• Cartoon and Animation Studies
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• s.29
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• pp.37-60
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• 2012

This essay is discusses the phase on expression as experimental animation for the tendency of the animation which appeared newly 1960s in Japan by "3 members in animation". In general, experimental animation is contrary to traditional animation. "3 members in animation" tried to present the concept of animation newly with the various trials which overthrow the form of the conventional animated cartoon. Those days, the feature animation of Toei was the mainstream of the cartoon film. When comparing with Yoji Kuri's works, the movement and theme on expression are different. It can be said that the difference is an alternative method to the mainstream. Other members Ryohei Yanagihara and Hiroshi Manabe connected design and illustration with animation. The independent creators participated in the animation festival which "3 members in animation" held. They tried to create animation interchanging with other genres. It can be said that the intermediality seen in their work is trial which sets variegated the object of animation and it expands the possibility of the new animation. Their approach overthrew the traditional tendency and was able to call it experimental animation. Japanese experimental animation in 1960s is the historical starting point of recent independent animation which searched for art in which an original expression has been formed in Japan.

• Cartoon and Animation Studies
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• s.40
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• pp.1-31
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• 2015

The Korean animation that has relatively short history compared to the Western Europe and Japan's animation started out from the non-commercial short-piece animation produced as part of advertisement animation and culture movie in the later part of 1950s. In 1960s, the culture movie animation reflecting for the Movie Act and cultural policies has hardly been mentioned in the history of Korean animation, but they are the precious cultural work produced prior to the theatrical long-piece animation. In particular, compared to the 15-second short CF animation, the short-piece animations are ranging for 4 minutes to 10 minutes as the work pieces with the historic value to measure the level of the Korean animation at that time. in 1960s, approximately 20 short-piece animation works were produced and they contained the educational contents to enlighten general public in the process of modernization policy. Those short-piece animations produced in cultural movie at the National Film Production Center of Korea had been produced not only in cell-facilitating cartoon animation, but also in paper animation and puppet animation. In this background, this thesis takes a close look to the short-piece animation works produced in the National Film Production Center of Korea in 1960s. While there was almost no studies of early short-piece animation other than CF works, it is meaningful to discover and analyze the works, and, Director Park Young-il, Director Han Sung-hak, Director Jung Do-bin, Director Shin Dong-hyun, Director Nelson Shin and others participated in the creative work process have worked as the animation directors for theater that the analysis on the works would be considered as important fundamental studies to understand the Korean animation. Under this thesis, it is intended to study the historic implication and formative characteristics around some 10 work pieces to affirm participating personnel, including directors, for the short-piece animation created by the National Film Production Center of Korea as well as the situation of time to launch the National Film Production Center of Korea in 1960s. Through this effort, it is intended to come up with the starting point to process enriched researches on non-commercial short-piece animation as well as contemplation on the Korean animation history that have been neglected in the study of the Korean animation history through such effort.

• Cartoon and Animation Studies
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• s.15
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• pp.109-122
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• 2009

Cultural policy, a part of ideological policy has affected remarkable changes in movie and animation. Korean animation was called cartoon movie and popular only among children, but works dealing with anti-communism ideology have been introduced in Korea since before/after 1970s. Animation focusing on ideology is not unique in Korea, but division of two Koreas after Korean War made great influence on social, cultural and educational aspects of the nation. Moreover, modification in movie-related laws and regulations made in 1960s - 1970s affected movie and animation significantly and is a means of strengthening anti-communism. In particular, Director Cheong-gi Kim's released in 1978 is meaningful in that it is the first long piece of animation movie. In this study, I clarify anticommunistic ideology reflected on the anticommunistic animations and the imageable expression of ideology reflected on . Most of all, I emphasize on clarifying how the cultural policies and social & cultural background influence on the advent of anticommunistic animation in 1960${\sim}$1970. Also, to communicate anticommunistic ideology reflected on produced under the social & cultural background, I clarify the expressive characteristic which the image of animation has.

• Cartoon and Animation Studies
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• s.15
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• pp.29-47
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• 2009

The changes in the field of high tech media promote the development of animation films, which was considered once as a decaying industry. A large success of Disney animation films in 1980's and the possibilities of animation as an economically profitable mass products allowed this art form to play a leading role in mass culture. But, the cultural and philosophical aspects of animation works are not studied enough up to this time, despite its importance. This article is focused on the study of animation as a serious cultural and philosophical text. The object of research is the Russian animation in the period of 1960-1980 years. In this time, new trends are noticed in the history of Russian animation : aesthetical experiments in style and subjects became possible since the society freed from totalitarian atmosphere after the political destalinization by Khrushchev. In addition to, it was the time when the system of state subsidies still functioned, that animation was not the object of cultural industry yet, as it happened in the period of Perestroika. In this condition, lots of short animation films, which were remarkable not only in the context of Soviet art culture, but also in the history of world animation films, were produced. This article proposes to analyze the characteristics of realities and fantasy, portrayed in the films of this period, and examine the role and status of animation films in the social-cultural context.

