• Cartoon and Animation Studies
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• s.35
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• pp.67-88
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• 2014

Internationally, the Korean feature-length animation is not making a successful box office hit. Being a box office hit all around the world is related with entertainment and laughter cannot be excluded as a element that gives such enjoyment. Although the humor would be playing an important role in globalization of Korean animation, studies that analyzed humor in Korean and U.S. animation are still lacking. Recently, there are cases that several Korean animations aim at overseas market entrust pre-production of scenario or storyboard. This paper examines the humor embedded in stories of feature-length animations that had the most differences by analyzing frequency and contents, and through interviews. It also proposes ways to improve the humor embedded in stories of Korean animations.

• Cartoon and Animation Studies
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• s.36
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• pp.1-17
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• 2014

The purpose of this study was to identify ironic characteristics that appear through ironic reversal in formal aspect and foreshadow structure examined through the progression stage of irony within the narrative structure in contents aspect. This study is intended to research how ironic expressions is embedded in latest full-length animation created by major animation production companies in America, such as PDI Dreamworks and Pixar. As identified in this study, the irony can be defined into two categories. First, Irony appears dramatically in a last scene through the process of prediction and implication after setting up a situation. It delivers laughter as it is mainly used to portray characters or to set up backgrounds for incidents. Secondly, foreshadow that appeared in the early part of animation in relation to irony was revealed with a surprising twist with the cause-and-effect relationship in the middle or end of the play. The irony strengthens dramatic elements and was used to make the story richer. By analyzing two american full-length animation films, various consecutive ironic expressions in narrative, which is the reversal irony in continuous scene or irony used with foreshadow were identified.

• Archives of design research
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• v.17 no.2
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• pp.55-66
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• 2004

Full-length Animation has been producing very actively with a large of U.S.A and growing rapidly as a pare of entertainment industry since the middle of the 1990's. However, in actual fact, Korea Animation doesn't have any characteristics as compared with Japan Animation & U.S.A Animation's growth. It is owing to in financial difficulty and that there's no conversion about consciousness that Animation is only for children. This study is constructed with color information as the central figure from a gradation of information delivery and analyzed ‘Image Color’ of full-length animation which is produced by large studio in U.S.A. This study predicts about past, present and future of animation centering around a color that visual sensitivity factor which recognize enormous information very quickly among sensitivity stimulus of human being. With this study analysis a color of U.S.A animation, looking for sensitivity color factor that react to elaborate and delicate stimulus, and then expressed color from developed animation skill apply to sensitivity industry.

• Digital Contents
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• no.5 s.132
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• pp.100-101
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• 2004

내용 한국의 10분짜리 단편 애니메이션이 애니메이션 왕국 일분을 뒤흔들었다. 지난말 일본 도쿄에서 열린 제 3회 도쿄 국제 애니메이션페어(TAF)에서 한국의 동우애니메이션이 출품한 아프리카 아프리카(africa a F r I c A, 감독 한태호)가 대상인 그랑프리를 차지해 세계를 당황하게 했다. 91년 설립해 미국과 유럽의 유명한 작품을 주문자 상표 부착생산(OEM)방식으로 제작해온 동우 애니메이션은 몇년 전부터 본격적으로 창작활동에 뛰어 들면서 제 2의 전성기를 누리고 있다. 동우 애니메이션은 올 상반기 경에 '마테오'를 극장판으로상영하고 빠른 시일안에 아프리카 아프리카를 장편으로 제작해 세계 시장 장악에 나서겠다는 야심찬 포부를 아고 있다.

• Journal of Science of Art and Design
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• v.8
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• pp.45-61
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• 2005

The 2D animation screen is a screen work that is produced on the plane. So, it is superficial in terms of space. Therefore, we expressed via picture technique that uses the movement of camera and back-ground in order to recreate the image of realistic feeling that has multiple effect. Though all multiple-effects were expressed realistically in the early Disney animation of the United States, Japan used the expression of Follow Pan profoundly to provide the animation with economic expression of picture and the depthof screen in order to realize a new technical expression of limited animation while it was producing TV series works in 1960s. Now it is positively expressed even in the United States, too. This study tries to analyze the example that applied the long piece works of Japan which was expressed via the Follow Pan, that is, the movement of camera, to the real approach.

