• The Journal of the Korea Contents Association
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• v.8 no.9
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• pp.94-100
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• 2008

These days, there are a lot of digital images, which are using to communicate with each other people, can make a liberal and creative media. In this environment, the studies on the digital animation would play a leading role of the aesthetic and technology developments for creative digital images. Digital animation images have their own aesthetics, and characteristics. They should be considered as a part of technology expansions. In particular, hyperrealistic digital animation should be more concentrated in the mutual relation between technology and aesthetic, because hyperrealistic digital animation has not only an appartus feature as a side of aesthetics, but a technology feature as a post modernistic media. Therefore the technology of digital animation as a the possibility of future growth for media should adhere strictly the peculiarity of digital aesthetics.

• Cross-Cultural Studies
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• v.42
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• pp.505-524
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• 2016

This study examines the ways District 9, a film released in 2009, reworks the sci-fi genre to explore the human encounter with "other" alien populations. Like Avatar, released in the same year, District 9 addresses the tropes of conflict over land and human-alien hybridity and introduces non-humans and aliens, not as invaders, but as objects of human oppression and cruelty. Unlike many other science fiction films where the encounter between humans and non-humans occurs in an unidentifiable future time and location, District 9 crosses genre barriers to engage with urban realism, producing a social critique of contemporary urban population problems. The arrival of aliens in District 9 occurs as part of the recorded human past and the film's action is carried out in the present time in the specifically identified city of Johannesburg. A distinctly anti-Hollywood film that locates the action at the street level, District 9 plays out human anxieties about contact with others by referencing the divisions and conflicts historically attached to South Africa's sprawling metropolis and its current problems of urban poverty and illegal immigrants. Focusing on how this particular urban setting frames the film, the study investigates the ways Blomkamp's sci-fi film about extra-terrestrials presents a curious postcolonial mix of aliens and immigrants surviving in abject conditions in an urban slum and forces a realistic examination of the contemporary social problems faced by South Africa's largest city and by extension other major global cities. The paper also examines the film's representation of the human-alien hybrid and its potential as a force to resist human exploitation of the other. It also claims that though the setting is highly local, District 9 speaks to a wider global audience by making obvious the exploitative practices of profit-seeking multinationals. A sci-fi film that is keen on making a social commentary on urban population conflicts, District 9 resonates with the wider sense of insecurity and fear of others that form the horizon of the uncertain and potentially violent contemporary human world.

• Cartoon and Animation Studies
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• s.51
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• pp.159-179
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• 2018

As digital media evolves, image changes have evolved from 2D to 3D. At the end of the 1930s when the US overcame the economic crisis and met the Second World War, people needed a hero to escape reality. In DC (Detective Comics), superhero comics started to become popular by making superhero series mainly with Super Man and Bat Man. Timely Comics, founded by Martin Goodman in 1939, also published Marvel Comics, the first comic strip in epochal comics on October 1 of the same year. From this point on, Marble has developed mainly in the cartoon industry. However, in the development of the times and the change of media, Marble boldly grasps the influence of Hollywood movies from the comic centered development system, and moves from the cartoon market to the movie market. Especially, the trans-media storytelling strategy was well reflected in the movie "Avengers" series, which Marvel produced after the merger with Disney. In this paper, When Marble Comics compares with the time when the comic book industry developed before the merger and the time when the movie industry was focused after the merger with Disney What kind of change and development, and The purpose of this study is to investigate the causes of these changes.

• Journal of Korea Multimedia Society
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• v.12 no.4
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• pp.591-599
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• 2009

The rapid development in computer technology has led to remarkable development in the field of VFX that used in making real picture film. In the past, it was very hard work to make the VFX scenes by means of analogue ways. But these days, CG Animation technology has them make rapid progress and dazzle with brilliance. Recently we can judge the most advanced technology and IT technology based on CG technology introduced in VFX. VFX on CG technology becomes the concentration and the symbol of the most advanced technology. I study manufacturing movement of VFX on CG technology. It shows manufacturing tools are subdivided and the interface is convenient to use, so that artists have applied analogue manufacturing technology easily. The improvement of the computer has made it possible to develop CG technology and tools for hyper-realism. Industries and laboratories in the country get excellent result but we have to concentrate on people in this field more. First of all, we get out of technology copy of Hollywood and we have to develop creative and leading tools reflecting the artists' idea. industry.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.309-318
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• 2020

This research studies the specific cases of how Hayao Miyazaki re-arranges Hollywood's conservative storytelling model, such as the three-act, eight-sequences structure, and the use of antagonist and antagonistic force, and how he applies them into his fairytale-like narratives to increase the attention of the audience. At the same time, this research also studies the cases of how fairytale-like characters of Miyazaki's storytelling make up for the drawbacks caused by the re-arranged narrative structure and the relationship between the characters, to make the audience keep track to follow the protagonist's journey. This research focuses on the re-arrangement of the three-act structure and the eight-sequences structure. For the details, this research focuses on the alternative use of antagonistic force in My Neighbor Totoro and the cases of antagonists turning to the protagonists' side around the mid-point in Spirited Away and Howl's Moving Castle. Also, the study shows how Miyazaki expands the second act (the third to the sixth sequence) and shortens the third act (the seventh to the eighth sequence) to earn the time for the audience to be in the same position with the protagonist, and how the fairytale-like characters of these films make up for the disadvantages caused by the shortened third act.