• Cartoon and Animation Studies
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• s.31
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• pp.29-55
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• 2013

In the contemporary modern society, information and knowledge generate a set of new social values. These changes demand a transformation not only in socio-cultural and educational spheres, but also, specifically, in the field of culture and art education. Culture and Art education emphasizes the integration and cross-discipline of other related fields which have great impact on culture and arts. This study applies theoretical analysis of Animation education in the context of culture and art education. Animation education takes an interdisciplinary approach to integrate various subjects in the field of culture and art education. Animation, as a form of culture and art education, plays an educational role in the social classroom. Animation education should be developed and expanded to become a regular classroom course. The goal of Animation education is to pursue and develop a connection with other educational courses of study. In order to strengthen the role of Animation education, we should first re-structure the pedagogical role of Animation education. Secondly, Animation education needs to become a diversified and popularized education. Third, the cultivation of creative human resources is considered of vital importance to Animation education. Finally, the expansion of infrastructure and the establishment of a comprehensive support system for Animation education has to be established.

• 한국만화애니메이션학회:학술대회논문집
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• 2011.05a
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• pp.66-77
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• 2011

1895년 영화가 탄생하면서부터 영화가 예술로서 인정받기까지 오랜 시간이 걸렸듯이 영화가 그 교육적 가치를 인정받기까지도 상당히 오랜 시간이 걸렸다. 즉, 영화가 소비 지향적이라는 비판에서부터 영화는 집에서만 봐도 충분하다는 식의 편견까지 이러한 오해를 불식시키기까지 짧지 않은 시간이 흘렀다. 영화 자체가 교육적 대상으로 인정받기 시작한 것은 1964년 영국영화연구소에서 나온 "영화교육(Film Teaching)"에서 영화교육의 필요성이 논의된 이후에 자연스럽게 그 가치를 인정받기 시작했다. 한편 2004년부터 예술강사 지원사업에 의해 영화교육의 대중화가 본격적으로 이루어졌고, 한 해 뒤인 2005년 만화애니메이션교육이 대중화시대를 열었다. 이렇듯 만화애니메이션교육과 영화교육은 그 교육적 접근은 오래되지 않았지만, 교육과 관련해서 전문적인 동시에 대중적인 측면도 함께 지니고 있다. 다시 말해서, 대학교육에서 이론적이고 실제적인 교육이 이루어지고 있지만, 대중적인 영향력을 통해서 초 중등학교에서 많은 관심을 가지고 있는 교육영역이다. 이렇게 다양한 층위에서 진행되고 있는 만화애니메이션교육과 영화교육을 문화예술교육이라는 범주에서 살펴볼 것이다. 이는 전문예술인 양성을 위한 전문교육인 아닌 초 중등학교에서 이루어지고 있는 문화예술교육이라는 관점에서 바라볼 것이다. 특히 한국문화예술진흥원의 예술강사 지원사업을 중심으로 현재 진행되고 있는 만화애니메이션교육과 영화교육을 점검할 것이다. 그리고 영화교육에서 진행되고 있는 교직과정을 살펴봄으로써 만화애니메이션교육도 이러한 제도적 뒷받침의 필요성을 밝힐 것이다.

• Cartoon and Animation Studies
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• s.43
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• pp.387-433
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• 2016

The ability to develop curriculums is a crucial factor in evaluating the expertise of a teacher who teaches culture & art education. Establishing a one-year plan for classes is an effort to create a well-designed curriculum for the year and also to foresee the big picture of classes in the corresponding year. A curriculum should not be composed of merely educational content or a series of knowledge and skills. It should be well-designed, based on principles of a coherent plan. This study examines organizational principles on which common curriculums are based on and looks at how a curriculum can be designed, especially for cartoon & animation classes, as part of Culture & Art education, and which factors should be considered in planning. In the process of forming such a curriculum, these steps should be followed: considering educational standards for cartoon animation classes; determining the learning experience, organizing the learning experience; and, lastly, evaluating the level of learning. In addition, effective teaching strategies that reflect the characteristics of a class on cartoon animation should be formulated. This study suggests actual examples of an effective annual curriculum for cartoon animation classes based on all the factors presented above.

