• Cartoon and Animation Studies
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• s.34
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• pp.23-43
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• 2014

The development of the Internet in the 21st century had made a variety of cross-cultural environment so that animations also have evolved with new features to Web-Animation. In Korea, the web-based flash animation leap forward to the animation Utopia in the early 2000's, but did not last long. The web-based animations should attract audience's attention not only with it's minimum streaming capacity but also with showing it's best qualities as well, Therefore, the stimulating narrative strategies were mandatories for web-animation in 2000's. The absence of in-depth research on media, poor revenue structure, and the emergence of mobile games and e-learning industries made the web-animation become just a one-time/one-consumable content. There were no subsequent generation of korean web-animation ever since. In this study, I want to introduce and analyze the american web animation series, (2005) as a new type of web-animation in current digital culture, In particular, I want to discuss how this web animation appeal to the audience with its narrative strategies through using some aspect of the internet culture which's differentiated from traditional media based cultures. This research could suggest diverse narrative strategies for the future web-animation with new vision. Moreover, This also allows to look at latest web-animation trends and its new experiments.

• The Journal of the Korea Contents Association
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• v.22 no.4
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• pp.727-741
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• 2022

This article focused on contemporary American animation since the 1990s and later detailed clues to the theory that contemporary pop art style influenced contemporary American animation art creation expression and contemporary American animation. Knowing why American animation swept the world summarizes the art creation characteristics of modern American animation. After a combination of theoretical and actual animation works, the main manifestations of the postmodern pop art style in contemporary American animation: exaggerated and superficial shapes highlight character characteristics; rebellious colors reconstruct emotional perception; creation impacts the mass media-dependence; bizarre collage and repetition, embodying the postmodern pop spirit of jokes and spoofs, Etc. Through this, it is expected that the current analysis of American animation will provide new innovative ideas for domestic animation design and increase the competitiveness of domestic animation in international video animation.

• Cartoon and Animation Studies
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• s.30
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• pp.59-86
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• 2013

'Spectacles' and 'factuality' provided by computer technology are strengths of CG animation to still lure the audience and after commercial success of a number of theatrical CG animations whose typical producing companies are PIXAR and DreamWorks, were produced to be commercially successful and they win massive popularity even now. In Korea as well, several works tried to achieve a box office success including , , etc. but the result was truly miserable. In the past, this failure was often attributed to a lack of 'technical expertise', but it became clear that in the process of continuous trial and error, 'narrative' and 'images of imagination' which are bases and characteristics of animation are key elements of commercial success. Actually, statistics indicate that narrative is what is considered to be the most important by the audience when they select animation and its importance is so absolute that they say the most significant thing in animation is 'story.' In particular, it can be said that 'characters', 'situations', and 'ideas' play a key role in them which become elements of the story. This paper studied with what characteristics each animation aroused pleasure and fun focused on characters, situations and images in relation to , , and which are American theatrical CG animation films which succeeded in gaining popularity home and abroad. We hope that analysis in this paper will be helpful even just a little bit as a reference material, which allows domestic writers and producers to develop familiar and characteristic works based on imagination and creativity expressing each work's unique personality and characteristics.

• Proceedings of the Korea Contents Association Conference
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• 2003.11a
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• pp.460-467
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• 2003

According to Korea Socity of Cartoon&Animation studies research material, consumer's preference degree about animation genre answered that investigation target's 50% is doing basis in interest. Animation has various factor of interest induction, but we can count as person's action scene among them. Laying stress on Japan animation 'Offended ghost princess' and 'New century Ebangerion', this research Analyze identifying special feature and difference of transfer form of person(object) that show in cut away of action scene, and Recognized whether diagnostic expressions by the result influence as dynamic element to actuality consumers.

• Journal of Communication Design
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• v.66
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• pp.190-200
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• 2019

Through the golden age of the 1950s and 80s, Chinese animation formed a national style that inherited the traditional culture of China and adhered to various production methods, innovative styles and ethnic spirit. Today, however, Chinese animation is facing various challenges as it competes with animations from around the world. In this situation, Chinese animation is at a time when it is necessary to consider how to establish the identity of Chinese culture and how to combine China's unique ethnicity with modern personality. This study aims to analyze the symbolism and aesthetic characteristics of Chinese traditional color tubes in Chinese animated works, to analyze how symbolism and aesthetic features were used, Through this study, we will examine whether traditional Chinese colors can act as creative factors in presenting the future direction and value of modern Chinese animation today.

