• Archives of design research
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• v.16 no.2
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• pp.15-22
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• 2003

This is a study on the roles in the association of sound as subtext for animation. On this study, it will be helpful to develop sound concepts and to create animations with creativity. For animation without sound can be produced as an artistic purpose, however, most animations are created with sound. It is not means that sound is less important than visual in animations. Sound is also one of significant element to create animations. Sound have many important rolls for subtext such as parts of action, leitmotif, characteristic, time, ethnic, localization in the animations. It will be analyzed two animations such as Shrek (DreamWorks Pictures production/ Director: Andrew Adams) and Monsters Inc. (Walt Disney Pictures/ Director: Peter Doctor).

• Cartoon and Animation Studies
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• s.26
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• pp.57-78
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• 2012

This article deals with the change of disney feature-length drawn animation since using digital technology. The spread of digital technology in the territory of traditional animation brought a massive transformation. Analogue production system for disney drawn animation was gradually replaced by digital production system and in the process, the overall quality of disney drawn animation was improved, although drawn animation industry had declined considerably due to the success of 3D computer animation. Currently, disney drawn animations not only just adopt digital technology but also use it for expressing the distinctive sensibility of the drawn animation.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.61-62
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• 2019

애니메이션 영화에 있어서 음악은 영화의 예술적 퀄리티를 향상시키는 도구가 되었다. 본 논문은 애니메이션 영화의 주제곡을 애니메이션에서 어떻게 연기할 수 있는지, 애니메이션 음악의 창작과 서사 간에 서로 밀접한 기능과 관계를 탐구한다. 이를 위한 연구는 첫째, 애니메이션과 음악에 대한 이론적인 고찰하며, 둘째 애니메이션 영화 <코코(Coco)>의 사례 분석하며, 주제곡 위주로 음악의 기능적 특징이 애니메이션으로 어떻게 표현되는지를 다룬다. 이에 주제곡은 주제 내용과 중심인물을 둘러싸고 일정한 음악적 이미지를 형성하고 주제를 심화기능을 가지고 있음을 알 수 있다.

• Cartoon and Animation Studies
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• s.44
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• pp.163-181
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• 2016

The 3D animation is the trend of more and more as the years go by. 2016 works "red soil" of the works through the analysis of the new changes, and also in the interest of those factors, which play an important role, how to performance in the appropriate way of expression. according to the focus of work in the process of modeling design of meaning and symbol and character, action and expression of the meaning of understanding and appreciation of the works, the meaning of double the fun.

• Cartoon and Animation Studies
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• s.5
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• pp.517-524
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• 2001

인간의 내면에 숨어있는 양면성을 주제로 그 양면의 극적인 대조를 이용하여 인간의 고뇌를 그리고, 타이포애니메이션을 이용하고 영상과 사운드의 접목을 통하여 인간내면의 갈등구조를 그리고자 했다. 겉으로는 일상적으로 반복되는 생활이 평화스럽게 보이지만, 인간의 내면에서는 항상 갈등이 존재함을 한 방울씩 떨어지는 반복적인 물방울 소리와 영상, 그리고 다듬이질 소리를 이용해 다들이질 치는 심장박동을 표현함으로써 대신하고자 했으며, 이와 더불어 극적인 타이포애니메이션을 구현하고자 했다. 인간내면의 갈등구조, 화면의 스크레치와 노이즈의 표현으로 이를 더욱 심화하고, 흑과 백, 그리고 맑은 영상과 비트있는 사운드를 통한 평화스러움과 인간내면 갈등구조에서 고뇌하면서도 평화스러워 보이는 한 인간의 속내를 표현하고자 했다. 인간내면의 갈등이 존재함에도 불구하고 평화스러워 보일 만큼 일상에 젖어 인간본연의 가치를 쉽게 잊고 살아갈 수도 있는 인간의 양면성, 급속한 변화를 담고 있는 현대사회 구조에 적응하여 살아가면서 느껴야 하는 무기력, 반복적인 생활, 획일화되는 사람들, 그러면서도 어쩔 수 없이 존재하는 내면의 갈등구조, 이 모든 것을 짧은 영상물에 담기에는 한계가 있으나, 어떤 결론을 만들어 제시하는 것이 아니라 상황의 표현에 중점을 두고 작품을 전개하려 했다.