• The Journal of the Korea Contents Association
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• v.7 no.12
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• pp.55-65
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• 2007

The commercial value of the Korean animation was developed by the government's policies of revitalizing reform and national harmony from 1960 to the middle of 1980. Especially, the character of the anti communistic animation was organized by the structure of confrontation between South (good) and North (evil). The confrontation was viewed by communism and liberal democracy by red and white (or blue) and a pig or a boy. Such ideology and the policy of Korean culture gave some impact on its culture, for example, movie and animation. The animation became the tool of educating the idea of anti-communism and the policy of Korean culture by firming the policy of anti communism. But that animation of anti communism must not be blamed because it is a general animation of Korea which describes the reality. We have to take a hard view of the time and reconsider it by the new point of view.

• The Journal of the Korea Contents Association
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• v.9 no.6
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• pp.72-81
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• 2009

This article deals with the relation of korean animation and film policy from the late 1960s to early 1980s. The korean film policy was based on ideology of modernization. Animation industry was under the this policy. The result of effect of this film policy on animation was following. Firstly, there was the boom up of making of animation. Secondly was increasing of subcontract. The encouragement of exportation of government drove many companies to this trend. Lastly, many animations conspired to exercise the ideology of regime. Example was anti-communist animation. In that period the historical specificity of Korean animation had been built in these process.

• Communications for Statistical Applications and Methods
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• v.5 no.1
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• pp.1-18
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• 1998

Since 1960s, in which the computer graphics system first appeared, various graphical techniques have been introduced for regression diagnostics and they have been remarkably developed. In particular, animation, one of the dynamic graphical methods which Cook and Weisberg (1989) proposed helps to show the effect of adding variables or observations to a model, or removing them from a model on the regression results. We present the added variable plots (AVP) with animation, which can be used as an optical tool of understanding the affect of some variables or observations on other variables, and the detrended added-variable plots (DAVP) with animation, through which it is possible to find out whether specific variables or observations have an effect on the nonlinearity of other variables or not.

• Journal of Science of Art and Design
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• v.8
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• pp.45-61
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• 2005

The 2D animation screen is a screen work that is produced on the plane. So, it is superficial in terms of space. Therefore, we expressed via picture technique that uses the movement of camera and back-ground in order to recreate the image of realistic feeling that has multiple effect. Though all multiple-effects were expressed realistically in the early Disney animation of the United States, Japan used the expression of Follow Pan profoundly to provide the animation with economic expression of picture and the depthof screen in order to realize a new technical expression of limited animation while it was producing TV series works in 1960s. Now it is positively expressed even in the United States, too. This study tries to analyze the example that applied the long piece works of Japan which was expressed via the Follow Pan, that is, the movement of camera, to the real approach.

• Cartoon and Animation Studies
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• s.49
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• pp.611-631
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• 2017

At first there was practice, then festivals and theory followed. Compared to the animation production, which is older then the medium film itself, festivals and theory in this area started with a delay. While animation programs where shown in film festivals like Cannes since the mid 1940s, the first animation festival in Annecy, France was founded in 1960, followed by several short-lived events in Romania, Italy and Tokyo and finally in 1972 by the second oldest festival up to date, Animafest Zagreb. Animation theory evolved in the late 1980s in the Anglo-American area with associations like the Society for Animation Studies, following its 'big sister' film studies. Expanding ever since as a research area, European animation studies in e.g. France, German speaking countries, Poland or Croatia have been catching up in recent years by organizing theoretical conferences and publications. A vivid synergy between practice, festivals and theory has always been a key factor for establishing a platform for the art form and culture of animation. However, in the past few years a trend could be observed towards a more intense interaction between animation festivals and theory. Animation festivals are hosting theoretical and scientific symposia or conferences, which are open for artist positions and insights into the industry. At the beginning of the lecture a short reflection of the concept of Animafest Scanner itself is followed by an introduction of the Symposium Expanded Animation at the media festival Ars Electronica Linz. The talk will subsequently focus on the multilayered academic symposia at the Festival of Animated Film ITFS and the International Conference on Animation, Effects, VR, Games and Transmedia in Stuttgart. These case studies will reveal the blurring boundaries between art, science, theory and industry as well as the specificities of the interplay between artists, practitioners, scholars, curators and festival visitors in different formats.

• Cartoon and Animation Studies
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• s.31
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• pp.249-266
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• 2013

The purpose of this research is to study a case of the minimalism on Game Graphic User Interface design in Computer game. It is to analyse the minimal tendency on Game Graphic User Interface design in several Computer games such as Prince of Persia, Mirror's Edge, Splinter Cell, Gears of War, Call of Duty4, Metro 2033, Crysis2. These games expanded the field of Game Graphic User Interface design with the unique form of minimalism. Minimalism came from the formative arts in the 1960s and influenced to other fields of art. It seems to be an expression of various styles that promptly meet the needs of the times. Therefore, in this research, I would highlight the phenomenon of minimalisation in Game Graphic User Interface design and research the influence of Minimalism that appears in modern design focused on "simplicity" and "minimum" which are representative trend of Minimalism.