• Title/Summary/Keyword: 선악 표현

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Expression of Good and Evil in Animation Film from a Perspective of Dionysian : Focusing on , a 3D Animation Film (디오니소스적 관점에서 본 애니메이션 영화의 선악 표현 : 3D 애니메이션 <빅 히어로>를 중심으로)

  • An, Se-Ung
    • Cartoon and Animation Studies
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    • s.41
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    • pp.31-55
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    • 2015
  • The purpose of this study is to pay attention to the expression of good and evil which has Been significantly developed out of the existing dichotomous good and evil in animation films and to identify for them. Even though 3D animation films provides us with a sense of realistic existence due to surprising technical powers, the stories contained in such films tend to remain in the limit of family films. However, recently, some films have been presented beyond such limit with a scenario that makes people introspect their inner side. Among them, this study considered the expression of good and evil of , which extended the meaning of didactic morality into the dimension of 'Philosophy of Dionysian yes', as significant for research purpose. More specifically, this study looked at and discussed this film in more details in the aspect of focusing on the value of good and evil for eliminating the boundary of the existing perspective and pursuing positive overcoming. The frame of the concept for discussion used the philosophical statements of Kant and Hegel as well as Nietzsche who explained the meaning of good and evil with Dionysian view. As to the method of research, this study attempted to understand the theoretically related concepts and discuss the meaning, along with the presentation of examples, by inputting such meaning into the expression of good and evil presented in the film. This study has the implication in identifying that an animation film, as a virtual world, plays a role of opening a new prospect for conversion of thought in our real world and expecting a future progress.

법제코너- 하루 70% 이상 음란성 e메일 ‘방치할 것인가’

  • Seong, Seon-Je
    • Digital Contents
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    • no.2 s.129
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    • pp.118-128
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    • 2004
  • 사이버스페이스에 음란물이 홍수처럼 밀려들면서 전통적인 법과 규제의 한계를 드러내고 있다. 인터넷을 통한 O양과 B양의 비디오 파문은 이를 단적으로 보여주는 사건이다. 사이버스페이스에서의 이러한 음란물은 법적으로 윤리적으로 보호할 가치가 없으므로 마땅히 규제의 대상이라는 주장과 이것 역시 보호돼야 하는 표현의 자유라는 일부의 주장을 어떻게 조화롭게 대처할 것인가는 21세기 사이버스페이스 시대가 해결해야 할 새로운 문제로 부각되고 있다. 자유와 책임이 동전의 양면관계로 대립하는 음란한 표현은 사이버스페이스에서도 선악의 한계로 서로 밀고 당기면서 오늘에 이르고 있다. 이런 음란의 문제를 관련 법과 판례를 중심으로 고찰하면서 새로운 사이버스페이스에서의 대책과 합리적 체계는 무엇인가를 살펴보자.

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Adaptation of Ko woo-young's Nolbudyeon and Reception Culture in Heungbu and Nolbu (고우영의 만화 <놀부뎐>의 서사 변용 양상과 흥부전의 수용문화)

  • Hwang, Hye-jin
    • Journal of Korean Classical Literature and Education
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    • no.33
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    • pp.5-44
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    • 2016
  • This study focuses on Ko woo-young (1939-2005), a Korean representative cartoonist. I analyzed his work Nolbudyeon (1988), which is a retelling of Heungbu and Nolbu, a traditional Korean story. I consider Ko woo-young a creative observer who has popularized his perspective in modern society. His work is a good example of how a traditional folktale can be made relevant in modern society. I used three methods of adaptation to differentiate Nolbudyeon from Heungbu story: construction of events, characterizing, and space-time background. First, to aid character development, Nolbudyeon includes a prologue that focuses on conflicts between brothers with different personalities. At the same time, the ambiguous ending could be a response to Heungbu story, which has a didactic theme. Second, I found that the new characters, Nolsun and Yeonsaengwon, enhanced the differences between Heungbu and Nolbu by playing the role of mediators. Also, in Nolbudyeon, both Heungbu and Nolbu had positive as well as negative elements, in contrast with the original story's traditional point of view on good and evil. Finally, by exploring the space-time of Nolbudyeon, we can see that its world is combined with the contemporary world. In other words, Nolbu and Heungbu, though outwardly traditional, have a modern outlook. Therefore, readers can recognize that Nolbudyeon is a metaphor for modern life rather than just an old story.