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.909-914
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• 2009

It can be said that the role of character is very important for the development of animation contents. It is because unlike in general motion picture, the emotional character, which is artificially controlled, plays the functional role in animation. Because of the function, the character may be differently expressed, depending on the culture of each country. However, general audiences and people selecting commodities have common factors. It seems that USA and Japan, which have led the world culture in the field of animation planning and manu facture, perform the animation manufacture by applying them properly. The purpose of this presentation is to analyze the works of USA and Japan, which have led animation manufacture. Because numerous works have been manufactured in two countries regardless of genres, the selection was made by concentrating on representative works that achieved good results from character commercialization. Therefore, the study will suggest the methodological direction for the new development of character, which is performed in industrial animation work and education field.

• 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.

• 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.

• Journal of Digital Convergence
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• v.16 no.3
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• pp.429-438
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• 2018

Brad Bird, a screenwriter and animation director in the United States, criticized the situation in which most animations were produced and released for the children since the early 2000s. He said that animation is an art form capable of conveying messages not only to children but also to adults, and that their development potential is high. In this study, I analyzed overall components such as narrative structure, character, subplot, symbol, and foreshadow of Brad Bird's animated feature films , , and examined his narrative features and strategies. As a result, the narrative features of animation as an art form are as follows: First, conveying the message of a serious subject that will deeply sympathize with adults as well as children. Second, expressing the social agenda which criticizes the contradiction of the real world and the periodic mistakes. Third, solid narrative structure through a dense plot based on realistic situation setting. I hope that this study will be used as basic research material for various animation production in the future.

• Cartoon and Animation Studies
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• s.51
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• pp.129-158
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• 2018

China has had many excellent Chinese-style animation since the 1950s. These animations are of distinctive Chinese national characteristics. They have won many awards both at home and abroad, such as "Feelings of Mountains and Waters", "Uproar In Heaven", "Why is the Crow Black-Coated" and so on. But nowadays, Chinese animations that mimics Japanese and American animation are very often, and there are few animation works with rich traditional Chinese culture. There are some works in the name of Chinese style, but they have not been fully accepted by the audiences. If one wants to create animated works of Chinese style, the author must have an in-depth understanding of Chinese traditional and folk art. Animation can not be designed only on the surface. This paper mainly studies the traditional five color concept in China and its application in animation. The purpose is to provide some references to differentiate Chinese animation from other countries in terms of style and color. The main content of this paper is to understand the concept and history of Chinese traditional five color views, and to know that this color system has reflected the ancestors' concept of nature and society. On the basis of five monochromatic colors, red, yellow, green, white and black, it is a kind of complex color concept that has been developed and perfected continuously after a long period of accumulation and precipitation in the practice of life. It is the theoretical basis of Chinese traditional color system and a complete set of historical, cultural, philosophical and religious theories. Finally, this paper analyzes the colors and their symbolic meanings of the main roles in "Uproar In Heaven", a color long animation produced by Shanghai Animation Film Studio, including Sun Wukong, the Jade Emperor and Na Zha. Color is the first visual language. The use of color symbols to express the inner feelings, status, good and evil of the characters will affect the audience's emotions, behaviors and opinions imperceptibly. The traditional Chinese five color concept has gone through such a long history, and its symbolic meaning has a more profound impact on Chinese people. Applying the color concept and symbolic meaning of Chinese traditional five color concept will further highlight the personalities and emotions of the roles in Chinese style animations. This paper takes the five-color view as the theoretical basis, and through the analysis of cartoons with traditional Chinese color, the author finds ways to flexibly use traditional Chinese culture.