• Title/Summary/Keyword: 지브리

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A Study about reason why did Studio Ghibli have to change their animation producing process. (스튜디오 지브리 애니메이션 제작방식 변경 이유에 대한 고찰)

  • Cho, Hyung-ik
    • Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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    • 2014.10a
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    • pp.125-127
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    • 2014
  • Major Japan animation production house, Studio Ghibli has produced many masterwork animations and achieved commercial and artistic success. Therefore they has surpassed regional Japan, became the world major animation company and acquired grate fame. But Hayao Miyazaki who is the leader of the Studio Ghibli has failed making a his heir. To make matter worse his retirement is approaching, rumors that break up the studio Ghibli has been spread in recent time. Finally, In a general meeting of stockholders of studio Ghibli, June 2014, they announced that split up the animationmaking team. That means studio Ghibli changed their animation producing process, not disband a studio Ghibli. This paper will analyze reasons why did they have to change their animation producing process.

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Visual Narrative as a Color Storytelling in DISNEY and GHIBLI Studios (디즈니와 지브리 애니메이션 비주얼 서사구조에 관한 비교 연구)

  • Brito, Yahaira Moreno;Cho, Dong-Min
    • Cartoon and Animation Studies
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    • s.49
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    • pp.221-246
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    • 2017
  • Visual narrative or storytelling involve two important aspects of the cognitive perception: the conscious and subconscious. Color is one of the cognitive storytelling elements, its interpretation is captured by the subconscious and it is considered an emotional resource due to its psychological background. On the other hand, the character is also part of cognitive perception and storytelling tool, but this is interpreted consciously, character is considered as a logical resource. Ghibli and Disney have organized their cinematographic techniques in different ways, so it would be unfair to say that one narrative style is better than the other, it depends of perception of beauty which varies according to society. However the present study seeks to determine the differences between Ghibli and Disney narrative style, taking as reference color. Ghibli and Disney are perfect example about color effects as a storytelling agent, It can be classified in two aspects: dynamics of color and color as a narrative sequence. The dynamics of color analyzes how color acts and is perceived into a stage, its meaning and symbolism regardless of the character's actions. The narrative sequence studies how color thermologic evolves in scene's development.

A review of gender discourse in the Ghibli animation "The Tale of the Princess Kaguya" (지브리 애니메이션 <가구야 공주 이야기>에서 나타나는 젠더 담론에 대한 고찰)

  • Kim, Ye-Eun;Kim, Soong-Hyun
    • Journal of Digital Convergence
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    • v.19 no.9
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    • pp.289-297
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    • 2021
  • Animation is a media reflecting social ideas, not only conveying information but also creating a new discourse. The purpose of this paper is to examine the social issues and gender discourse reflected in the media by analyzing the gender discourse inherent in the protagonist and surrounding characters, narrative characteristics, and background of the Ghibli animation "The Tale of the Princess Kaguya". As a research method for this purpose, figure out social problems related to gender performance, and analyze prior researches to derive a connection with the gender discourse in the animation. Grandfather is symbolic of a father who forces his daughter to follow his chosen happiness, and grandmother represents a mother who can not stop her husband. Stemaru is the character not in the original, posing a question of the problem of gender performance while failing to get married due to lack of sufficient wealth and honor. Princess Kaguya had been self-reliant and active like a modern woman at the beginning of the story. However, after being suppressed by society and people around her, the stereotyped gender performance forced Kaguya, who longed for the earth, to wish to return to the moon. Such social pressure happens in modern society. Gender performance is a systemic problem to be solved with systemic change. For this reason, constant consideration such as this paper is needed.

The study about historical style of animation :Focused on the individual style and USA's style & Japan's style (애니메이션의 역사적 양식에 대한 연구:개인양식과 미국의 디즈니.일본의 지브리 양식을 중심으로)

  • Kim, Jae-Woong
    • 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.