China, the United States and Japan's animation film creation style of comparative study (중·미·일 애니메이션영화 창작스타일 비교연구)

  • Yang, jian-hua
    • The Journal of Korean Philosophical History
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    • no.39
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    • pp.221-235
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    • 2013
  • Through the comparative analysisand inductive research on main creation styles of Chinese, American and Japanese animation films, a conclusion can be given out, which means that the animation film style of each country can hardly be formed without their own traditional painting art, aesthetics habits and ways of thinking. It is these characteristics that form their unique animation film style. America emphasizes realism art, development and utilization of new technology, Japan pays sepcial attention totraditional painting art and comic stories. In business aspect, they bring about different business models relying on the experience of satisfying the diverse needs of domestic and global entertainment markets. When it comes to the content field, they carry forward universal values and meet the individualistic heroismso that a variety of business animation films and art animation films find their ways into the global market and acquire great popularity among audiences from all over the world. Through the comparasion of American and Japanese animation films, a new view to analyze the animation films of China is created. Animation creation is largely based on the need of socialist ideology from 50s to 80s. Even though the purposes of animation film creations returned to satisfying the diverse requirements of commercial markets and audiences, the consequences, such as the break gap of creations and talents, the lack of diverse creative styles and commercial market operation mechanism, sitll affect China's animation films today. Japan found thier position from the American model and became successful. Nowadays, China need find our own creative style and position from American model and Japanese model. And the systematic reformings that are detailed in the government managements, industry standards, internationalized talents cultivation and accumulation are the essential point.

A Study on Baettaragi Performance in Northwestern Province of Korea (관서지방 배따라기 연행고(演行考))

  • Lim, Soojung
    • (The) Research of the performance art and culture
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    • no.23
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    • pp.105-158
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    • 2011
  • Due to the system of sending selected hyanggi(local entertaining woman) to the government office in Seoul after the abolition of the system of gyeonggi(entertaining woman in capital area) during the reign of King Injo(1595~1649), the kyobang-jeongjae(local dance performed for the provincial government office) had gotten into the court to be performed at the royal banquet as gungjung-jeongjae(court dance), one of which was seonyurak(dance of boating). It used to be performed for finale of the royal banquet in the late Joseon Dynasty and appeared in several uigwes(record for royal banquet) since its first appearance in the wonhaeng-eulmyo-jeongri-uigwe, documented in 1795, the 19th year of the reign of King Jeongjo. Considering that the yeoggi(female entertainer) responsible for the court dance, seonyurrak was the seonsanggi(selected entertaining woman from provinces) from the northwestern provincial villages such as Euiju, Ahnju, and Seongcheon etc., we can assume that the baettaragi, one of kyobang-jeongjaes whould have been getting into the court to become the seonyurrak as court dance. The baettaragi, kyobang-jeongjae of northwestern province that affected the development of the court dance, seonyurak was created as performance executed by entertaining women of kyobang(local supervisory office for entertaining women) on the basis of the fact that the envoy of Joseon dynasty to the Ming dynasty could not help but taking a sea route when Amaga Aisin Gurun had a grip on the northeastern area of China during the shift of power from Ming to Qing. There had been a lot of banquets for envoys in the northwestern province because of its geographical feature as gateway to trip to China and the baettaragi used to be performed by entertaining women belonged to local provincial office to consolate the sadness of separation with those who destined to depart to China and to hope for their safe return. The kyobang-jeongjae, baettaragi of northwestern province is recorded as performance with sorrowful song to put the pain of parting into work, according to many related documents. It puts together painted boats as props, the march of a couple of dancer dressed up as soldier with marching music called gochiak, the song and musical accompaniment before getting on boat, the dramatic expression of sailing, and the farewell song praying for safe return etc. It turns the situation of dispatching envoys for China by sea into performance with combination of music, song and dance. Created in this way, the kyobang-jeongjae, baettaragi had been performed at the various banquets for envoys departing for China and it affected the formation of court dance or gungjung-jeongjae called seonyurak through the activities of selected local entertaining women. It also exerted influence on other similar performance in provincial area because of the returning home of the selected local entertainers who finished their performance in Seoul and it had been performed with different variation at local banquet including locality in it.

The study of the symbolic meaning of colors used in the animation "Uproar in the Heaven" - Focused on the traditional Chinese five color concept (애니메이션 <대요천궁>에 사용된 색상의 상징적 의미에 관한 연구 : 중국 전통 오색관을 중심으로)

  • Geng, Ling;Lee, Jong-han
    • 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.


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