• Cartoon and Animation Studies
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• s.37
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• pp.439-461
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• 2014

Art has evolved into remarkable changes in its art form maintaining a close link with the contemporary scientific technologies that gave birth to new tools of expression in each era. Animation is an art form in an inextricable connection with technological aspects because it was spawned by the technical background like movies. In this regard, animation is often viewed very strongly by technical advancements in terms of an aesthetic approach. John Whitney Sr., one of the pioneers in computer graphics arts, turned his attention to the new technology called computer graphics as a means to visualize images and movement. The advent of a new medium had a strong influence not only on tools and means for novel expression but also on the gradual shift in thinking about arts and even the audiences' taste. In the 1980s, animation was combined with computer technology and the rapid progress of computer graphic technology opened up the era of new visual aesthetics, Today, the development of digital technology presents a different dimension of realism, either advocating hyperrealism by digital actors or presenting new illusionism by classic cartoon characters emphasized in a distortion or metamorphosis from a real life in order to consolidate animation realism. Based on the two perspectives mentioned above, this study can identify methods of digital character appropriation focused on the works of the ACM SIGGRAPH Asia and find how the relationship between art and technology has changed the digital realism and evolved the digital character as the digital technology has developed.

• Cartoon and Animation Studies
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• s.37
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• pp.361-392
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• 2014

Regarding works that express objects realistically in painting, Gustave Courbet advocated realism in the mid-19th century, France, resisting the then academist style of painting, and works in realist style were produced in earnest by painters such as H. Daumier or Jean F. Millet, who went along with him. Later, realism has expanded into the realm of general literature, including fine art, which has had profound impacts on works of art and literary works. In comics, too, in the same historical context as a form of painting, realistic comics began to be produced by painters or cartoonists at the time. These realism comics are those dealing with stories based on facts, and in terms of contents, objective description and representation of the social realities of the times is one of the most important objectives, but it could not be concluded that in their visual aspect, that is, that of expressing the objects, they were realistic. In the meantime, a graphic novel was born, which was the intermediate form between comics and novels around the United States and Europe since the 1980s. Graphic novels appeared in forms and styles with strong literary and artistic values in the comics market in the U.S. which was full of the superhero genre (comics around heroes), and their major characteristics are very realistic expressions in terms of contents and visual aspect. They are complex and delicate and even have artistic, literary values as if readers read a fiction or literary work of which its narrative structures or pictures are produced with graphics. The characteristics of realistic expressions shown in graphic novels are very different from the previous works of comics. It is noteworthy that they began to be acknowledged as works of art like painting or illustration, thanks to their features of strongly individual auteurist painting style, a fairly high degree of completion of the works, and creative and experimental expression techniques or methods, instead of following the fashion of the times. In recent years, in South Korea, Hollywood blockbuster films have been released one after another and become box office hits, there are increasing interest and demand for the original graphic novels. Accordingly, many original graphic novels have been translated and started to be sold, and keeping pace with this global flow of fashion, some writers in Korea began to produce works of graphic novels. However, to look into the domestic works produced claiming to be graphic novels, there are various opinions on their format and authenticity. In this sense, this study focused on Ga-ya Kwon's Namhansanseong, one the representative works of Korean style graphic novels, and in particular, it attempted to analyze their characteristics and commonalities focusing on the visual aspect of realistic expressions of objects. It is expected that there would be an opportunity to seek for ways so that Korean style graphic novel can be further developed as a genre of comics, with competitiveness by looking back on the identity and present state of domestic graphic novels and developing and applying Korea's original subject matters differentiated from those of graphic novels in the U.S., Europe or Japan through this study. In addition, it is desired that they will be a new energizer for the stagnant domestic comics market.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.117-130
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• 2019

After Marx, the issues regarding human labour have been the alienation towards production means and the distributive justice. Fourth industrial revolution and development of AI(Artificial Intelligence) opened the possibility of a independent production and economy system absolutely excluding against human nature and labour. Using robots and AI will deepen demarcation between living things and one not having life, separating the intelligence from the consciousness. At present, so called pre-stage of post human, seeking interests for life, new social relationship and new community will be increased as well. We can understand that interests for small community, self-sufficiency, dailiness, food and body in this context is increasing too. Representative trend towards this cultural phenomena is called as the 'Kinfolk culture.' Work-life balance, 'Aucalme', 'Hygge', 'So-Hwak-Haeng'(a small but reliable happiness) are the similar culture trends as. Vital capitalism, presented by O-Yong Lee, seeks focusing onto living things principles, e.g. 'topophilia', 'neophilia', and 'biophilia' as the dynamics looking for the history substructure, not class struggle and conflicts. He also argues the 'Vital Capitalism' be regarded as a new methodology to anticipate a social system after post human era. G. Deleuze said "arts is another expression method for existential philosophy. It gives a vitality onto philosophy and gives a role to letting abstract concept into definite image." We can find a lot cases arts' imagination overcomes critical point of scientific prediction power in the future prediction. This paper reviews ideas and issues of 'vital capitalism' in detail and explorers imaginating initial ideas of vital capitalism in the film 'Little Forest.'