• The Journal of the Korea Contents Association
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• v.19 no.8
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• pp.35-43
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• 2019

There has been not the research on the reason of success based on the characteristic of narrative and characters of , I defined the major characteristic of this genre as family animation, and aimed at researching strategic character and narrative. The characteristics of each characters are identified, and compared with other animation, soap opera, and sitcom. The portion that characters participated in the narrative was analyzed, and the relationship between the point and viewers was also researched in the specific episodes. 1) The characters against the ideal ones function to satirize the fixed idea pursued by the mass, and stimulate the viewers' desire. 2) All the characters are protagonist and sometimes antagonist, or advisor. The circulating position expands the target of viewers, and decreases the cultural discount. 3) It produces a couple of layered narrative, then children, teenagers, and adults enjoy the each different depth of the narrative, resulted in the target expansion. Considering on the limit of theme and target in Korean animation, I expect the findings above will enable to produce more valuable and consistent contents. Later, characters in the Korean family animation is to be researched and the expandability and sustainability would be ensured.

• Journal of Communication Design
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• v.65
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• pp.70-81
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• 2018

From 1949 to 1966, after the new China was established, in order to consolidate newborn regime and erect national image, "proletariat revolutionary education" had become the main way of literary and artistic creation in the new era. In this era, Chinese animation began to produce to form the characteristics of emphasizing the ideological expression and political education from 1949 to1966, but it also made people misunderstand that it was the results of comprehensive containment of Soviet literary thoughts and creative models. In fact, Regardless of the subject matter, narrative, and role, Chinese animations have inherited and developed the ideological characteristics of the "Mun-yi-jae-do" literary view, forming a creative style that is different from the Soviet "dogmatism." The characteristics of "revolutionary hero role", "mythological expression of revolutionary thought" and "unique storytelling narrative mode" in Chinese animation from 1949 to 1966 were the inheritance and development of the "hero role", "mythological story", and "art of storytelling" of the important expression means of traditional art creation after the establishment of the "Mun-yi-jae-do".

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.445-450
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• 2023

This study analyzed the factors that viewers consider when watching anime on Over The Top(OTT) service platforms and the characteristics of each type of preference, which are the components of anime preference. To this end, the survey data of 240 animation major students were used for analysis, and the conclusions drawn through frequency analysis and cross-tabulation of IBM SPSS Statistics 27 are as follows. Netflix is the OTT service platform that viewers use the most, and TV series are the most preferred for animation works. In addition, it was found that Netflix OTT original animation works were preferred over other platforms, and long-form animation preferred Disney+. Among the characteristics of each type of animation preference, it was found that the factors considered when watching animation in terms of narrative value, aesthetic value, and entertainment value respectively value the structure, screen production, and immersion of the storyline. It is hoped that this study will be used as useful data for producing animation contents with the OTT service platform.

• Proceedings of the Korean Information Science Society Conference
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• 2005.11a
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• pp.760-762
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• 2005

캐릭터 애니메이션에 모션 캡쳐를 도입하면서 사실적인 애니메이션의 제작에 않은 도움을 받을 수 있었지만, 필요한 동작 마다 계속해서 고가의 장비를 이용하여 데이터를 수집해야하기 때문에 모션 캡쳐를 이용한 애니메이션 제작에는 많은 비용이 든다. 본 논문에서는 이미 수집된 모션 캡쳐 데이터의 재사용 방안중 하나로 두 개의 캐릭터 애니메이션 시퀀스에서 개개의 특징을 유지하는 또 다른 애니메이션 시퀀스를 만들어내는 방법을 제안한다. 주성분분석(PCA)를 이용하여 두 모션의 평균 모션과 각각을 적절한 비율로 반영하여 선택, 합성하는 간단하면서도 직관적인 방법이다.

• Proceedings of the Korea Contents Association Conference
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• 2015.05a
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• pp.311-312
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• 2015

시대에 따라 스크린에 훌륭한 애니메이션 작품들이 존재해왔다. 이를 통해 수많은 훌륭한 애니메이션 캐릭터들도 함께 탄생하였다. 이러한 캐릭터의 이미지 특징들은 성격의 명암이 뚜렷하고, 시간이 흘러도 늙거나 변치 않는다는 요소들을 가지고 있다. 스토리는 캐릭터를 완성한다. 그러나 다른 한편으로는 캐릭터가 스토리의 완성도를 높이게 됨을 부인할 수 없다. 애니메이션 캐릭터가 가지는 성격의 중요성은 아무도 부정할 수 없다. 애니메이션에서 어떻게 뚜렷한 성격과 개성을 가진 캐릭터를 묘사를 해왔는지 본 논문은 시대에 따른 캐릭터 묘사의 요소를 분석하여, 캐릭터의 성격과 개성의 묘사방법을 찾아 보고자 한다.