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A Study on the Types of Love in and : Focusing on Plato's Theory of Eros (<센과 치히로의 행방불명>과 <하울의 움직이는 성>에 나타난 사랑의 유형에 대한 연구: 플라톤의 에로스론을 중심으로)

  • Kim, Min-Kyu
    • Cartoon and Animation Studies
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    • s.43
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    • pp.1-22
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    • 2016
  • So far, the Studio Ghibli's major masterpieces, and have been studied extensively from mythical and psychological perspectives due to the films' intrinsic symbolism within their characters and events. However, there have been insufficient in-depth research on the types of love the two works have. Therefore, this study will focus on how the types of love in the two animations mirror the concept of love in Plato's theory of Eros through the analysis of two films' characters. The desire for memory and recovery can be seen in , and glimpses of each phase of aim towards changes in physical appearance can be shown in . These describe the function and the purpose of Eros that Plato states in Socrates' terms in Phaedrus and Symposium. Plato ultimately defined Eros as a spirit that leads to the world of Ideas and suggested the five stages of love that are divided in accordance with the ultimate purpose and attitude of mankind towards Eros. The cognition area, changes in appearance of the characters and spatial ranks in and critically reveal such core concepts of the theory of Eros. It is noteworthy that the two works show the origin of the most universal ideology of the West. These two animation films are particularly significant in terms of that they reflect the western epistemology while covering exclusive and covert ethnic emotions.

A Study on the Expressive Characteristics of the Aesthetics of Japanese 3-Comma Animation (일본 3콤마 애니메이션 미학의 표현적 특징 연구)

  • Oh, Dong-Il
    • The Journal of the Korea Contents Association
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    • v.22 no.10
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    • pp.164-171
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    • 2022
  • The aesthetics of Japanese animation have developed in earnest since Tezuka Osamu produced TV animation . This is because provided the aesthetic foundation of '3-comma animation' and 'limited animation techniques based on 8 frames per second. In fact, Miyazaki Hayao and Takahata Isao of Ghibli studio have expanded the influence of the Japanese animation industry to the world through the production of feature animation based on 3-comma animation. Inoue Toshiyuki, who participated as an animator in many works representing the Japanese animation industry, also said that the essential feature of Japanese animation aesthetics is 3 comma animation that shows the impressive movement of the character concisely. As such, 3-comma animation technique is the main aesthetic background that has led to the industrial development of Japanese animation.

A Study on Ecology theory and Environment theory Research that is Loocked in Hayao Miyazaki work (미야자키 하야오(宮崎 駿)작품에 투영된 생태론과 환경론 연구)

  • Lee, Seung-Jae
    • Cartoon and Animation Studies
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    • s.44
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    • pp.183-209
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    • 2016
  • Hayao Miyazaki's product, , is evaluated that his work until present that product point of view and commercial point of view are highly filled at the same time. Miyazaki's showed new public entertainment possibility in genre that is animation inventing highest-grossing domestic film in Japan's history until it was taken over by another Miyazaki work. Also, it can high evaluate that not that see for interest simply beam about environment and human who writer has to spectator deep self-examination and way of problem pulling comprehension without burden through resected reflex which is not exigent delivery sympathy form. Analyzing his product, , ,, , , , this research allowed purpose to recognize that he present the alternative after arranges intent subject how and institute problem. And do to study whether his though and ideology met with viewpoints of ecologism and environment(environmentalism) in work how. There are his countenance have theme that is certain in Miyazaki director's works. If summarize had handled subject meantime, it is , , , etc. This subjects are that go first at importance order among problems which we face, it is that human desires essentially. If balance of society system that regulate various economical, moral value system and desire to our society is set, our society is that can become little more near in nature mode of life.

An Animated Study Based on Games - based on the 12 Stages of Christopher Vogler's heroic journey

  • Kim, Tak Hoon;Jeon, Cheon Hoo
    • Journal of the Korean Society for Computer Game
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    • v.31 no.4
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    • pp.175-184
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    • 2018
  • The commercial success of the game has also led to animation of the original game, especially the live version of The Street Fighter II in 1994 and a variety of videos of the game-based version, 2D Animation and 3D Animaion until now. But animations are not always successful because they are based on popular and commercially successful games. That's because when the original game was remade into an animation, the difference between the narrative structure of the original game story and the setting of the game and animation is striking. Nevertheless, a feature-length animation based on the Angry Birds game, which was released on May 19, 2016, has also been a huge commercial success, with this paper analyzing the case applied to the 12th stage of Christopher Vogler's hero's journey, Aengibird the Movie, and discussing the way in which the animation developed based on the game compared with other animations. Christopher Vogler, a Hollywood playwright, analyzed the structure of popular-loved movies based on the common narrative of the myth as the main motif of the mythologist Joseph Campbell. His narrative style is a hero's journey, using a total of 12 stages of epic narrative structure to help the protagonist find himself and achieve what he wants. Foreign heroes, adventure films as well as animations from big studios like Disney, Pixar, and Ghibli are using the story-development method of this Christopher Vogler.