• Cartoon and Animation Studies
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• s.37
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• pp.509-537
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• 2014

This paper proposes 'postfilimc metamorphosis' and 'reanimation' as two concepts that aim at giving account to the aesthtetic tendencies and genealogies of what Suzanne Buchan calls 'pervasive animation', a category that refers to the unprecedented expansion of animation's formal, technological and experiential boundaries. Buchan's term calls for an interdisciplinary approach to animation by highlighting a range of phenomena that signal the growing embracement of the images and media that transcend the traditional definition of animation, including the lens-based live-action image as the longstanding counterpart of the animation image, and the increasing uses of computer-generated imagery, and the ubiquity of various animated images dispersed across other media and platforms outside the movie theatre. While Buchan's view suggests the impacts of digital technology as a determining factor for opening this interdisciplinary, hybrid fields of 'pervasive animation', I elaborate upon the two concepts in order to argue that the various forms of metamorphorsis and motion found in these fields have their historical roots. That is, 'postfilmic metamorphosis' means that the transformative image in postfimic media such as video and the computer differs from that in traditional celluloid-based animation materially and technically, which demands a refashioned investigation into the history of the 'image-processing' video art which was categorized as experimental animation but largely marginalized. Likewise, 'reanimation' cne be defined as animating the still images (the photographic and the painterly images) or suspending the originally inscribed movement in the moving image and endowing it with a neewly created movement, and both technical procedues, developed in experimental filmmaking and now enabled by a variety of moving image installations in contemporary art, aim at reconsidering the borders between stillness and movement, and between film and photography. By discussing a group of contemporary moving image artworks (including those by Takeshi Murata, David Claerbout, and Ken Jacobs) that present the aesthetic features of 'postfilmic metamorphosis' and 'reanimation' in relation to their precursors, this paper argues that the aesthetic implications of the works that pertain to 'pervasive animation' lie in their challenging the tradition dichotomies of the graphic/the live-action images and stillness/movement. The two concepts, then, respond to a revisionist approach to reconfigure the history and ontology of other media images outside the traditional boundaries of animation as a way of offering a refasioned understanding of 'pervasive animation'.

• Cartoon and Animation Studies
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• s.48
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• pp.311-332
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• 2017

Currently, the world is making efforts to develop cultural industries around more refined parts of the world. The development of cultural industries has far-reaching implications for promoting national brands and national image promotion as well as economic benefits. In particular, China hopes to advance into its own animation market because it has an extensive animation market. In 2005 The Chinese government, however, banned foreign animation market from entering the Chinese animation market. However, at that time, Chinese animation firms also saw considerable economic losses because they had to undergo almost everything from animation to distribution to rationing. In fact, the policy was designed to protect Chinese animations, but instead of preventing Chinese animations from developing original contents, it caused various problems such as China's animations, or the development of Chinese animation industries. In this thesis, we will explore the policy related to animation industry in China, research and development of animation industry, and establish the direction of development of Chinese animation industry through suggestion of improvement in Chinese animation industry. For starters, we have diversified the contents of the Chinese animation industry by adapting the contents of the Chinese animation to the global market through the globalization of contents, stories and materials. Currently, animation is developing beyond 3D,4D and VR but there is no shortage of animation experts in China, so it is necessary to nurture specialized professionals by opening a related department in China. Also, the government will establish a National Animation Industry complex to work in various animation companies. We expect to develop cultural contents through mutual cooperation between animation companies in China and the sharing of information sharing and collaborative research.

• Cartoon and Animation Studies
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• s.34
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• pp.105-128
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• 2014

This study was aimed to analyze the disparities of 3D stereoscopic images in four well-known American animation movies. After Avatar (2009), lots of stereoscopic movies were developed in Korean 3D production. Almost all 3D productions in Korea, however, focus on the display images or TV series animation yet. In order to make many well-made Korean stereoscopic 3D animations in future, analyzing and comparing the disparities of 3D stereoscopic images is necessary and even mandated. First, I chose 40 cuts from each four American stereoscopic 3D feature films, including Despicable me 2, Epic, Monster University, and Turbo. According to the classifications of shot angles by Vineyard (2008), secondly I analyze the 23 different angular disparities of 3D stereoscopic images and displayed in tables. Demonstrated shot angle disparities in each scene would provide numerical information to animators how to design and make the 3D stereoscopic images. Making successful stereoscopic 3D feature film will be a huge turning point in the Korean animation field in future. This study would be a first trial to seek a new method to set ahead an outlook of numerical values of 3D stereoscopic images for better visual effects.

• The Journal of the Korea Contents Association
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• v.11 no.7
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• pp.131-141
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• 2011

Expression of color in national animation often delivered vaguely. This study will make up for vaguely meaning in terms of expression in color. And this study is intend to look the strategy and error of color in regional animation. This study is intend to arrange the situation of synesthesia effect of color which is applied as a keyword 'light' of Gwang-ju's image. Moreover, There is a bit difficulty in using synesthesia of color, but the use possibility is full of suggestions. Therefore, For regional animation, this study intend that in order to establish a new regional specialized animation, appropriateness of synesthesia effect of color in based animation is inspected and then the potential is emphasized.

• Journal of the Korea Computer Graphics Society
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• v.5 no.2
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• pp.43-52
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• 1999

In this paper, we present an animation toolkit based on motion mapping technique in a graphics user interface that can represent data structures necessary for generating character motions. The motion mapping means that an animation sequence generated once can be mapped to another object directly according a data structure in the graphics user interface. Users can generate animation sequences interactively using a mouse. These are obtained automatically by modifying motion data structures interactively. Compared with other conventional tools, the toolkit has different features that two hierarchical structures necessary for representing modeling and animation data are managed independently each other, and that animations generated can be applied to any other characters by connecting the two hierarchical structures in the user interface.

