• Digital Contents
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• 4호통권155호
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• pp.88-89
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• 2006

지난 1월 문화관광부는 국내 애니메이션 산업 발전을 위한 '애니메이션 산업 중장기 발전 전략'을 발표했다. 핵심은 오는 2010년까지 애니메이션 매출 1조원을 달성한다는 것, 국내 애니메이션 업계는 애니메이션 총량제 시행과 DMB등 신규 매체의 보급 등으로 인해 새로운 성장 기회를 맞이하고 있으며 그 어느 때보다 창작 애니메이션에 대한 요구가 높아지고 있는 상황이다. 이에 따라 수준 높은 애니메이션 창작을 유도하기 위한 판정지침도 이를 뒷받침할 수 있는 방향으로 개선돼야 할 필요성이 대두되고 있다.

• Digital Contents
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• 4호통권131호
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• pp.109-111
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• 2004

영화진흥위원회는 3월 10일, 11일 이틀간 중구 예장동 서울 애니메이션센터 영상관에서‘국산 기획창작 애니메이션 발전을 위한 집중 심포지엄’을 개최했다. 이번 행사는 일본 애니메이션 전면 개방 시대를 대비하고 침체된 국산 기획창작 애니메이션의 활로를 찾기 위해 기획됐다. 총 4부에 걸쳐 진행된 이번 행사는 국내에서 활동하는 영화 및 애니메이션 각 분야 전문가들의 활발한 토론을통해 국산 애니메이션이 제 2의 르네상스를 구가하는 한국영화와 함께 동반 길을 모색하는 자리가 됐다

• Digital Contents
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• 7호통권134호
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• pp.42-45
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• 2004

서태지 등이 인터뷰에서 종종‘창작의 고통을 덜기 위해 은퇴하고 싶다’란 말을 했던 것처럼 애니메이션에 있어서도 창작’이라는 요소는 그야말로 방대하고, 까다로우며, 결과를 예측하기 힘든 집단작업임이 분명하다. 소위 지난 시절 1억달러 이상 수출 효자노릇을 했던‘2D 하청제작’이란 것도 갓 출발한 3D 애니메이션과는 다소 거리가 있어 3D 제작사들에게는 처음부터 창작이라는 깃발이 무거우면서도 뭔가 한 번 도전해 볼만한 짐이 돼버린 것이다. 그러나 창작의 선언, 그리고‘3D’라는 작업도구는 무언가를 담을 그릇에 불과했다. 그릇이 번지르르하면 처음에는 시선을 끌 수 있으나 결국 사람들의 관심은 그 안을 채울 먹을거리가 아니겠는가. 자연스럽게 관심은‘새로운 컨셉, 새로운 캐릭터, 그리고 3D 안에서도 새로운 비주얼의 창작’이 됐다.

• Cartoon and Animation Studies
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• 통권43호
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• pp.47-75
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• 2016

This study has analyzed the history of the subcontract animation in Korea that began with Golden Bat of TBC Animation Division in 1966 to 1980s and shed the light on the history of subcontract animation that has been processed over 30 years in Korean animation. For this purpose, through the outlined status of subcontract animation, such as, production company, production status, scale of industry and so forth, the status of the OEM industry then has been checked and it links the solidified background of animation into subcontract production industry with the situation in time for analysis. In addition, on the basis of the foregoing, it is intended to broaden the horizon of the history of animation through the analysis on new search for facilitating the creative animation by overcoming the issues and limits generated by the subcontract animation industry. 1970s was the time that the national objective is to advance heavy-chemical industry and export-led economic growth. From the late 1970s, the animation has been spot lighted as the main-stream export industry through the overseas subcontract orders for animation. Expansion of the subcontract animation production has been influenced from the national policies on public culture, dispersion of color TV, facilitation of video production market and other media changes of the time that led the decline of animation audiences in theaters, and another cause would be in lack of platform of broadcasting companies that avoided the independent animation production for its economic theory. The subcontract animation industry may have the positive evaluation in the aspect of expanding the animation environment, such as, structuring of animation infra, development of new human resources and etc. However, the technology-incentive 'production'-oriented advancement has created distorted structure in advancing the professional human resources due to the absence of 'pre-production' of planning and others as well as the insufficient perception on 'post production (post work)', and it was unable to formulate domestic market by re-investing the capital accumulated for OEM industry into the production of creative animation and it has been assessed as negative aspect. Animation is a cultural and spiritual product of a country. Therefore, the systematic support policy for the facilitation of the creative animation, such as, development of professional human resources, creation of outstanding work, formation of market to make the pre-circulation structure and so forth has to be sought. However, animation is an industry, but there is no perception that it is a cultural industry based on the creativeness, not hardware-oriented manufacturing business. Such a lack of recognition, there was no policies to make the market and facilitate the creative animation by the animation of Korea for this period through the long-term plan and investment for independent work production. Such an attempt is newly begun through diverse searches for protection and advancement of creative animation in Korea after 1990s.