• Proceedings of the Korean Information Science Society Conference
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• 2003.10b
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• pp.697-699
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• 2003

온라인 게임에서 개인의 분신으로 활용되던 아바타는 2000년 '세이게임"이라는 포탈 사이트를 통해 본격적으로 인터넷 사이트에 등장하였다. 이후 아바타는 게임 및 인터넷 커뮤니티에서의 자신을 대변하는 기능을 넘어, 다양한 형태의 캐릭터 비즈니스로의 가능성이 부각되고 있다. 웹사이트에서 제공되는 아바타 시스템은 GIF 파일 포맷을 기본으로 하여 제공되며, GIF Animation을 이용하는 경우 애니메이션 아바타를 표현할 수 있었다. 그러나 모바일 환경에서는 GIF Animation이 지원되지 않아 애니메이션 아바타를 표현할 수 없었다. 본 논문에서는 SVG Animation 기법을 활용하여 개인용 컴퓨터외에 다양한 모바일 환경에서도 구현이 가능한 애니메이션 아바타 시스템을 설계, 구현하였다.현하였다.

• The Journal of the Korea Contents Association
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• v.20 no.7
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• pp.107-117
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• 2020

Animation films form a substantial part of pop culture and depict the sociocultural changes and values of the time in which they are made through visual expression of story and characters. In the process of appreciating animation films and accepting the characters, the audience learns the gender role behaviors that appear in the works as socially acceptable representations of men and women. This study illustrates whether the expression of gender role and behaviors of characters from animation films have changed over time or not by analyzing the costume and gestures of the female protagonists in 'Mulan', 'Tangled', 'Moana', and 'Frozen 2'. These films are considered to reflect the modern female identity on their story and characters. The study confirms that the stereotypical gestures and behaviors of women are still used today to portray the female protagonists in the animation films contrary to the story composition and various aspects of characters which escaped the formal stereotype. It is important for children and adolescents, the main consumers of animation, to learn and know how to consume media properly. Thus, this study seeks to illuminate the importance of research on animation literacy eduction for children and adolescents by examining the visual expressions and their implications in various animation films.

• Cartoon and Animation Studies
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• s.5
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• pp.187-215
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• 2001

• Cartoon and Animation Studies
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• s.23
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• pp.1-17
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• 2011

The paper analyzed the metaphoric expressions appeared in whose cinematic quality has been subjectively recognized on the global stage by winning the Oscar for Best Animated Short Film. Many contents and visual effects of the film were expressed with metaphor. Story and sequence were analyzed through the language system-based 'Conceptual Metaphor Analysis Framework'. In addition, characters have been analyzed through the 'Visual Metaphor Analysis Framework'. The framework is to analyze visual dimensions which are derived when concepts are structuredin animation. This paper has attempted to investigate and reveal patterns how animation self-organizes or how animation self-realizes through linguistic objectives. That is, it is to reveal how animation communicates with the audience from the metaphoric perspective among many conventional ones. In an animated film, metaphor is a fundamental means to connect fragmented images, produce a holistic view and therefore induce creative communication with the audience. The essential motive of metaphor which is expressed in various styles in is modern people's feeling of loss and sense of missing something. Train, bottle top, food, lost-and-found center, in-between space and lost items have significance across the movie. According to an analysis, metaphor offers simplicity and freshness as an aesthetic function. In addition, the metaphor expresses lengthy contents and various meanings implicitly, delivering an economic function. With a creative function, metaphor is a tool to generate new meanings. In other words, an animated film is a medium to inspire and move the general public as a means of communication and thinking, not just an entertainment for young generations. After all, metaphoric expressions have been used to deliver diverse and deep meanings in animated films.

• The Journal of the Korea Contents Association
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• v.14 no.11
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• pp.575-583
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• 2014

Roland Barthes views a myth as a chain of connotative concepts that are mutually connected. For him, a myth appears through a chain connotation that is mutually related, due to the first-stage signification system. In other words, the connotation of a particular scene is already inherent in a culture in the form of social convention or social values before it is made. In the case of Disney animation, as mentioned Barthes, it has also two layers of denotation and connotation for signification. However, Disney animation shows the tendency that seek the denotative representation and the direct communication, based on the typified character, to the representation and delivery of the myth that is inherent. Therefore, the tendency of denotative signification is seen Disney animation can be said as a branch of research methodology for the approach to the aesthetics of Disney animation.