• Cartoon and Animation Studies
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• s.36
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• pp.437-467
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• 2014

This study is intended to reveal reading comic books helps improve creativity. Though the long-lasting negative recognition towards comic books has positively changed these days, we need a ground upon which the social recognition needs improvement in that children's comic books have been used as a learning tool. Its introduction points out that there has been shortage of empirical researches on comic book reading, and as one of the empirical research methods, presents a method of comparative analysis on comic book reading, school study, and creativity tests via survey. The theoretical background in the 2nd chapter, first, puts emphasis on the significance of the creativity theory among all the other theories related to creativity, which focuses on problem-solving capacity. Second, it theoretically reviews the meaning which 'fun' and 'interest' have in development of creativity in the context of developmental process of the modern educational theories. Third, it empathizes that traits of reading comic books start off with 'fun' and 'interest', that awareness of reality gets expanded via the process of characters making their way through a strange world with empathy and absorption, and that comic book reading has to do with creativity. Fourth, it presents a model questionnaire with which to study relationship between comic books and creativity in an empirical way. The analysis on the survey outcome in the 3rd chapter shows, first, that smart students read many comic books, not to mention that studying helps improve creativity, which indicates above all, comic book reading and improvement of creativity are not negatively related, but are mutually complementary. Second, that creativity enhanced by reading comic books is higher than that enhanced by studying, which may mean comic book reading is more effective than studying in developing creativity. It has drawn a conclusion based upon these results, that reading comic books bears positive efficacy on both studying and developing creativity. Standing on this conclusion, it proposes it necessary to develop methods by grades of educating how to read comic books and to provide a recommended list of comic books to read.

• Korean Journal of Heritage: History & Science
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• v.39
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• pp.351-378
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• 2006

With the development of media, the methods for the documentation of intangible cultural heritage have been also developed and diversified. As well as the previous analogue ways of documentation, the have been recently applying new multi-media technologies focusing on digital pictures, sound sources, movies, etc. Among the new technologies, the documentation of intangible cultural heritage using the method of 'Motion Capture' has proved itself prominent especially in the fields that require three-dimensional documentation such as dances and performances. Motion Capture refers to the documentation technology which records the signals of the time varing positions derived from the sensors equipped on the surface of an object. It converts the signals from the sensors into digital data which can be plotted as points on the virtual coordinates of the computer and records the movement of the points during a certain period of time, as the object moves. It produces scientific data for the preservation of intangible cultural heritage, by displaying digital data which represents the virtual motion of a holder of an intangible cultural heritage. National Research Institute of Cultural Properties (NRICP) has been working on for the development of new documentation method for the Important Intangible Cultural Heritage designated by Korean government. This is to be done using 'motion capture' equipments which are also widely used for the computer graphics in movie or game industries. This project is designed to apply the motion capture technology for 3 years- from 2005 to 2007 - for 11 performances from 7 traditional dances of which body gestures have considerable values among the Important Intangible Cultural Heritage performances. This is to be supported by lottery funds. In 2005, the first year of the project, accumulated were data of single dances, such as Seungmu (monk's dance), Salpuri(a solo dance for spiritual cleansing dance), Taepyeongmu (dance of peace), which are relatively easy in terms of performing skills. In 2006, group dances, such as Jinju Geommu (Jinju sword dance), Seungjeonmu (dance for victory), Cheoyongmu (dance of Lord Cheoyong), etc., will be documented. In the last year of the project, 2007, education programme for comparative studies, analysis and transmission of intangible cultural heritage and three-dimensional contents for public service will be devised, based on the accumulated data, as well as the documentation of Hakyeonhwadae Habseolmu (crane dance combined with the lotus blossom dance). By describing the processes and results of motion capture documentation of Salpuri dance (Lee Mae-bang), Taepyeongmu (Kang seon-young) and Seungmu (Lee Mae-bang, Lee Ae-ju and Jung Jae-man) conducted in 2005, this report introduces a new approach for the documentation of intangible cultural heritage. During the first year of the project, two questions have been raised. First, how can we capture motions of a holder (dancer) without cutoffs during quite a long performance? After many times of tests, the motion capture system proved itself stable with continuous results. Second, how can we reproduce the accurate motion without the re-targeting process? The project re-created the most accurate motion of the dancer's gestures, applying the new technology to drew out the shape of the dancers's body digital data before the motion capture process for the first time in Korea. The accurate three-dimensional body models for four holders obtained by the body scanning enhanced the accuracy of the motion capture of the dance.

