• Cartoon and Animation Studies
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• s.49
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• pp.169-202
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• 2017

In this thesis, we investigate the animation (2001) based on the three phases of the lyrical expression derived from Ye Weiqu's Mono no aware Aesthetic-a Japanese classical aesthetics' perspective, on the aspects of the perceptions of human, world, and nature. By analyzing each component of three phases of Mono no aware Aesthetic, the thesis illustrated that how (2001) utilized and expressed Japanese classical aesthetic and how Japanese classical aesthetics were widely utilized into modern Japanese animations. Moreover, the thesis also stated that Mono no aware Aesthetic has become a creative element in order to answer a development direction with future Japanese animations. Through integrating Japanese unique classical aesthetics into the animation elements, Satoshi Kon, the director of the animation, well carried and expressed the cultural content of Japanese nation, thus promoting a deep understanding of characteristics for Japanese animation which have a wide appeal. In his masterpiece -, the characters building, plot describing, theme expressing, cultural meaning could be analyzed respectively by means of Ye Weiqu's 3 phases of Mono no aware aesthetic, reflecting how inherited the legacy of Japanese classical aesthetics. Furthermore, based on the analysis method, the animation contributed tremendously to Japanese classical aesthetics and Mono no aware aesthetics. Tradition for classical aesthetics could play a role as a creative tool for contemporary and future animation.

• Cartoon and Animation Studies
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• s.29
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• pp.37-60
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• 2012

This essay is discusses the phase on expression as experimental animation for the tendency of the animation which appeared newly 1960s in Japan by "3 members in animation". In general, experimental animation is contrary to traditional animation. "3 members in animation" tried to present the concept of animation newly with the various trials which overthrow the form of the conventional animated cartoon. Those days, the feature animation of Toei was the mainstream of the cartoon film. When comparing with Yoji Kuri's works, the movement and theme on expression are different. It can be said that the difference is an alternative method to the mainstream. Other members Ryohei Yanagihara and Hiroshi Manabe connected design and illustration with animation. The independent creators participated in the animation festival which "3 members in animation" held. They tried to create animation interchanging with other genres. It can be said that the intermediality seen in their work is trial which sets variegated the object of animation and it expands the possibility of the new animation. Their approach overthrew the traditional tendency and was able to call it experimental animation. Japanese experimental animation in 1960s is the historical starting point of recent independent animation which searched for art in which an original expression has been formed in Japan.

• Cartoon and Animation Studies
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• s.8
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• pp.295-297
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• 2004

• Digital Contents
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• no.12 s.139
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• pp.82-85
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• 2004

한,일 합작 애니메이션‘신암행어사’가 11월 26일 한국과 일본에서 동시에 개봉됐다. 윤인완,양경일의 원작 만화로 일본에서 150만부, 한국에서 50만부쯤 판매되는 등 이미 대중성을 검증받은‘신암행어사’가 애니메이션으로 제작된 것. 한,일 애니메이션 전문가들이 판타지,액션,드라마가 결합된 대서사극으로 재구성해 스크린으로 부활시킨‘신암행어사’를 들여다본다.

• Digital Contents
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• no.2 s.129
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• pp.92-95
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• 2004

애니메이션 편성시간대를 6시대에서 4시30분대로 옮기려는 KBS의 시도가 업계의 거센 반발에 직면해 일단 무산되기는 했지만, 애니메이션 방영시간의 안정적인 확보를 위해서는 현행 방송법을 개정해야 한다는 목소리가 높아지고 있다. 이를 위해 애니메이션 제작자협회 · 애니메이션예술인협회 · 만화애니메이션학회 · 출판만화협회 · 우리만화연대 · 만화가협회 등 6개 관련 단체와 만화가 등 애니메이션 업계는‘방송용 애니메이션 발전전략 촉구 및 개정을 위한 범 만화 · 애니메이션계 공동대책위원회’를 발족, 애니메이션 발전을 위한 대책 강구에 나서고 있다. 공대위는 지난해 11월 초에는 방송 애니메이션 총량제를 강화한 방송법 개정안의 연내 통과와 방송사의 애니메이션 편성 정책 시정을 촉구하는 집회도 열며 총력전을 벌이고 있다. 하지만 지난해내 입법화를 기대했던 애니총량제는 방송법 개정 지연으로 불투명해진데다 최근 들어 중국 · 일본 정부가 강도 높은 애니메이션 육성책을 추진하고 있을 뿐 아니라 제4차 일본 문화개방도 이어지고 있어 국내 애니 업계의 위기감은 더욱 거세지고 있다. 신성장산업인 애니메이션 산업 활성화를 위해서는 애니총량제 등의 법 · 제도적 장치가 마련돼지 않으면 국내 애니메이션 산업은 더욱 깊은 수렁으로 빠질 것이라 게 업계의 공통된 시각이다.

