• Review of Korea Contents Association
• /
• v.6 no.1
• /
• pp.23-25
• /
• 2008

• Cartoon and Animation Studies
• /
• s.18
• /
• pp.17-35
• /
• 2010

The purpose of this study is to find out the way to improve the funding system of Korean animation, which will lead the establishment of virtuous circle of Korean animation industry. The funding structure of Korean animations in the period of 2005-2009 is analyzed to find out that the funding surveyed to find out that the domestic funding source for Korean animation has reached its limitation. Without any active involvement of public fund, this will result in the shrink of Korean animation industry with heavy reliance on foreign capital and limited quality of Korean animation. This is not only a serious problem of Korean animation industry, but also the problem of Korean cultural identity and variety because it is related with the diminish and degradation of Korean children and family content. Meanwhile, in France and Canada, which are the major co-production partners of Korean animation, the animation production is being activated by the full support of government fund system, because the animation is regarded as the important genre which plays a critical public role in establishing the cultural identity and variety of such countries. Improvement of Korean animation funding system is not pursued by more injection of public fund into the industry. It should be designed to facilitate the investment from the private sector by improving the profitability of Korean animation. This goal can be achieved by public fund with annual budget of 25 billion Korean Won supporting the distribution and production of Korean animation. Discussion should be needed for securing the funding resources such as establishment of new animation fund or utilization of existing fund.

• Cartoon and Animation Studies
• /
• s.19
• /
• pp.199-224
• /
• 2010

Since the mid 1990s, Korea has recognized the importance of content industry and has carried out several support policies. Especially, the support system for the comic industry has been systematically organized, and organizations for this area have tried to extend the type of support programs and objects as well. One of the remarkable changes made by these support programs is to encourage the remaking of old comics, which mostly are published comics in 1970s and 1980s, into the new format, the webtoon. Some of revitalized old comics are open to public through several portal web sites, and people can reach them easily by free. This research is to consider support programs run by policy organizations that are managed in the regional level. This research mainly deals with the type of support programs for the remade old comics and, at the same time, considers the meanings of this support programs for the Korean comic industry.

• Journal of Digital Convergence
• /
• v.18 no.8
• /
• pp.391-399
• /
• 2020

Even though the animation industry has been growth since 2011, there is still imitation by public stereotype which insists that animation is only able to cover the young age group and is not the proper genre of art to convey a social or a philosophical agenda. However, describes the philosophical agenda of 'social class' and 'life and death' in the limited space by expressing characteristics and background of fish through its own way. Thus, it shows how animation goes beyond aforementioned limits. Straying from traditional happy-ending, it criticizes present social problems by telling despite fishes' effort they cannot escape from structural contradictions. The drawing technique in musical expresses the character's ideology and attitude to make people think about how we will behave in the face of life and death. Therefore the purpose of this paper is analyzing director Lee Dae-hee's animation and present the genre expandability of animation.

• Journal of Digital Convergence
• /
• v.14 no.7
• /
• pp.419-424
• /
• 2016

Wreck-it Ralph is the new genre of animation combining with totally different media, games. Hence, how the game, Fix it Felix, Jr. was digested in the animation to interact each other was reviewed in this article. Upon the review, Wreck-it Ralph did not refer to the images and narration structure of Fix it Felix, Jr. but to the specific motives of the game, which is referring to Intermedial individuals in making Intermedial relations. Wreck-it Ralph is the first animation to refer to the motives of the game and have the Intermedial relation with animation. In addition, it has the meanings enough to be analyzed, so we reviewed its Intermedial relation with Rajewsky's analysis frame in this article.

• Journal of Digital Convergence
• /
• v.20 no.2
• /
• pp.361-366
• /
• 2022

Recently, with the development of convergent media, the digital animation industry has developed a variety of content centered on the role of Intellectal Property. The excellent IP role image has created huge economic benefits in business. This paper selects three representative Intellectual Property animation cases from Japan, the United States and China. Analyzed of the reuse of IP animation character images and combined with the era technology and the style of culture and art, the traditional cultural IP roles are reconstituted into modern character design two aspects. Through the research of this paper, can understand the expansion possibility of IP animation according to the use of character image. It is expected that when making digital animation, can recognize the importance of intellectual property and use it as a reference for role development.

• Journal of Digital Convergence
• /
• v.10 no.2
• /
• pp.299-304
• /
• 2012

First broadcasted in 1979's and until today very popular in the Original title video content Mobil Suit GUNDAM, it has difference to existing other two-way race other robot animation. According to director Tomino Yoshiyuki animation Gundam has an elements of drama. It's explain imply all untruth reality contents. The content of Japanese animation, GUNDAM beyond its wide range of industries around the world, further developed and expanded, and further is referred to as GUNDAM culture. Academic culture in terms of the five elements that make up culture (technology, values, social relations, language, and material) around the content analysis of GUNDAM. As a result, the five cultures of each of the elements that conflict with sufficient information and are believed to be worth.

• The Journal of the Korea Contents Association
• /
• v.11 no.8
• /
• pp.170-176
• /
• 2011

When the process of planning and production of Pororo is to be analyzed, scientific and meticulous contents planning which considered even cultural discount, and collaborative business partnership which maximized the strength of each participants are found to be the main success factors. Owing to them, Pororo has resulted in continuous profit making through various outlets, the production of series up to 4 seasons, and successful sales in foreign markets. However, OSMU strategy as the key business strategy was not intended from the stage of planning, but was resulted as the business process after good contents were created. In order to have more successful cases like Pororo, and to build a good animation industry ecosystem, efforts by the industry and effective supporting system by the governments should be met.

• Journal of Digital Convergence
• /
• v.15 no.1
• /
• pp.435-441
• /
• 2017

In this study, through the Wuwei-ziran of Alighieri Dante's La Divina Commedia & Humanism and Chuang-tzu, revealed in the full-length animation '9' reflecting the loss of humanity and the recovery and the artististic consciousness of producing animation with a new world view, It is an animation case analysis that restores humanity and awakens the inside of human being. Wuwei-ziran of Chuang-tzu is a way of life which helps humans to flow through relation and coordination. Wuwei-ziran is a way of life of dharma where all things are harmonized by the subjective self It is the beginning.

• Journal of Digital Contents Society
• /
• v.7 no.3
• /
• pp.211-217
• /
• 2006

The digital contents industry has now become the most important industry in the 21st century. Among the various digital contents industries, the animation industry has emerged as a higher value-added culture contents business with a strong possibility of growth from the field of image and character to the copyright area. Yet, the overall market structure has not been consolidated except for a few successful projects because of the sharp decline in domestic animation and the upward trend in global animation business. Due to reduced investment in producing TV animations, OSMU is an essential alternative for the animation industry. In this research, we aim to analyze the development of the domestic animation industries by studying the actual condition of OSMU for broadcasting contents.