• Cartoon and Animation Studies
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• s.19
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• pp.127-143
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• 2010

The purpose of this study is to aesthetically approach a game, which was popular at home, through microscopic analysis on World of Warcraft. World of Warcraft(hereunder called WOW), which improved a game method of MMORPG that had been popular conventionally at home, from several angles, is suggesting new paradigm of MMORPG game. This study aims to propose new vision on game analysis by approaching this new method from the perspective of player. For this, it divided WOW into shift method, instruction implementation method, and communication configuration method, and analyzed this, respectively, by introducing a concept of empty time, empty space, and non-place, which was borrowed from Zygmunt Bauman's "Liquid Modernity". WOW's shifting method rather extends empty time, that is, the waiting time, contrary to the conventional MMORPG, which used a method of removing. Instead of maximally reducing boring, which becomes disturbance of a game, it is what overwhelmingly enlarges time that needs to be waited, thereby being what induces a sense of time, which a player experiences daily life, to the inside of a game. WOW's instruction implementation method offers one of hugely single map instead of zone-system necessary for map loading in the discontinued form. This minutely implements even a greatly insignificant place in playing a game, thereby stirring up a sense of travel, which explores there in reality. Finally, WOW's community configuration method makes a hunting-targeted group clear, which added a concept of hunting called the raid to the existing gild system. The raid, which is a large party of being bound to the inside of Instant Dungeon, clearly gives a performance role to each of party members, thereby allowing the identity in character to be connected directly to the identity of player. Through this, the player filled the suggested 'space' with experience, thereby being able to change it into 'place' that is significant to an individual.

• Cartoon and Animation Studies
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• s.45
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• pp.397-415
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• 2016

This paper will investigate how animated practice can be a research form as practice-led research in an ethnography approach. This practice-led research will explore the issue of the construction of contemporary identities (based on the strange case of Dr. Jekyll and Mr. Hyde) and in particular, the Korean youth culture and identity, exemplified, for example, creation of 'avatars' in the virtual characters of animated online games such as Massively Multiplayer Online Role-playing Games (MMORPGs). In this proposed discussion, I will argue that the sudden period of change in contemporary Korea bears some resemblance to the Victorian era as explored in gothic fiction (e.g. Jekyll and Hyde). In this sense, my animation investigates the connection between the fictional Jekyll and Hyde and a real murder incident by a young Korean boy, which actually happened on the 16th November 2010, in SouthKorea.I will, therefore, construct this practice-led research to obtain the primary data consisted of online and offline practices in 'social ethnography'. These practices engage with specific Korean youth identity, comparing the 'avatar' with the real lives of participants. However, this paper will only focus on the (ethnographic) research process and strategy, using animated (visual) practices, rather than giving the meaning of the specific case of 'Korean-ness'. Eventually, I will explore the four different animated representations as it presents the distinctive animated realties or documentaries by online and offline practices. My intention is to visually interpret the issue of 'Korean-ness' within its socio-cultural context, adapting the convention and code of Jekyll and Hyde concept into an animated documentary in the 'virtual' world (auto-animated documentary by recording avatar interviews and online game footages) and the 'real' world (self-created animated documentary, based on real people and events).

• (The) Research of the performance art and culture
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• no.37
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• pp.249-293
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• 2018