• Journal of Science of Art and Design
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• v.7
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• pp.206-226
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• 2005

• Cartoon and Animation Studies
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• s.11
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• pp.11-28
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• 2007

The article concerns the public policy for the development of the arts educator in the field of the comic and animation education. The comic and animation education programs are focused on the promotion of the creativity and communication skills of the student in terms of the arts education. The article seeks to examine the case on the support program for the comic and animation educators, which has been managed by Korea Arts & Culture Education Service(KACES) since 2005. The forty two educators were surveyed. As a result, the support program of the KACES has an effect on the educator's recognition of the comic and animation education in the positive way. The most of the educators suggest that the support program should try to develop the comic and animation educator job as a special work with the full time job. In this repect, the article recommend the policy alternatives such as the promotion of the education program R & D, the knowledge and information system, training system and the establishment of the governance system.

• Cartoon and Animation Studies
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• s.20
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• pp.15-29
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• 2010

Art & Culture Education for improving quality of life and cultural empowerment through the enjoyment of culture and the arts has spread as a variety of programs. However, Art & Culture Education in school has problems in the aspect of functional and superficial contents and ways of class. To achieve the ultimate purpose of Art & Culture Education and to take place as a effective education, quantitative growth in addition to qualitative depth should be considered. The purpose of this study is to develop the integrated Art & Culture Education model in elementary school curriculum using short animations of Korea, for improving the quality and vitalization of Art & Culture Education. For the interdisciplinary education short animation can be an effective asthetical teaching material, which transmits the world view, personality, social and historical reflection of the director. (2003) is a modern interpretation of a myth, which is Woncheongang Bonfuri from Cheju, and folkore paintings. This film can be such a stuff for the interdisciplinary class Korean and Ethics that language intellect and reflection intellect can be motivated. Moreover the thoughts and feelings about the film can be formulated in text, toon, painting that students can extend their language intellect and space intellect. communicates typically korean emotion and nature with its rural atmosphere and boy figure. With this film we can deliver a interdisciplinary class of science and art.

• Cartoon and Animation Studies
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• s.45
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• pp.235-258
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• 2016

As the first class Teaching Artists system is about to be brought to effect, the ability required for Teaching Artists to design educational contents, develop and manage education programs is not much different from that of a museum Educator. This system is necessary for resolving problems in existing Arts and Culture Education, such as overlapping programs and adjusting difficulty levels by age to meet the demand of educatee. It also deals with drawbacks in production-oriented curriculum originating from the preference in some subject. In addition, as progress in science and technology makes rapid changes in digital media and its subculture, increasing need for novel and interdisciplinary curriculum in the field of Arts and Culture Education puts further emphasis on the importance of this system. In this study, we focus on clarifying the significance of Educator as a professional and proposing curriculum for the system, trying to avoid restricting our discussion to current Arts Instructor Supporting Project which are merely aimed at supporting children and adolescents to grow up to enjoy culture and arts. Capacity for designing curriculum for culture and arts, the kernel of qualification for the first class Teaching Artists, requires a variety of comprehensive expertise and qualification such as doing preliminary research on contents related to animation, curating, determining potential of educational contents, organizing educational contents for appropriate educatee, understanding esthetic property and its role in education, and appreciating and enjoying cultural contents. Therefore, Teaching Artists plays roles not only in developing and running educational programs but also in supporting and cooperating with culture and arts institutions, designing and managing creative programs, combining and communicating with different social groups, and emphasizing mutual interchange in culture.

