• The KIPS Transactions:PartB
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• v.11B no.3
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• pp.257-266
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• 2004

This paper proposes caricature generation system that uses shading mechanism that extracts textural features of face. Using this method, we can get more realistic caricature. Since this system If vector-based, the generated character's face has no size limit and constraint. so it is available to transform the shape freely and to apply various facial expressions to 2D face. Moreover, owing to the vector file's advantage, It can be used in mobile environment as small file size This paper presents methods that generate vector-based face, create shade and synthesize the shade with the vector face.

• Journal of Korea Game Society
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• v.21 no.2
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• pp.55-66
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• 2021

The research studies how features of games can be utilized and converted into storytelling elements by analyzing specific transmedia storytelling cases. For the research, was selected for subjects of analysis. From the analysis conducted, first, how game can be expanded and transformed into interactive animations was observed. Also, use of representative elements of the original game, concepts and basic settings in was seen. And lastly, implementation of transmedia storytelling strategies that constitute narratives based on character creation and connection between spaces was also observed.

• Cartoon and Animation Studies
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• s.43
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• pp.185-209
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• 2016

Pattern refers to singular or repetitive decorative form in a blank surface, Also pattern is not just something to simply fill in the blanks, and has more meanings. Pattern reflects the specific culture or regional feature. So Depending on which pattern to use, creator can give particular of identity. which is generally utilized in visual arts such as painting, architecture, craft, as well as animation. Pattern in animation plays a role of decorating background or surfaces of characters' outfits or props. And Parttern is effective way to describe the story of the times and space environment of the background. Tomm Moore, an animation director in in Ireland mainly produces animations based on traditional folk stories or myths. He usually utilizes cultural and artistic factors related to the themes in his work production. One example is the insertion of pattern closely associated with the narratives and backgrounds of animations to create profound scenes. Tomm Moore used the Irish Celt pattern in Secret of Kells (2009) and Song of Sea (2014) and Islam geometric pattern and plant pattern in a short nimation named On Love from Kahlil Gibran's The Prophe (2014). This study attempts to examine the historical and cultural foundation and the narratives of these two animations, Song of Sea(2014) and Kahlil Gibran's The Prophet: On Love (2014) in which Tomm Moore participated as the director and producer, exploring their relevant traditional patterns. Moreover, it also attempts to analyze how these traditional patterns are utilized in the animations.

• Cartoon and Animation Studies
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• s.49
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• pp.247-265
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• 2017

With the increasingly diverse, sophisticated and complex character animations that can be represented in 3D animations, the importance of rigging, which can most directly affect animating quality, is becoming more and more important. In addition, rapidity is another crucial aspect of 3D animation production. So, the importance of technical director's role which is accurate and rapid handling of rigging pipeline building and immediate application and, corrections of errors during the longest and manpower consuming animation production is more becoming key. Baek Ji Won and Kim Jae-woong (2014) said, "The technical director is adding new importance to the new job, which is created by 3D animation, in conjunction with the limited production period, manpower, budget and production process." Most major overseas studios are developing in-house software to handle rigging and animation processes. Software development code is used to freely develop and modify production pipelines in accordance with the direction of the work. They are making efforts to build an optimal environment for animators. However, too many efforts and ineffective efforts have been made to develop, adapt, and stabilize the rigging process for small producers, creators, and students who do not have the capacity to develop their own in-house software or hire a technical director. This study suggests the most suitable auto-rigging tool among the many auto-rigging tools released in the market, and suggests the most accurate and quick auto-rigging process setting method for those who have insufficient knowledge about 3D character rigging. The efficiency of use of auto-rigging tool was examined.

• The Journal of the Korea Contents Association
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• v.17 no.8
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• pp.654-666
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• 2017

is a 1968 western novel by Charles Portis. The novel was adapted for screenplay of the 1969 movie of the same name directed by Henry Hathaway. In 2010, Coen brothers directs, writes, and produces the second adaptation of Portis's novel writing most of the script. Of nineteen films directed by Coen brothers, only and are adapted from novel. (released as in Korea), is the only remake of an existing film by Coen brothers. The story plot of the novel or the 1969 or 2010 do not differ greatly, however by emphasizing on different subjects, the character development is slightly altered and in the end, all three are perceived as unique. By comparing what each story is trying to emphasis, examining different cinematic devices, and how it relates to previous worldviews of modern America seen through Coen brothers, portrays a dark society continuously consuming and while illustrating origin of problematic American society.