The Musical Theatre was a popular art genre that originated from the western musical tradition represented by the European opera. In the twentieth century, it bloomed around Broadway in the United States. It is also one of the commercial arts which is popularly loved by the public in the field of performing arts all over the world at present. Due to the nature of this genre, the development of dramas and the expression of characters use music, not words or gestures, as the main medium. And the style of music reacts sensitively to the taste of the public, not to a particular class. When Japan colonized Korea, the empire strongly believed modernization equaled westernization and Japan was the one who could awaken Korean. The Japanese colonial music education was intended to bring cooperation and obedience to Japan by forcibly injecting Japanese ideology and culture into Joseon people. The music education of colonialism with the textbook of the "Songs for public education(보통교육 창가집)" compiled by the Japanese government was a sparkstone for the conversion of the Korean musical identity to Japanese and Western music. In addition to the capitalistic economical mechanism for establishing a South Korean government friendly with the United States during the Cold War after liberation, and the rush of American Pop culture represented by 'the show stage in 8th US Arm' and 'movies' which are to be the influence of invisible 'new cultural imperialism', our traditional music was confined to the meaning of 'Korean music', meaning 'past music'. In Korea, after the liberation, the musical was introduced by the influx of American popular culture. In accordance with the cultural policy of Park Jeong-hee regime, which aimed to spread the 'healthy culture' through the modernization of traditional arts, 'The Yegreen(예그린악단)' was founded. However, the plan to create a contemporary performing art based on Korean national arts showed the possibility of success in 1966 with the success of , but soon after, they have been destined to fall into an institution that has lost their ability to operate on their own due to the suspension of the sponsorship of the regime. Due to the cultural imperialist strategy of the influence of Japanese imperialism's colonial music education and influx of American popular culture after liberation, in the early days of Korean musicals, our traditional aesthetic style brought about the situation of the 1960 's, which did not become an independent ethnic art through the exchange and expansion with Western music. This is the background of the western licensed musicals led by the Korean musical market in the 21st century as well as the main cause of musical creation based on western music.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.18 no.5
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• pp.77-90
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• 2023

This study aims to investigate the potential of alternative credit assessment through Social Networking Sites (SNS) as a complementary tool to conventional loan review processes. It seeks to discern the impact of SNS usage characteristics and loan product attributes on credit loan repayment. To achieve this objective, we conducted a binomial logistic regression analysis examining the influence of SNS usage patterns, loan characteristics, and personal attributes on credit loan conditions, utilizing data from Company A's credit loan program, which integrates SNS data into its actual loan review processes. Our findings reveal several noteworthy insights. Firstly, with respect to profile photos that reflect users' personalities and individual characteristics, individuals who choose to upload photos directly connected to their personal lives, such as images of themselves, their private circles (e.g., family and friends), and photos depicting social activities like hobbies, which tend to be favored by individuals with extroverted tendencies, as well as character and humor-themed photos, which are typically favored by individuals with conscientious traits, demonstrate a higher propensity for diligently repaying credit loans. Conversely, the utilization of photos like landscapes or images concealing one's identity did not exhibit a statistically significant causal relationship with loan repayment. Furthermore, a positive correlation was observed between the extent of SNS usage and the likelihood of loan repayment. However, the level of SNS interaction did not exert a significant effect on the probability of loan repayment. This observation may be attributed to the passive nature of the interaction variable, which primarily involves expressing sympathy for other users' comments rather than generating original content. The study also unveiled the statistical significance of loan duration and the number of loans, representing key characteristics of loan portfolios, in influencing credit loan repayment. This underscores the importance of considering loan duration and the quantity of loans as crucial determinants in the design of microcredit products. Among the personal characteristic variables examined, only gender emerged as a significant factor. This implies that the loan program scrutinized in this analysis does not exhibit substantial discrimination based on age and credit scores, as its customer base predominantly consists of individuals in their twenties and thirties with low credit scores, who encounter challenges in securing loans from traditional financial institutions. This research stands out from prior studies by empirically exploring the relationship between SNS usage and credit loan repayment while incorporating variables not typically addressed in existing credit rating research, such as profile pictures. It underscores the significance of harnessing subjective, unstructured information from SNS for loan screening, offering the potential to mitigate the financial disadvantages faced by borrowers with low credit scores or those ensnared in short-term liquidity constraints due to limited credit history a group often referred to as "thin filers." By utilizing such information, these individuals can potentially reduce their credit costs, whereas they are supposed to accrue a more substantial financial history through credit transactions under conventional credit assessment system.

• Cartoon and Animation Studies
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• s.37
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• pp.45-82
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• 2014