• Cartoon and Animation Studies
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• s.35
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• pp.29-65
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• 2014

Visual culture art education (VCAE) seems to be the new paradigm for art education after postmodernism. Getting beyond the traditional art education, VCAE has expanded its scope of interest to include the visual environment that surrounds our life, thus pushing the boundary of art education beyond the traditional fine arts to cover pop culture and visual art. VCAE shares the issues as well as a lot of elements of culture and art education and in fact serves as a major theoretic background for culture and art education, in that it pays attention to the sociocultural context of images and emphasizes visual literacy and constructionist learning. In this paper, I have reviewed the theoretical background and related issues of VCAE with a view to presenting a direction for animation education, which is gaining in importance coming into the Age of Digital Media. VCAE was born in the progressive cultural atmosphere from the 1970s and thereafter, and its gist consists in figuring out visual artifacts and their action in order to improve individual and social life. Yet, VCAE continues with its development according to the changing aspects of visual culture, and currently, it is expanding its scope of interest to cover the esthetic, experiential education in visual culture and construction of meaning through digital story-telling. In the visual environment of the Digital Age, animation is establishing itself as the center of the visual culture, being a form that goes beyond an art genre or technology to realize images throughout the visual culture. Also, VCAE, which has so far emphasized visual communication and critical reading of culture, would need to reflect the new aspects of the visual culture in digital animation across the entire gamut from experiencing to understanding and appreciating art education. In this paper, I emphasize on Cross-Curricula, social reconstruction, the expansion of animation education, interests in animation as a digital media, and animation literacy. A study of animation education from the perspective of VCAE will not only provide a theoretical basis for establishing animation education, but also enrich the content of VCAE, traditionally focused on critical text reading, and promote its contemporary and futuristic orientation.

• Cartoon and Animation Studies
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• s.50
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• pp.43-73
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• 2018

This is a study on 'Objet' in animation culture art education. Research on the use of Objet in modern art is actively under way. From Cubism to Dadaism, Surrealism, Futurism and Pop art, it is no exaggeration to say that the Objet is stepping with modern art. In addition, Objet has a remarkable value in the field of visual arts expressing 'motion' such as kinetic art, video art, media art, and animation. However, there are not many cases of classifying and studying the types of Objets used in artworks. Therefore, this researcher has been influenced by the surrealism discourse and prepared six types of Objets type analysis framework. And the research focused on 'the aesthetic emotion and educational aspect of creativity improvement' of Objet animation was conducted. The type analysis framework is named as a drawing Objet, Objet of existence, a morphine Objet, epidermis Objet, assigned Objet and assemblage Objet and this type is presented and analyzed with case image. The data used in this study was focused on the outcome of Objet animation that were trained for non-experts in culture and arts education. This aesthetic emotion refers to Freud's desire for life (Eros) as Attraction, and desire for death (Thanatos) as Uncanny (fearful unfamiliarity) and explains the conflicting concept with the Animism, the indigenous religion. Next, educational aspects of Objet animation creativity improvement in relation to the term 'functional fixedness' was discussed as described by Gestalt psychologist Karl Duncker (1903-1940). Overcoming the functional fixedness is a phenomenon that is fixed only to the functional aspects of things and can't be changed. In this study, the educational aspect of creativity improvement was demonstrated as a case of overcoming the functional fixedness through 'Objet Animation' culture and art education. Ultimately, this study is to prove the aesthetic emotion and creativity of the Objet animation by analyzing Objet types. Furthermore, it is meaningful to suggest direction when using 'Objet Animation' in culture and arts education.

• Proceedings of the Korea Contents Association Conference
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• 2017.05a
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• pp.61-62
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• 2017

둔황 벽화는 4세기부터 14세기에 거쳐 제작된 중국전통 회화 예술의 한 종류이다. 본 논문은 둔황 벽화의 예술성이 애니메이션에서 어떻게 연출되며 중국의 전통 문화와 어떠한 관련성이 있는지 살펴보고자 한다. 이를 위한 연구 전개는 첫째, 둔황 벽화와 중국 애니메이션에 대한 이론적 고찰, 둘째, 둔황벽화를 소재로 한 애니메이션 <하충국, 2013>을 대상으로 사례 분석하여 둔황 벽화의 예술적 특성이 전통 애니메이션을 통해 어떻게 표현되었는지 분석하고자 한다. 이를 통해, 고대의 예술성과 문화가 애니메이션 형식으로 제작되며, 중국의 문화역사에 대한 효과적인 교육적 기능을 하게 됨을 알 수 있다.