• Cartoon and Animation Studies
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• s.3
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• pp.56-83
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• 1999

• Cartoon and Animation Studies
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• s.21
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• pp.19-32
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• 2010

In this essay, Japanese independent animator Koji Yamamura's works were analyzed. As understood from etymology of 'anima', animation is the expression media in which creation of moving image is assumed to be essence. In the independent animation, possibility of animation to the essence shows by the most original and experimental method. And it contributes to diversification of the animation style. Yamamura keeps producing animation independently from the 1980's, and he designed and tried technique and theme of new ideas. Here, on Yamamura's early and after works, his animation method considered by analisis of experimental attempt in technique and theme. In the case of Yamamura, he variously experimented technique on his early works and it was made foundation. And, after , Yamamura searched by the method to harmonize form of animation with content treating drawing animation technique with allegorical theme. Especially, independent animation in Japan has developed growing spontaneously. Therefore the individual aesthetics of Japanese independent animators can be discovered indeed variously intheir creation activity and work. So the importance of independent animation is recognized by concretely analyzing the case of Japanese independent animator. In addition, the way used on the side of possibility of animation expression tries to be considered individual case.

• Cartoon and Animation Studies
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• s.36
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• pp.281-302
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• 2014

Human beings have advanced to release instinctive desire. Among the human desires, sexual desire is classed as a basic desire with appetite and has been expressed in many ways from prehistoric times to present. Despite the social and ethical restriction, expression of sexual image has been evolved with change of time and medium's development. Thanks to inventing the photograph technique, Change of pornographic image has showed a dramatic aspect since early 20th century. The video which delivers message more directly than the picture boosted this change, and the animation has experimented the expression methods and techniques numerously exceeding the limit of realistic image which reappeared by the device. In this thesis, I want to discuss how human beings express sexual desire in animation based on society's sex culture, and analyzed Japanese pornographic animation as its obvious cases. Japanese pornographic animation should be interpreted as the result of culture and society system's history. Through Heian, Edo and early Meiji period, Japanese sex culture has been kept very openly and preposterously. Transformation, metamorphosis, pedophilia, tentacle sex and exposure of specific body parts that are frequently appear in Japanese animation can be interpreted by ancient Japanese open sex culture like Wakashu, polygamy, sleeping in mixed sex group and pederasty. These Japanese odd sex culture is hard to find elsewhere and settled as intrinsic sexual expression in Japanese animation. This situation was institutionally severed by European Modernization's force at the end of World War II in 20th century. However, it seems they have been keeping their influence in a proper form until now. In this study, I discussed that pornographic animation should be interpreted in a frame of cultural phenomenon by researching the series of procedure that ancient Japanese open sex culture has been changed by the system. Sexuality which is found in general Japanese animation was started from their history, and the dichotomous expression about women can be understood that it is bent by institutionally regulated sexual opinion. Japanese history and culture can be understood that it is transformed to the dichotomy that are simultaneously according freedom of eroticism to the pornographic animation, and the fear and irresistible temptation about the woman's body as the other.

• Proceedings of the Korea Contents Association Conference
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• 2013.05a
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• pp.163-164
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• 2013

일반적으로 애니메이션 안에 표현된 음식은 문화의 정서를 상징적으로 나타낸다. 음식에 대한 상징적 해석에 대해서는 문화기호학적 측면에서도 다양한 연구가 이루어지고 있는데, 본 연구에서는 미국과 일본의 극장판 애니메이션 속에 등장하는 음식장면을 중심으로 하여 미국과 일본 애니메이션에 표현된 문화의 상징적 속성을 밝히고자 한다.

• Cartoon and Animation Studies
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• s.3
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• pp.28-55
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• 1999