should keep as it is, but instead we import and incorporate with 3D techniques of Japanese 2D animation, I would like to present the importance and the significance of the 2D animation and also to suggest an effective way to create 2D fused with 3D computer graphics techniques.

• Journal of Digital Convergence
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• v.19 no.6
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• pp.309-314
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• 2021

Disney animation can be said to be part of American culture and art. With the changes in American society and culture, we can see the changes in the personality and social status of female characters in Disney animation. Especially in the Disney animation works published after 2000, many works showing equality in the social abilities and status of women and men have been published. In this study, the characteristics of female characters of the 20th century and the 21st century is compared and analyzed the characters of Elsa and Anna, who expressed the female image in a metaphorical way of 'Frozen 2'. And studied the characteristics and meanings of clothing and colorful shapes. This paper reveals the design elements needed to construct a gender-equality image of female characters, and hopes that it will become a useful research material for the animation industry and academia in the future.

• Cartoon and Animation Studies
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• s.9
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• pp.250-265
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• 2005

Life drawing is one of the most important curriculum not only in 2D animation but also in 3D animation. It was secret weapon of Disney how they made great success of Snow White and Seven Dwarfs and all the fame of Disney animation. Life Drawing which has its back ground history is major curriculum of famous animation school such as CAL Arts which Disney made and Sheridan College in Canada. But in Korea, a lot of the universities and colleges which have animation department do not really seem to understand the importance of the life drawing and it's effectiveness, thus do not emphasize it as a short cut to get close to the real work field. Now that the academical society as well as industry are very well of the fact that the animation education is directly related to the animation industry, the schools should have to teach step by step and closer to the basic fundamentals. The intentions of this study is to emphasize the importance of the Life Drawing, one of the essential fundamental course, which not only help the universities and colleges that have animation course to organize their curriculum. but also to help the students who graduate the program easily find their position in the animation industry.

• Digital Contents
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• no.5 s.156
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• pp.118-121
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• 2006

빙하시대를 배경으로 펼쳐지는 어드벤터 애니메이션<아이스에이지>의 속편<아이스 에이지2>가 이번에는 해빙기를 맞아 4년만에 관객을 찾는다. 영화에서 통용되는 '전편보다 못한 속편'이라는 개념을 과감히 깨고 '전편보다 나은 속편'이라는 수식어로 돌아온 이 애니메이션은 미국 개봉 당시 2주동안 박스오피스 1위를 차지하였고 개봉 후 열흘 동안 1억 7,000만 달러를 벌어들이는 등 폭발적인 인기를 누리고 있다. 4년만에 돌아왔지만 탄탄하게 짜여진 파이프라인에 맞춰 8개월만에 제작 완료된 이 작품은 더욱 방대하고 다이나믹해진 모습으로 관객들을 끌어 모이고 있다. 화려하게 컴백한 아이스에이지2의 세계로 가보자

• Cartoon and Animation Studies
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• s.43
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• pp.123-150
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• 2016

There has been discussed very little about animation authorship studies, especially the themes of authors and their original animation texts since 1990s. This study is to explore the academic discourse of animation authorship studies understanding the media aesthetics of animation and the scholarly approach of animation studies about authorship. This article examines 55 articles via meta analysis about animation authorship studies drawn from the 1,516 articles on the general animation studies. The results were as follows. First, the domestic animation studies on the authorship were made about animators of Japan, US, and european countries. Second, It was dominant that scholarly interest on the screen direction and visual expression of animation texts. This shows the authorship approaches were mainly about visual aspects of animations. The domestic animation authorship studies did not trace the authorship issues on author's world view and visual style revealed in the corpus of texts. Instead, they discussed authorship issues on the characteristics of individual animation text. It has been evident that animation studies were not enthusiastic about building the independent theory on animation. Therefore, animation studies have tried theorizing the animation issues borrowing the literature and film theories. This study can contribute to increase phase of animation studies by drawing the intensive discussion of animation authors and their authorship.

• Cartoon and Animation Studies
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• s.13
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• pp.97-114
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• 2008

This study aims to study mouth shapes suitable to the shapes of Korean consonants and vowels for Korean animations by analyzing the process of English-speaking animation lip-sync based on pre-recording in the United States. A research was conducted to help character animators understand the concept of Korean lip-sync which is done after recording and to introduce minimum, basic mouth shapes required for Korean expressions which can be applied to various characters. In the introduction, this study mentioned the necessity of Korean lip-sync in local animations and introduced the research methods of Korean lip-sync data based on English lip-sync data by laking an American production as an example. In the main subject, this study demonstrated the characteristics and roles of 8 basic mouth shapes required for English pronunciation expressions, left out mouth shapes that are required for English expressions but not for Korean expressions, and in contrast, added mouth shapes required for Korean expressions but not for English expressions. Based on these results, this study made a diagram for the mouth shapes of Korean expressions by laking various examples and made a research on how mouth shapes vary when they are used as consonants, vowels and batchim. In audition, the case study proposed a method to transfer lines to the exposure sheet and a method to arrange mouth shapes according to lip-sync for practical animation production. However, lines from a Korean movie were inevitably used as an example because there has not been any precedents in Korea about animation production with systematic Korean lip-sync data.

• The Journal of the Korea Contents Association
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• v.14 no.1
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• pp.40-47
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• 2014

Animation in Taiwan has been profoundly influenced by the production of labor intensity for American and Japanese in the early days of its development. This phenomenon of the labor intensity reached peak in the 1980s. Information Bureau of Taiwan began to establish a system of supportive funding for its animation industry in the 1990s. During this period, the animation industry in Taiwan gave special emphasis to the theme of the local culture and to the creative works of the animation. By the 2010s, the elements of Chinese culture were introduced in the animation production in Taiwan. Through cross-national cooperation in production with other advanced countries, the Taiwan-made animation was successfully expended to the international market. However, the animation industry in Taiwan is facing the following problematical challenges: Firstly, the Taiwan government gives special attention to the financial support of animation industry rather than training university students to become professional experts in animation production. Secondly, there is no professional higher institution established to train specialized professional animation film-makers. Thirdly, Due to the lack of the cultural inspiration and the original mind, the form of its creative animated production is primarily imitated from other advanced countries. And fourthly, despite the fact that there is a cooperation and exchange programs between Taiwan and other foreign animation industries.