• Cartoon and Animation Studies
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• s.33
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• pp.55-78
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• 2013

The issues on the representation of digital images, the uncanny is not considered aesthetically but must be overcome. It seems that the future of visual media using digital images, depends on the development and advancement of the digital technology. However, the Brothers Quay regarded as unique and experimental animators, focus their attention towards the past rather than the future. They trace back to the origin of the media, reproducing, manipulating, and representing gestures in oder to restore the shock and thrill delivered in film and animation. The Brothers Quay explore the uncanny of gestures through the mechanism of medium. They work in a wide range of genres, from animation, live action to dance film. The creaking spasms, which create the feeling that the movement does not belong to this world, and the strange gestures, reveals the flicker of the still projection and make audiences recognize gestures in the true meaning of the word. While they animate live actors and dead objects like automata, the hidden desires are revealed over screen. In this paper, focusing on the works of Brothers Quay, I tried to explore the uncanny of gesture based on Freud's and Jentsch' theory of uncanny.

• Cartoon and Animation Studies
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• s.40
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• pp.397-421
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• 2015

Aristotle's Poetics is the earliest work of dramaturgy. It explains some of the most important narrative notions, for example, Mimesis, Katharsis, Mythos(Plot), Ethos(Character), Anagnorisis and Peripeteia. etc. Aristotle considered the plot which is the arrangement of events, as the most important element of drama. This paper presents an example of a plot configuration as an alternative to the traditional narration used since Aristotle. Dead Island, developed by Techland and published by Deep Silver, is one of the most successful action role-playing survival zombie video games. Its trailer, the Winner of Gold Prize for Internet Film at Cannes Lions International Festival of Creativity in 2011. Since the purpose of the trailer is to attract the audiences/gamers to the film/game, it has generally a similer narrative method from its own works. But Dead Island trailer is different. We treat this trailer as an short animation. It could be a new example of the non-linear narrative by the control of the time for example, temporal arrangement, direction and speed. We analyse all shots of Dead Island's trailer with Poetics' rules and with $G{\acute{e}}rard$ Genette's some narrative notions for example temporal order and duration. Furthermore we look for how to maximize the audiences' curiosity by the adjustment of the time, combined with its shocking images.

• Cartoon and Animation Studies
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• s.10
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• pp.137-148
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• 2006

The purpose of this article is to study the aspects of transformation of Treasure Island(1883), Robert Louis Stevenson's novel in two feature animations (1987) of Osamu Dezaki and (2002) of Ron Clements and John Musker by analyzing characters. In the original novel, as a typical wicked villain and traitor, Long John Silver functioned as an obstacle in Jim Hawkins' Bildungsroman. And Osamu Dezaki laid great emphasis on the friendship between Jim and Stiver His might be an excellent example of the faithful adaptation. But in Disney's , from initial mistrust, to friendly co-worker, to mentor and protege, and finally, to mutual rescuers, Jim and Silver have created a permanent bond that can never be broken - their coming together has changed both their lives forever. Jim's voyage of searching for treasure is not just for the discovery of material riches unimaginable but also for the discovery of his own true worth. Making the Sliver/Jim relationship more focused, Jim ends up discovering not just an obvious treasure; he discovers an inner treasure. From this viewpoint, this feature film could be an outstanding transformative adaptation.

• Cartoon and Animation Studies
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• s.35
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• pp.107-128
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• 2014

Cultural Content industries based on imagination and creativity are attracting attention and the animation high value-added industry is still spotlighted. Among them, Disney Studios make money through using their professional skills. There are the know-how has developed for a long time, and there are timeless strategy. This study is analyzing by fantasy elements for knowing the messages of Disney animation. Fantasy defined as genre of literature by Todorov and Jackson emphasized its social role and significance. Hume expanded the area of fantasy and Tolkein Jahoriski and Boyer classified the fantasy according to the purpose. Through the analyzing Disney animation , Disney's fantasy show the specific expression depending on the target. Disney is based on the three types of fantasy depending on the growth of the journey. The first area is composed of the main character's growth and satisfy the desire and escapism, The second is the word of antagonist who opposed to reality and break the rules of the dominant ideology. The last area is the utopia provided after hero beat the antagonist. Disney characters give the messages by using the fantasy like the transformation or alter ego. That show the subject of the main character's growth and the supporting characters as the expression of the multiple personality of main. These emphasize the hero's growth and give the fun. Also, in the subject of the otherness, the hero always destroy the evil who broke the rules of reality. In this way, the fantasy offered by Disney give the messages of sacrifice and family from true love. Disney has the support of their target audiences continue to be able to convey ideology.