• The Journal of Natural Sciences
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• v.9 no.1
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• pp.113-129
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• 1997

Postmordern style showed in contemporary fashion is various. Specially, street style begins from teddy boys, mods, hippy, skin head & popular fashion. They are come from mass culture. Mass culture dominated in many ways in modem society. In music, cinema & other plays we can read of youth. Street style includes youth culture about their fear and resistance and their passion. We can see kich in aetheics of street style as it was showed in mass culture. They are as follows. ${\cdot}$ Wit and sympathy expressed in primitivism. ${\cdot}$ Sensuality expressed in erotism like shows in works of Vivian Westwood & Zandra Rhodes. ${\cdot}$ Fantasy expressed cyber & psychidelic fashion.

• Proceedings of the Korea Contents Association Conference
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• 2004.11a
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• pp.121-124
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• 2004

The Contemporary animation style based on technology become various within some categories and genres as recreating the importance and meaning of many formalities. According to the variation of the contemporary animation style, The computer animation that has affected on continuous development of science and its following broad-band culture takes charge of the important position in producing the contemporary visual art. On this thesis, I will research < Ani-matrix > which has 9 episode each for the different Matrix world focused on its animation style. I will analyze their forms of expression into the both aspects of esthetics viewpoint technologically and film making style traditionally regarding to the matter of reality and reemergence on a viewpoint of a realistically esthetics. Also I will analyze mutual connection among the reinterpretation for the reality, philosophical message, and animation style within < Ani-Matrix> suggested by influence of Post-modernism. Thus, I intend to prospect the formation of animation style followed by its esthetics construction and effect on computer animation of the film genre.

• Archives of design research
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• v.16 no.4
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• pp.163-172
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• 2003

Nowadays calligraphy technique is widely utilized in diverse areas throughout the world. It is adopted in the visual environment of modern people comprehending from graphic design areas such as advertisement, package, symbol marks, logotypes, and movie posters to modern abstract paintings. It is because its dynamic and suggestive power of expression as symbolic and kinetic representation has been appreciated anew. In response to modern people's aversion from the mechanical and artificial digital environment as well as from the uniform, official, and modernistic trend, calligraphy technique is attracting people's attention as a new expressive style with oriental mysticism and emotional intimacy. Therefore, this study aims at illuminating the history of calligraphy, understanding its characteristics, searching for the expanded value of modern paintings and graphic designs, and ultimately contributing to the propagation of visual languages and expressive styles. In addition, this study attempted to establish the concept of Calli-Illust, which combines oriental painting techniques and materials and calligraphy techniques, and to explore for its potential uses in order to expand the area of illustration. According to the results of this study, calligraphy technique is a painting style of abstract expressionism, contributing to the expansion of the territory of a new formative area. Furthermore, this study proved that it is necessary to develop new expressive styles to overcome the limitation of design styles based on western rational, logical, and geometric functionalism, which have been received uncritically in the design environment of diversity. What is more, the concept and definition of calli-illust, which has been understood as a part of the concept of calligraphy so far, were clarified Research on calli-illust is just in its beginning stage. The present researcher expects that deeper and more extensive studies will be carried out in the future, so that calli-illust can be applied to communication design in various ways.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.217-247
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• 2019

This research paper intends to examine the intertextuality of Klaus Mann's novel Mephisto (1936) and István Szabó's film Mephisto (1981) and how the derivative contents (i.e., film) accepted and improved the schematic aesthetics of conviction in original contents (i.e., novel). In general, the aesthetics of conviction is applied to criticize the state socialism of the artists of the Third Reich or the ideology of the artists of East Germany from a biased ethical perspective. Mephisto is also based on the aesthetics of conviction. Thus, it would be meaningful to examine the characteristic similarity and difference between Klaus Mann's real antagonist (i.e., Gustaf Gründgens) and fictional antagonist (i.e., Hendrik Höfgen) from a historical critical perspective. In this process, an aesthetic distance between the real and fictional antagonists would be secured through the internal criticism in terms of intertextuality. In this respect, the film aesthetics of István Szabó are deemed to overcome the schematic limit of the original novel. The conviction in both the novel and film of Mephisto pertains to the belief and stance of a person who compromised with the state socialism of Nazi Germany, i.e., succumbed to the irresistible history. Klaus Mann denounced Mephisto's character Höfgen (i.e., Gründgens in reality) as an "Mephisto with evil spirits" from the perspective of exile literature. For such denunciation, Klaus Mann used various means such as satire, caricature, sarcasm, parody and irony. However, his novel is devoid of introspection and "utopianism", and thus could be considered to allow personal rights to be disregarded by the freedom of art. On the contrary, István Szabó employed the two different types of evil (evil of Mephisto and evil of Faust) from a dualistic perspective (instead of a dichotomous perspective of good and evil) by expressing the character of Höfgen like both Mephisto and Hamlet (i.e., "Faust with both good and evil spirits). However, Szabó did not present the mixed character of "Mephisto and Hamlet (Faust)" only as an object of pity. Rather, Szabó called for social responsibility by showing a much more tragic end. As such, the novel Mephisto is more like the biography of an individual, and the film Mephisto is more like the biography of a generation. The aesthetics of conviction of Mephisto appears to overcome biased historical and textual perspectives through the irony of intertextuality between the novel and the film. Even if history is an irresistible "fate" to an individual, human dignity cannot be denied because it is the "value of life". The issue of conviction is not only limited to the times of Nazi Germany. It can also be raised with the ideology of the modern and contemporary history of Korea. History is so deeply rooted that it should not be criticized merely from a dichotomous perspective. When it comes to the relationship between history and individual life, a neutral point of view is required. Hopefully, this research paper will provide readers with a significant opportunity for finding out their "inner Mephisto" and "inner Hamlet."

