• Title/Summary/Keyword: 엘사

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A Study on the Changes of Gender Identity Found in the Character of Elsa on Frozen -Focus on Queer Theory- (겨울왕국의 엘사 캐릭터에 나타난 젠더 정체성의 변화 -퀴어이론을 중심으로-)

  • Lee, Jun-Soo
    • Cartoon and Animation Studies
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    • s.38
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    • pp.1-28
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    • 2015
  • The work appeared a featured female character in the Disney animation film begins with 'Snow White' released in 1937. After then, the 11 female characters appeared included 'Tangled' in 2010. Female characters reveal their identity due to obedient, family-oriented and marriage with prince and then gradually develop to heroine who leads to man, and is independent, pioneering, and sometimes saves the nation. Nevertheless, the ending of the Disney animation was still not escape the institutional, traditional discourse. Female characters are followed to meet the featured actor kissing and marriage, or was to show the virtues of sacrifice for the actor. However, Elsa in 'Frozen' is the character with an independent identity compared with the patriarchy, male chauvinism and heterosexual dichotomous discourse given so far in Disney. In this study, it is to explain the change of gender identity in the character of Elsa through Queer theory that deconstructs the distinction between sex and gender, and is constituted by the actions typed and performed the gender concept, and is dismantling the dichotomy itself such as male/female, heterosexual/homosexual. The performative of Queer make the boundaries between lesbian-gay, sexuality and heterosexual ambiguous. It can be said that the performative has political nature resisted to the dominant discourse through these parodiable strategy. The performative showed of Elsa is in the boundaries between the sisterhood and the heterosexual. When analyzed in a heterosexual perspective Elsa's identity is to be understood as simply just love the intimacy of a sister and a sister. On the other hand, if you focused on the relationship between women and the relationship between Elsa and Anna is recognized as the point of view of homosexuality. Because if you look at the concept of lesbian continuum, the homosexual love in the female characters of Disney seems like a bond between women, easier than heterosexual love can be hidden sexual desires. Elsa has developed into a performative identity through the expression of performative and the inhibitory of queer identity. And then the her sorcery that was initially contraindicated and the presence of a fear became to the 'lesbian phallus'. The sorcery that can be seen the signifying phallus against to the privileges of heterosexual patriarchy is recognized in the world of Arendal. Elsa is a new women featuring Disney characters. as this character is analysised by Queer theory, this study seeks to expand the area of the various character analysis methods.

A Study on the Structure of an Animation and the Generation of Signification (애니메이션 <겨울왕국>의 구조와 의미생성 연구)

  • Sung, Re-A;Kim, Hye-Sung
    • 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.

"Elsa, Why are you in Fear and Anger?": The Power of Magic and Control of Emotion in Frozen ("엘사여, 뭐가 그리 두렵고 분한가?": 『겨울왕국』에서의 마술의 힘과 감정의 통제)

  • Park, Eun Jung
    • Journal of Digital Contents Society
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    • v.17 no.6
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    • pp.613-621
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    • 2016
  • This paper has the first aim to analyze Elsa's magic power of why and how she, as a heroine in the animation of Frozen, is in the emotion of fear and anger. This paper will explain why these two emotions are twisted compound to identify Elsa's iced emotion in the ice kingdom. And secondly, this paper attempts to connect Elsa's fear emotion in her real life is the other flip with that of anger throughout the characters' network in Frozen, which symbolically reflect the feminine pattern of real society that Walt Disney prospects for the dream society. Through the cognitive process for Elsa's ice kingdom between emotion status and social network, we can assume the pattern of social network with emotional chart and the archetype of human emotion through the cognitive-emotional storytelling on the emotion of Elsa in Frozen.

