• Archives of design research
• /
• v.17 no.2
• /
• pp.55-66
• /
• 2004

Full-length Animation has been producing very actively with a large of U.S.A and growing rapidly as a pare of entertainment industry since the middle of the 1990's. However, in actual fact, Korea Animation doesn't have any characteristics as compared with Japan Animation & U.S.A Animation's growth. It is owing to in financial difficulty and that there's no conversion about consciousness that Animation is only for children. This study is constructed with color information as the central figure from a gradation of information delivery and analyzed ‘Image Color’ of full-length animation which is produced by large studio in U.S.A. This study predicts about past, present and future of animation centering around a color that visual sensitivity factor which recognize enormous information very quickly among sensitivity stimulus of human being. With this study analysis a color of U.S.A animation, looking for sensitivity color factor that react to elaborate and delicate stimulus, and then expressed color from developed animation skill apply to sensitivity industry.

• Cartoon and Animation Studies
• /
• s.35
• /
• pp.89-106
• /
• 2014

According to Norman McLaren, a Canadian animator, "Animation is not art of moving pictures but art of drawn motions". As he puts it, animation performs the role of magic that turns static to dynamic. Particularly, the space of animation, which is generated through merger of several layers, creates distinctive space that is not to be found in other art genres. Also, the motion of animation, which, unlike live action in film, can be limitlessly created according to a director's subjective domain, has a more autonomous existence. In this paper, I study the space and motion in animation grounded in a director's subjective domain, based on the works by Tabaimo, the Japanese animator director and modern artist. She made an independent use of color sense and perspective that maximized a flat surface, which contributed to creating a new world that doesn't exist in reality. Motion created in such a space is more relative than universal. Therefore, Tabaimo's animation has made aggressive use of a device that gives more originality to the director's themed world, while audience can participate in the strange but new world.

• Digital Contents
• /
• no.10 s.137
• /
• pp.88-91
• /
• 2004

1995년 일본 애니메이션에 파란을 일으키며 등장한 오시이 마모루 감독의‘공각기동대’는 수많은 마니아를 낳고 전세계로 파장의 강도를높여가며 유명세를 떨친 작품으로 기억된다. 수많은 아티스트들이 공각기동대의 오프닝에서 주인공 쿠사나기가 시니컬한 웃음을 지으며 열광학 위장술로 천천히 사라지던 장면을 비롯, 많은 부분을 자신들의 영화, 애니메이션에 차용하며 오시이 마모루 감독의 철학세계에 경배를 올렸다. 그후 9년, 독특한 철학과 영상으로 센세이션을 일으켰던 그가 다시 돌아왔다. 애니메이션 공각기동대의 속편인‘이노센스’로 말이다. 기획 2년, 제작 3년 등 5년 간의 작업 끝에 만들어진 이노센스(감독 오시이 마모루, 수입 대원C&A홀딩스)는 공각기동대의 주인공 쿠사나기가 육체를 버리고 네트워크 속으로 사라진 마지막 장면으로부터 3년이 지난 후의 이야기다. 10월 8일 국내 개봉 예정인 이노센스는 한층 더 심오한 철학세계를 펼쳐보인다. 공각기동대의 후속작으로 한층 더 진일보된 비주얼과 메시지를 전달하는 이노센스의 세계에 빠져본다.

• The Journal of the Korea Contents Association
• /
• v.10 no.12
• /
• pp.173-180
• /
• 2010

Cultural contents industry is a kernel industry based on knowledge. This study is to suggest some complements by watching and analyzing cultural industry policy and status of especially animation America, England, France and Japan and that of Korea to aim at American market. I described financial resources, creation and technology, development of human resources, export method, improvement of legal system for the supplementary method of animation export strategy. This reports could be applicable as a information to plan industry policy or to develop detail program.

• Proceedings of the Korea Contents Association Conference
• /
• 2005.11a
• /
• pp.144-148
• /
• 2005

As the digital environment expended, concern about importance of narrative and its value has been increased. But detailed study regarding narrative analysis leaves much to be desired. Most studies on animation narrative structure are focused on Japanese and Disney animation of America, shot films in particular. Plus these have not been done by the comparative method but separately by product. This study aims at clarifying the peculiar narrative characteristics between Chinese and American animation through the comparative analysis about s, which are produced in the respective countries, China on behalf of High-context culture and America as the Low-context culture.