• Cartoon and Animation Studies
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• s.48
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• pp.23-44
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• 2017

This study explored aspect and intermedial characteristics at the beginning of the abstract animation and the semiotic meaning of abstract animation. Abstract animation was formed by arbangaridist, and there was an abstract painting on its foundations. The abstract painting belong to 'symbol sign' and do not represent specific objects. The abstract animation loses its object and we knew that the abstract animation itself to be object. Abstract animation is a category of ' media combination ' that combines abstract painting and music with intermediality. Abstract animation began based on abstract paintings, but was combined with music and time, and evolved into new media. The abstract animation was started by avant-gardists such as Walter Ruttman, Viking Eggeling and Hans Richter. They set aside their own time of abstract animation based on music. Oskar Fischinger was influenced by Walter Ruttman who completed abstract animation and went to America to continue his work. After Oskar Fischinger, John Whitney continued his genealogy using computer graphics. The abstract animation was faithful to the underlying meaning of the medium in the absence of the object for representation.

• Cartoon and Animation Studies
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• s.47
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• pp.125-148
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• 2017

This paper analyzes Korean aesthetic characteristics of Korean independent animation, which is closely related to artistic and social characteristics, by searching Korean independent animation image for the winner of "Indie AniFest", the only independent animation film festival in Korea. And social communication methods. There are three ways in which Korean Independence Animation shows the way of speaking through award-winning works. The first is a method of expressing feelings, impulses, and desires in a formative way, and a direct and sensuous image as in sign language or sound. In the second method of speaking differently with images, in the third method, It makes the voice of the fringe through the real world of the story sound as a story of reality. Animation is a medium that 'originalizes and communicates meaning' as an image, and has implemented and constructed a new way of speaking, which is different from existing social voices. Nevertheless, it is not easy to find a research that approaches animation from the viewpoint of social and political speech through images. Therefore, this paper is necessary for the balanced development of animation. In addition, this study can contribute to re - examining Korean independent animation from an academic point of view and to discover and evaluate fair value from a wider perspective.

• Cartoon and Animation Studies
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• s.13
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• pp.211-221
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• 2008

Animation programs are regarded as bad genre in the aspect of advertisement revenues due to relative low viewing ratios. But programming of animation can be considered positively in the aspect of channel loyalty and preference. This study is based on the assumption that if the scheduling of animation genres could bring out the improvement of channel image of broadcasting stations in the long term, the terrestrial broadcasters could reconsider the increase of animation programs. The research questions of this study are as follows: 1. What is the relationship between the programming ratio of animation genres and the concentration of viewing patterns? 2. How has the increase of animation programming influenced the channel image of broadcasters? 3. Why is it necessary to increase of reinforce the programming of animation genre in the new media platforms? The teenagers aged from 8 to 14 can generally make a decision which program they want to watch. Likewise, the adult viewers aged from 30 to 40 can make a selection which commodity they want to buy. The results of this study indicate that the adult viewers have showed the strong preference for the same broadcasting stations which they have been exposed to in their teenages. This result implies that in the new media environment, animation genre can lead the viewers' loyally and preference for the broadcasting channel for a long period.

• Cartoon and Animation Studies
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• s.34
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• pp.23-43
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• 2014

The development of the Internet in the 21st century had made a variety of cross-cultural environment so that animations also have evolved with new features to Web-Animation. In Korea, the web-based flash animation leap forward to the animation Utopia in the early 2000's, but did not last long. The web-based animations should attract audience's attention not only with it's minimum streaming capacity but also with showing it's best qualities as well, Therefore, the stimulating narrative strategies were mandatories for web-animation in 2000's. The absence of in-depth research on media, poor revenue structure, and the emergence of mobile games and e-learning industries made the web-animation become just a one-time/one-consumable content. There were no subsequent generation of korean web-animation ever since. In this study, I want to introduce and analyze the american web animation series, (2005) as a new type of web-animation in current digital culture, In particular, I want to discuss how this web animation appeal to the audience with its narrative strategies through using some aspect of the internet culture which's differentiated from traditional media based cultures. This research could suggest diverse narrative strategies for the future web-animation with new vision. Moreover, This also allows to look at latest web-animation trends and its new experiments.

• Proceedings of the Korean Society of Computer Information Conference
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• 2014.07a
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• pp.387-388
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• 2014

최근 2D 애니메이션은 세계적으로 애니메이션 산업이 디지털화 되어가고 있고 디지털 기술의 발전은 끊임없이 애니메이션이 발전과 진화를 거듭되어 오면서 기존의 표준적인 제작파이프라인이 제작 환경과 기법에 따라 독특한 형태로 발전되어왔다. CrazyTalk Animator는 초보자, 교육관련 종사자, 비디오 편집자 및 완성도 높은 캐릭터를 생성하는 전문가와 같이 고성능의 애니메이션 툴을 필요로 하는 전분가 등의 최적의 애니메이션 솔루션을 제공하고 있다. 본 논문에서는 CrazyTalk Animator를 통한 애니메니션 제작 방법으로 아바타 기반의 배경과 소품을 드레그 & 드롭하여 세트를 만들고, 캐릭터들을 카메라와 타임라인 트렉으로 조정하고 제작하여 2D 애니메이션을 제작하였다.