Psychological Dynamics of Fears and Crooked Desires inherent in Characters of (<겨울왕국> 캐릭터에 나타난 두려움과 왜곡된 욕망의 정신역동)

  • Yang, Se-Hyeok
    • Cartoon and Animation Studies
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    • s.37
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    • pp.159-195
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    • 2014
  • An animation film, , is a work that declared a perfect revival of Disney. It is considered that the success was the result of its impressive theme song and characters working influentially. The main characters let audience experience empathy as well as catharsis by building the image of women making their own future without relying on men, and among the characters, Elsa is still popular even if one year has passed since its premiere in Korea. In the narrative genre, the character's degree of completion is regarded to be so important that it can even determine the work's success or failure. Accordingly, to analyze the personality structure among the major components of character rising, this study focuses on the psychodynamics of fear and desire which determines the directions of thought or behavior. Fear is the emotion attributed not to a real threat but to an ominous assumption about the future. Because fear that is originated from the memory of any deficit or suppression distorts our sound needs, escaping from fear means facing the reality. To verify the unique psychodynamics of the characters, the researcher analyzed the hierarchy of their attitudes, psychological dispositions, and psychic functions by using 'MBTI Personality Typology'. According to the results, (1) Elsa and Anna are in a conflicting relationship in terms of psychic functions. Although they are the combination that shows the highest possibility of conflict, the two sisters overcome it basically grounded on fellowship and family love. (2) Although Hans and Kristoff, too, are against each other in terms of psychic functions, the two male characters do not interact with each other in the work. (3) Hans is a person equipped with psychic functions that can complement both Elsa and Anna the most effectively, but he abuses it and turns into the most fatal opponent to them. (4) Olaf is a type of person combining Anna's attitudes with Elsa's psychological dispositions. And according to the results of analyzing the frequency of expressing fear and desire, (1) Elsa employs overwhelming fear and Anna and others characters use desire as the major drive of their behavior. (2) Fear is the underlying deficit internalized in every character and is attributed to 'the deficit of family love', and as a result, they all share the pain of 'loneliness and isolation'. It is thought that analyzing psychodynamics will help us understand the character's growth tale, that is, the narration that they distort their desire for the first motive to avoid fear and end up being ruled by it, and also, they realize the underlying reason for the distorted desire in the process of getting rid of their own fear and reach self-healing. Lastly, regarding character rising in the animation, it is expected that the directions and analysis results of this research will be referred to as a database in creating characters and setting up relations among them.

Quantitative Kinetic Energy Estimated from Disdrometer Signal (우적 크기 탐지기 신호로 산출한 정량적 운동에너지)

  • Moraes, Macia C. da S.;Sampaio, Elsa;Tenorio, Ricardo S.;Yoon, Hong-Joo;Kwon, Byung-Hyuk
    • The Journal of the Korea institute of electronic communication sciences
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    • v.15 no.1
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    • pp.153-160
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    • 2020
  • The kinetic energy of the rain drops was predicted in a relation between the rain rate and rain quantity, derived directly from the rain drop size distribution (DSD), which had been measured by a disdrometer located in the eastern state of Alagoas-Brazil. The equation in the form of exponential form suppressed the effects of large drops at low rainfall intensity observed at the beginning and end of the rainfall. The kinetic energy of the raindrop was underestimated in almost rain intensity ranges and was considered acceptable by the performance indicators such as coefficient of determination, average absolute error, percent relative error, mean absolute error, root mean square error, Willmott's concordance index and confidence index.

A Research on Gender Discourse of Animation Character: Focused on Female Characters of Disney Animation Frozen (애니메이션 캐릭터의 젠더 담론에 관한 연구: 디즈니 애니메이션 <겨울왕국>의 여성 캐릭터를 중심으로)

  • Oh, Dong-Il;Choi, Hye-Rim
    • Journal of Digital Contents Society
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    • v.15 no.5
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    • pp.613-620
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    • 2014
  • Gender Representation of animation character that is discussed in this essay is a semantic discourse that is related to communication with contemporary audience. For gender Representation of animation character, as it can be thought that linguistic elements for signification with audience are materialized, it has a significant value when it comes to communication with audience. Commercial success of Disney's feature length animation Frozen is from excellent aesthetic principles and techniques and global marketing capabilities of Disney studio. However, independent and active gender representation of Elsa and Anna in Frozen are more important commercial successful elements. Especially, Gender representation of these two characters reflects myth of women who live in this modern society so their linguistic meaning can appear affluently. That also means that those two characters have advantages, in terms of communication, that can have effective signification with contemporary audience as linguistic sign. And those advantages are signification foundation that Frozen can be commercially successful by communicating with audience all around the world.