• Cartoon and Animation Studies
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• 통권23호
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• pp.67-79
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• 2011

As an increasing amount of Korean animation is being produced for Hollywood films, and/or winning prizes at international animation festivals, Korean animation is proving its growth potential and competitive power. In order for such domestic cartoons and animation to stably develop and maintain firm competitive power in international markets, cartoonists and animators need programs to support their creations, and locations where they can create their works. They also keenly demand the development of various programs and support policies that fit Korea's situation. In addition, if independently produced cartoons and animations have stable locations where they can be shown and commercialized, they can receive public benefits, beyond short-term commercial effects. Based on these views, this study sheds light on the concept, formation, and vitalization of a creation space and resident program, through the intentions of a studio where young and would-be artists create their works. In addition, this study has a significant meaning in that it offers a more effective and positive policy direction, as well as more opportunities to re-educate artists. As a result, it is expected that this study will contribute toward recovering the identity of cartoons and animation, which have been recognized as commercial genres, and to firm up their competitive power in international markets. It also demonstrates that these creation spaces, beyond the simple logic in which a creation space only motivates an artist's desire to create, will help in developing Korean cartoons and animation through cultural and personal exchanges with artists of foreign countries, and through an understanding of other cultures, offer communication programs to connect Seoul and other local communities, and establish the cultural identity of local communities where such creation facilities are located. In this way, the public can more easily understand and access cartoons and animation in their daily lives through these creation spaces.

• Digital Contents
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• 5호통권156호
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• pp.98-101
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• 2006

우리나라는 지금 애니메이션에 대한 인식과 가치를 새롭게 하며 변화를 위한 적극적인 노력이 진행되고 있다. 외적으로는 문화산업으로서의 애니메이션을 활성화하기 위한 정부와 지자체의 정책변화와 지원확대. 그리고 미래자원육성을 위한 활발한 학교교육의 전개를 들 수 있다. 내적으로는 새로운 매체의 환경에 따른 다양한 애니메이션 제작과 구조의 변화가 일어나고 있다. 특히 중요한 것은 문화산업의 샘물이 될 수 있는 창작의 중요성을 인식하는 분위기가 생겨나고 있다는 것이다.

• Cartoon and Animation Studies
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• 통권13호
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• pp.45-65
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• 2008

The animation industries of Korea and China shares the effort for transition from work-for-hire Industry Into creative industry. In spite of similar industry background and characteristics, and the aggressive government policy to support this industry transition at the same point of time, the current status of animation industries in Korea and China are showing very different statistics as of the end of 2007. The production amount of Chinese original animation has grown rapidly since 2004, which has made China the top class country in the world in original animation production amount, and more than 600 million audience of Chinese TV animation has firmly established the Chinese domestic animation market basis. On the other hand, despite the Korean government support, original animation production of Korea has been showing a slow and sluggish growth, and Korean animations are losing the domestic market basis with only 1% TV ratings due to unfavourable Korean TV stations' programming practices against Korean animations. This different status of animation Industries of two countries are the result of different government policies and the fallacy of Korean government. While the Chinese government has focused its industry policy on the facilitating the domestic market by establishing the stable broadcasting TV distribution and encouraging the animation production through organic cooperation between related government agencies, Korean government spent lots of effort into facilitating the development of original animation projects, without cooperative structure In the government, and without sincere consideration on the importance of establishment of domestic market consumer basis.

• Journal of Digital Contents Society
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• 제18권8호
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• pp.1495-1500
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• 2017

The animation "Gloom" based on the low poly art expresses the intention of the production by expressing an music as an animation. The paper describe the production process including the modeling, rigging, animation, and rendering. Furthermore, the production process for pure creative animation with client's intention was also considered. Therefore, it can provide guidelines for pure creators who do similar creative work.

• The Journal of the Korea Contents Association
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• 제22권4호
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• pp.727-741
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• 2022

This article focused on contemporary American animation since the 1990s and later detailed clues to the theory that contemporary pop art style influenced contemporary American animation art creation expression and contemporary American animation. Knowing why American animation swept the world summarizes the art creation characteristics of modern American animation. After a combination of theoretical and actual animation works, the main manifestations of the postmodern pop art style in contemporary American animation: exaggerated and superficial shapes highlight character characteristics; rebellious colors reconstruct emotional perception; creation impacts the mass media-dependence; bizarre collage and repetition, embodying the postmodern pop spirit of jokes and spoofs, Etc. Through this, it is expected that the current analysis of American animation will provide new innovative ideas for domestic animation design and increase the competitiveness of domestic animation in international video animation.

• Cartoon and Animation Studies
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• 통권35호
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• pp.209-226
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• 2014

Chinese cartoon industry lately was able to see a rapid development which changed cartoon creative personnel associated with increased production technology development, new technologies, government support policy and a variety of environments. It was likely to have high expectations for changes in the policy environment of the country supported the comic creators and authors to develop its own comic industry. The State Administration of Press, Publication, Radio, Film and Television of China promoted the production for the development of Chinese animation with "domestic little video about the development of the animation industry's opinion", and "documents Documents". Animation industrial base and animation education was established in institutions such as the organization one after another. In the meantime, the spread of Japanese comics picture on the creative activation admitted but their comic creation and activation was slump. It would produce that the creation of its traditional culture based activation strategy to built comics. Since 2004, It was well represented for the creators of the cartoon creation of the tradition and uniqueness of Chinese history. In the prior to 2004, comics and strategies was to be differentiated. Today, China is an important source of comic marked the fact that the tradition was recognized and it was further developed with combining creativity of the past and the present production system. Comic creators comic story of traditional culture were excavated in order to have a sense of awareness and modern. The difference between China Cartoon and comics in other Asian countries is true that cartoon story came out naturally in a traditional culture. In this study, It would lead in the future to allow directional presented for the digital cartoon making development policy awareness through the comic creation and production of new media content industry enabled to China. Now, in the new media industry for the development of China's neighboring countries coped with climate change for the active exchange of information. It poured out ceaseless technical development and a range of policies to support business expansion. New China Cartoon was leaped to re-fit the industry.