Comics and cartoons of superheroes in the West have adopted various semiotic systems and other art-forms, including their politico-socio-economic condition, and made parody of other popular texts, as well. Based on the idea of the development of superhero genre, this article focuses on how East Asian popular texts appropriate and reconstruct the genre, which was once considered the realization of American idea, by analyzing a series of TV animation (Japan, Sunrise,2011). Through the feature of parody with intertextuality, provides East Asian value and sensibility of characters as corporation-centered modern humans in capitalist society. This animation has similarity and difference, compared to that of Western superhero cartoons. It satires Western capitalist society and emphasizes Eastern family-oriented value. The performances of superheroes on TV represent the satire on Western style individualism and estimation through each one's achievement. It metaphorically criticizes the situation in which modern human falls into dependency on capital and media, and the capitalistic system in which public good is used for the method of private profit. emphasizes East Asian value of human and society, the cooperative relation for the success and maintenance of community by combining members of state and society through familial sensibility. Tiger functions as a spiritual leader in the group of superheroes who have been obsessed with competition for their own private purpose rather than public cause, Bunny and other colleagues are gradually influenced by Tiger's familial communicative style. emphasizes community-centered view and self-sacrificing sensibility as an international citizen to solve social pathology of modern world.

• Cartoon and Animation Studies
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• s.37
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• pp.197-219
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• 2014

, one of the Disney's animations, hit the 10 million audience mark for the first time in the history of animations released in Korea. not only raised the fever with its theme song, 'Let it go', as well as Elsa, Anna, and Olaf's character products but caused sensations in many ways. If so, we need to think about what kind of meaning did create in Korea to be so sensational. This study examines the value that Frozen intended to deliver and the meaning it generated by using Greimas actant model and semiotic square. From the actant model analysis on Anna and Elsa from , it was identified that Anna desired to recover her relationship with Elsa and to take summer back in Arendelle. Her desires can be interpreted as her love toward Elsa and people in Arendelle. Meanwhile, Elsa always desired freedom although she confined herself because of her ability to freeze. In other words, Elsa desired to free herself from her freezing ability by finding out how to control her ability. Such desires of Anna and Elsa were achieved by their actions of true love, and the solution of all the conflicts in was an action of true love. From the semiotic square analysis on the meaning of , it was found out that created past-oriented value with which characters tried to change their abnormal lives of the present into their normal lives of the past. The characters tried to change their present lives where freezing winter comes in the middle of summer, communication between the sisters is cut off, and people try to take advantage of the abnormal state deliberately, into the past when the sisters had a good relationship and the natural season of summer in Arendelle. The past-oriented value that tried to tell us is similar to our reality. In our reality with a lot of unbelievable news and unstable circumstances, we desire to go back to the past when we were filled with affection and hope even though our lives were tough and difficult. This sentiment must have contributed to the huge success of in Korea.

• Cartoon and Animation Studies
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• s.27
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• pp.1-30
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• 2012

Oshii Mamoru attempts to project the perception of reality about his own modern world as it is through animation. The precedent studies on Oshii Mamoru put their focus on the point that his works have a tendency to represent the devastation of reality as the image of 'a ruin.' In addition, they gave an impression that Oshii Mamoru's animation has gradually developed to expose the 'realistic taste[beauty]' from the design perspective. However, this study is going to put its focus on the point that Mamoru's works were created as an attempt at finding the subversive possibility of the suppressed modern world under the modern capitalism in the aspect of 'everyday life' of the modern world. First, for its analytical purpose, this study intends to do that by dividing the work into the three layers such as space, body and everyday life. In Chapter II, this study, in relation with the issue of 'space' representation, analyzed the space in into the modern, mechanical, compactly capitalized space and also the space just like a closed circuit having the nature of 'repetition.' In Chapter III, this analyzed that suggests the body moving freely between a human named 'Kildren' and the inhuman from the aspect of character's body, through which Mamoru represents the capitalized, reified body of the modern world. In addition, this analyzed the extreme anxiety facing the body into the reflection of the phenomena of 'anxiety' and 'placelessness' consequent on the labor flexibility of the modern world. In Chapter IV, this study, on the basis of the analysis of layers of space & body, analyzed that the 'everyday life' of the modern world was represented in the respects of 'memory' and 'habit', and in the aspects of Mise-en-Sc$\grave{e}$ne, design and direction. In Chapter V, this rooted out the fact that Mamoru suggested the attempt at 'appropriation' based on his perception of reality about such a modern world. Such a finding includes unearthing the fact that Oshii Mamoru's work is raising a question about how to desert and appropriate the modern space. In conclusion of Chapter VI, this drew the conclusion that Oshii Mamoru's work represented the layer of 'everyday life' while dealing with the post-modern themes shown by the existing modern SF genre, provided the 'window' through which people can perceive the 'modern world radically by recommending an attempt at 'appropriation', and blazed a trail in a new realm of creation for animations.

• 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.