Analysis of the female character and modeling design features of 'Frozen 2' ('겨울왕국 2' 여성 캐릭터의 성격과 조형 디자인 특징 분석)

  • JIANG, QIANQIAN;Chung, Jean-Hun
    • Journal of Digital Convergence
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    • v.19 no.6
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    • pp.309-314
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    • 2021
  • Disney animation can be said to be part of American culture and art. With the changes in American society and culture, we can see the changes in the personality and social status of female characters in Disney animation. Especially in the Disney animation works published after 2000, many works showing equality in the social abilities and status of women and men have been published. In this study, the characteristics of female characters of the 20th century and the 21st century is compared and analyzed the characters of Elsa and Anna, who expressed the female image in a metaphorical way of 'Frozen 2'. And studied the characteristics and meanings of clothing and colorful shapes. This paper reveals the design elements needed to construct a gender-equality image of female characters, and hopes that it will become a useful research material for the animation industry and academia in the future.

Does Disney's Frozen offer a subversive feminine gender representation? Discussion based on Greimas's semiotic analysis (그레마스 기호학을 이용한 서사 분석의 문제 <겨울왕국>을 중심으로)

  • Joo, Hyoungil
    • Korean journal of communication and information
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    • v.76
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    • pp.7-30
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    • 2016
  • The purpose of this study is to review and criticize the articles that analyzed Frozen by using the semiotic method of Greimas. The study also aims to apply the semiotic method of Greimas correctly to find the deep structure of the narrative of Frozen. The results of the narrative analysis based on the actantial model and the semiotic square show that Frozen is not Elsa's heroic narrative but Anna's one. Because Elsa and Anna are the opposing elements in this narrative, the success of Anna is the failure of Elsa. Frozen does not convey the subversive message about the gender roles by representing an independent and active woman who resists the patriarchal discourse. Instead, Frozen reproduces the conformist ideology by saying that love is the most valuable thing and that everyone should accept the role given to him/her by the community.

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Kinetic Energy Rate of the Rain Drops Based on the Impact Signal Analysis (충격 신호 분석에 기반한 우적의 운동 에너지율)

  • Moraes, Macia C. da S.;Tenorio, Ricardo S.;Sampaio, Elsa;Barbosa, Humberto A.;dos Santos, Carlos A.C.;Yoon, Hong-Joo;Kwon, Byung-Hyuk
    • The Journal of the Korea institute of electronic communication sciences
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    • v.14 no.4
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    • pp.743-754
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    • 2019
  • The erosive potential of precipitation can be evaluated by the kinetic energy transferred to the soil by the impact of the rain drop. A kinetic energy rate of the rain drops was estimated by the disdrometer classifying impact signals. This equation in the form of power presented an adjustment measure between the rain rate and rainfall quantity of 97% and 95% for continental and maritime rains, respectively. The exponent of the power equation, initially, shows no dependence on the type of rainfall. However, the multiplicative factor presented variation, which can be adjusted according to rainfall events. This equation was validated by the coefficient of determination, the average absolute error and the confidence error. The kinetic energy of precipitation, associated to certain types of soil, will allow the determination of the potential of the erosion caused by the rains.

The Sisterhood Shown in an Animation in the Feminist Perspective (페미니즘 관점으로 본 애니메이션 <겨울왕국>의 자매애)

  • Choi, Hyekyung
    • Cartoon and Animation Studies
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    • s.44
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    • pp.57-84
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    • 2016
  • The image of woman shown in an animation was pretty extraordinary as Disney has kept the conservative tendency so far. The two princesses in were described as independent women getting out of the traditional gender role and dependence on men. For this reason, there is a tendency that interprets as a feminist work. Even though the character showing the image of independent woman could be an essential index to define feminist work, it is not enough to define the tendency of works. Thus, this study reviewed if it would be valid to interpret as a feminist work. First, the 'sisterhood' which is the main theme of contained the feminist concept as 'women's solidarity' on top of friendship between sisters. Therefore, when analyzed focusing on the core concept of women's solidarity like difference, empathy, and solidarity, reflected 'differences' in narration, character, and image, etc. When differences in sisters which became the cause for misunderstanding and conflict were acknowledge based on their true love, the process of forming empathy and solidarity was described. The solidarity between Elsa and Anna not only became the power to defeat the enemy, but also reflected the feminist value of forming the community of coexistence like Adelen which was rebuilt after getting back the spring. Thus, it was verified that is a feminist work.