• Cartoon and Animation Studies
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• s.16
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• pp.49-65
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• 2009

I try to extract typological factors from the historically relevant works of animation, for that we can refer 'style.' creator's individuality, general tendencies and restraints of his time, the national properties work on them. It is the individual aspect that excels in the works of Jiri Trnka, Tim Burton, Yuri Norstein, so they stand out not only in their own specific sensibility, vision but also in the elucidation of themes and the technology of dealing medium. On the other hand the Walt Disney's animation has so distinctive characteristics that we could identify them. Disney's so-called classical model accomplished a typically American animation form as full of expressive visual language, over reaction, full animation describing detail action. We could tell, Miyajaki Hayao's Gibri Studio represents Japanese animation, which works on traditional motives of Japan and expresses unique humanity.

• Cartoon and Animation Studies
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• s.44
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• pp.1-31
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• 2016

In this thesis, the movie with mise-en-scene established was compared with the peculiarity of the play that is the etymological source of the term to identify the peculiarity of mise-en-scene which was substituted into animation to find the peculiarity of mise-en-scene in animation. To emphasize the direct connection between the frame's visual peculiarity and the director's opinions, the mise-en-scene of director centered animation created under a restricted environment was reviewed. Mise-en-scene which started from movie critics theory does not simply mean the arrangement of images in a frame. Mise-en-scene emphasizes the exposure of the work's motive by the visual components. The animation's assuming the middle point of environmental share possessed by play and movie when schematizing the genre peculiarity of animation, play and movie was a noteworthy result. It can be said that the cause is that the animation's peculiarity yield different results depending on the making methods; we verified that this is a key factor in the analysis of animation's mise-en-scene. I emphasized that the peculiarity of animation mise-en-scene is in its making method and material and suggested identifying the work's making methods and analyzing the work's aesthetic results derived in this way. The russian animation which was perceived as peripheral arts was relatively free from the burden of censorship while receiving support from the Soviet as a media for propaganda. The russian animation's mise-en-scene which found the material for its works in the country's folklore was metaphorical, focused on new expression forms and achieved experimental elements. Russian animation pursues a unique aesthetic world through space expression based on the forms of opera or ballet and heavy motions formed static inbetweens.