• Cartoon and Animation Studies
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• s.45
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• pp.75-99
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• 2016

Unlike the other media, the animation has its unique aesthetic characteristics. First, one of the media characteristics of the animation is creativity images of the hand drawn animation by shooting of frame by frame. Next the animation image which is created through metamorphosis obtain new space-time by unique motility. This paper treats of two parts of space and time in animation. One is the metamorphosis image of animation and the other is the motility. To concrete this, this paper analyzed Georges Schwizgebel's Works. They are very interesting that the structural characteristics of the animation. Especially, , < La course ${\grave{a}}$ $l^{\prime}ab{\hat{i}}me$ > directed by Georges Schwizgebel are a good text for analyzing space-time of animation in that it combines various metamorphosis and motility with his expressions. The images of his works are continuously maintained transformational stream by his main expressions of metamorphosis and motility etc. This study focuses on analyzing the way of metamorphosis and motility function to make meaning in this texts. His works consist with metamorphosis and motility, and various moving images to let audience feel the characteristics of space and time in animation. We can experience numerous dual structures like space and time, freeze-frame and motility, rhythm and repetition, two dimension and three dimension, dissolution and reconstitution, abstract shape and concrete form etc from these cases. One of the main apparat is the emphasis of metamorphosis and motility by independent space of animation.

• Cartoon and Animation Studies
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• s.33
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• pp.1-29
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• 2013

Surrealism with the excavation of unconsciousness, seeking for the infinity etc. has established views on aesthetics that conflict traditional western rationalism. The main concern of surrealism is problem of identity and difference. They attempted their own mysterious concept such as 'the marvelous', 'convulsive beauty', 'object chance' etc. These unique views on aesthetics was expressed as various style of art. It is the d$\acute{e}$paysemant that exists one of the typical style in surrealism. D$\acute{e}$paysemant means that objects are taken from be originally place. Therefore, The real world's objects is to leave and change environment from real space as use, ability, meaning of origin. or it is the technique to create surreal illusion that combined to a strange place where relates to extraneous attribute of objects. Namely, objects are newly arranged in expression space. Reconstitutive objects by positioning object over the time and space have given us the marvelous and psychological shock and get unfamiliar meaning and feeling over. This paper is tried to look at the way to use the d$\acute{e}$paysemant which applicated in the media, Especially, focusing on animation. Unlike the other media, animation has its unique artistic characters. First, One of the media characteristics of the animation is creativity images of the hand drawn animation by shooting of frame by frame. The animation image which is created through arrangement obtain life force by unique motility. Works of Norman McLaren and Harry Smith are very interesting that the structural characteristics of the d$\acute{e}$paysemant. It consists with abstract forms and various moving images to let audience the feel characteristics of film. We can experience from these cases, numerous illusion fantasy like change over from creature to inanimate object, space and time, creation and extinction, repetition and metamorphosis etc. One of the main apparat is the emphasis of d$\acute{e}$paysemant in space of frame. In conclusion, d$\acute{e}$paysemant is one of the most characteristic expression technique of surrealism while having inevitable linkage with animation.

• Cartoon and Animation Studies
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• s.42
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• pp.1-24
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• 2016

The 'fear' in animation has a couple of problems to apply the criteria for identical genre as in movie or literature. First, the mutilation and destruction of one's body and the appearance of monsters and ghosts are not a normal way of expression and could not apply to one genre. Second, the cause of fear comes from the subject of fear which is a reality that is something 'unrealistic' and 'special' and is approachable. This is all possible in a three dimensional world, but animation is not founded on realism. According to this logic, the horror genre in animation or the esthetic experience of animation is not possible. However, many of the powerful images you can see from the horror genre are all created from animation. Therefore, many writers are drawn to the horror in animation and tried to express in many different ways. This study will include the general idea of fear which drives the audience to the felling of fear and terror but we will mainly focus on the three types of fear - ghost story, cannibalism, and madness - and discover the meaning of fear used in animation. Through this process, we anticipate that fear in animation is not just for pure amusement, but will be able to investigate the meaning of fear philosophically even if the hidden side of reality is terrifying.