• Cartoon and Animation Studies
• /
• s.48
• /
• pp.1-22
• /
• 2017

Independent short animation was the expression method for young animation creators through creative and progressive representation. Since the birth of animation, independent short animation has become a driving force for qualitative development and diversification of animation. This has brought many works to the world that emphasize experimentation and challenges in the history of animation and in countries that have the rich animation resources such as France, Japan, and Canada, they recognize its importance and supports young creators in order to maintain the value of it. However, Korean animations are evaluated the quality of works by the popularity of the children, moreover, companies that focus on developing and selling products, including toys, rather than animation works themselves and public awareness that accepts them are formed throughout the Korean animation industry. Because of these points, Korean animation creators can not express the creative vision for the future and philosophical awareness of the problem and they are trapped in commercial animation markets. In order to re-leap and expand the Korean animation industry, which has reached the saturation level with infant animation, it is necessary to reestablish the value of independent short animations with challenging and experimental characteristics and requires the creative environment and support system for the diversity of Korean animation industries, including the achieving commercial goals through good planning, story development and technological innovation. For this purpose, this paper analyzes the current state of production, screening, distribution, and government support of independent short animation in Korea, and explores the structural problems and solutions.

• Cartoon and Animation Studies
• /
• s.14
• /
• pp.1-13
• /
• 2008

The infinite imagination and variety of material, and freedom of expression are fundamental elements of the comics. However, although the freedom of comics expression is linked with the liberty of speech and press, it's expression is constrained by a public authority and social pressure, self-regulation. This paper explains some problems and desirable freedom of expression thought researches on constraints of comics expression of Korea and Japan.

• Journal of the Korean Home Economics Association
• /
• v.49 no.3
• /
• pp.67-77
• /
• 2011

The purpose of this study was to clarify the symbolic meanings of the beautiful girls' character fashion in modern Japanese animations. This study investigated the currency and characteristics of the beautiful girls' characters from the 80's to the present. The fashion style of a beautiful girl's character was categorized into four styles: trendy style, adult style, Lolita style and fantasy style. These fashion styles were analyzed, and as a result, three symbolic meanings of the fashion style of a beautiful girl's character are discussed. Firstly, these occidentalized body styles represented idealized body images that are not traditionally Japanese. Secondly, the adult style (growth) represented coming out, i.e. the desires to develop from a child into an adult. Thirdly, the adult (transformation), Lolita and fantastic styles appealed to maniac consumers, having a "Moe" feeling.

• Cartoon and Animation Studies
• /
• s.43
• /
• pp.123-150
• /
• 2016

There has been discussed very little about animation authorship studies, especially the themes of authors and their original animation texts since 1990s. This study is to explore the academic discourse of animation authorship studies understanding the media aesthetics of animation and the scholarly approach of animation studies about authorship. This article examines 55 articles via meta analysis about animation authorship studies drawn from the 1,516 articles on the general animation studies. The results were as follows. First, the domestic animation studies on the authorship were made about animators of Japan, US, and european countries. Second, It was dominant that scholarly interest on the screen direction and visual expression of animation texts. This shows the authorship approaches were mainly about visual aspects of animations. The domestic animation authorship studies did not trace the authorship issues on author's world view and visual style revealed in the corpus of texts. Instead, they discussed authorship issues on the characteristics of individual animation text. It has been evident that animation studies were not enthusiastic about building the independent theory on animation. Therefore, animation studies have tried theorizing the animation issues borrowing the literature and film theories. This study can contribute to increase phase of animation studies by drawing the intensive discussion of animation authors and their authorship.

• The Journal of the Korea Contents Association
• /
• v.14 no.1
• /
• pp.40-47
• /
• 2014

Animation in Taiwan has been profoundly influenced by the production of labor intensity for American and Japanese in the early days of its development. This phenomenon of the labor intensity reached peak in the 1980s. Information Bureau of Taiwan began to establish a system of supportive funding for its animation industry in the 1990s. During this period, the animation industry in Taiwan gave special emphasis to the theme of the local culture and to the creative works of the animation. By the 2010s, the elements of Chinese culture were introduced in the animation production in Taiwan. Through cross-national cooperation in production with other advanced countries, the Taiwan-made animation was successfully expended to the international market. However, the animation industry in Taiwan is facing the following problematical challenges: Firstly, the Taiwan government gives special attention to the financial support of animation industry rather than training university students to become professional experts in animation production. Secondly, there is no professional higher institution established to train specialized professional animation film-makers. Thirdly, Due to the lack of the cultural inspiration and the original mind, the form of its creative animated production is primarily imitated from other advanced countries. And fourthly, despite the fact that there is a cooperation and exchange programs between Taiwan and other foreign animation industries.