• Cartoon and Animation Studies
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• s.21
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• pp.19-32
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• 2010

In this essay, Japanese independent animator Koji Yamamura's works were analyzed. As understood from etymology of 'anima', animation is the expression media in which creation of moving image is assumed to be essence. In the independent animation, possibility of animation to the essence shows by the most original and experimental method. And it contributes to diversification of the animation style. Yamamura keeps producing animation independently from the 1980's, and he designed and tried technique and theme of new ideas. Here, on Yamamura's early and after works, his animation method considered by analisis of experimental attempt in technique and theme. In the case of Yamamura, he variously experimented technique on his early works and it was made foundation. And, after , Yamamura searched by the method to harmonize form of animation with content treating drawing animation technique with allegorical theme. Especially, independent animation in Japan has developed growing spontaneously. Therefore the individual aesthetics of Japanese independent animators can be discovered indeed variously intheir creation activity and work. So the importance of independent animation is recognized by concretely analyzing the case of Japanese independent animator. In addition, the way used on the side of possibility of animation expression tries to be considered individual case.

• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.143-153
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• 2022

Any kind of animation film are almost inseparable from the role of characters, with distinct personalities, and well-created characters are not only the expressors of narrative and themes, but also the ones who communicate with the audience and form resonance. Nowadays, with the improvement of the public's aesthetics, the production of excellent animation, the characters with a single personality have been almost eliminated. So how to create a profound role has become a topic worthy of study. This paper is based on Freud's theory of personality structure and ego defense mechanism. The main research object is the main character of the animation film "The Tale of The Princess Kaguya". At the end of the thesis, by analyzing Kaguya's image characteristics and individual pursuits, it explores director Isao Takahata's understanding of character shaping. In this way, it also provides a reference to produce animation works.

• Journal of Multimedia Information System
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• v.7 no.2
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• pp.157-164
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• 2020

Considering the frustration affordability level of college entrants and investigating the frustration tolerance of undergraduates in Shenyang City University, this paper provides the basis for the research of improving frustration tolerance of undergraduates through quantitative research results and applies film therapy to the frustration regulation of college students by discussing the role of film therapy in improving frustration affordability ability of college entrants. This paper has concluded that the necessary of improving the frustration tolerance of college students in Northeast China and the feasibility of the film therapy programs on improving the frustration tolerance of college students in Northeast China. Meanwhile, this paper shows that the principle of film selection in film therapy should be based on the requirements of the aesthetics of the film industry in the IT environment. This paper provides a reference for refining the target of film therapy for film therapists to better apply film and television psychotherapy technology, and a basis for the film therapy activity program; Furthermore, it also has a certain reference significance for film and television media workers.

• 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.17
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• pp.133-146
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• 2009

In modern days, the iconic symbolicity of animal characters functions as a sign by the social promise after being made with voluntary intentions. Representing a public organization or corporation, an animal character is put to active use as a symbol. Today illusionary animal characters serve as important icons, and product developers incessantly put out animal contents. This study set out to examine the applications of animal characters in modern times according to media development by integrating animal characters into animation, which was the beginning of animal characters, based on the theoretical background of "symbolicity" in the aesthetics history. It also analyzed the symbolicity of "Haechi," which is Seoul's animal character and one of the good examples of utilization of a promotional animal character by a corporation or public organization.

• The Journal of Korean Philosophical History
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• no.39
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• pp.221-235
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• 2013

Through the comparative analysisand inductive research on main creation styles of Chinese, American and Japanese animation films, a conclusion can be given out, which means that the animation film style of each country can hardly be formed without their own traditional painting art, aesthetics habits and ways of thinking. It is these characteristics that form their unique animation film style. America emphasizes realism art, development and utilization of new technology, Japan pays sepcial attention totraditional painting art and comic stories. In business aspect, they bring about different business models relying on the experience of satisfying the diverse needs of domestic and global entertainment markets. When it comes to the content field, they carry forward universal values and meet the individualistic heroismso that a variety of business animation films and art animation films find their ways into the global market and acquire great popularity among audiences from all over the world. Through the comparasion of American and Japanese animation films, a new view to analyze the animation films of China is created. Animation creation is largely based on the need of socialist ideology from 50s to 80s. Even though the purposes of animation film creations returned to satisfying the diverse requirements of commercial markets and audiences, the consequences, such as the break gap of creations and talents, the lack of diverse creative styles and commercial market operation mechanism, sitll affect China's animation films today. Japan found thier position from the American model and became successful. Nowadays, China need find our own creative style and position from American model and Japanese model. And the systematic reformings that are detailed in the government managements, industry standards, internationalized talents cultivation and accumulation are the essential point.

• Archives of design research
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• v.16 no.4
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• pp.225-232
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• 2003

A German philosopher, Herbert Bolz predicted that the human way of thinking would be fundamentally and completely changed because of digital media and the 'Gutenberg-Galaxis', named by M.McLuhan which was symbolized of modern reason was doomed to be over. He thought that the limit of reason-centered European culture would be overcome by the up-to-date multimedia to revive the communication life. On this theory, he emphasized the emotional perception, 'aisthesis' which is original meaning of aesthetics. That is to say, he insisted on the restoration of communication media to enable the five senses' amusement condition mentioned by Kant. This thesis asserts that the representative hypermedia digital animation may play a key role to rehabilitate human sensibility pressed by reason centered modernism. Digital animation has the unique worth of Art that is firstly to deal with time and space and enable unlimited expressions and can communicate effectively as a characteristic synthetic medium which consists of intensive computer techniques. Based on the background, this thesis analyzes the possibility of the digital animation as a new medium. Especially, it is focused on the relations to the hypermedia theory of Norbert Bolz who is a media analyst and professor of a design college.

• Proceedings of the Korea Contents Association Conference
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• 2005.11a
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• pp.153-160
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• 2005

It is within bounds to say that the mood expressed in the Scenes of 3D Animation influences by mostly setting up of 3D CG lighting. Tn the context of CG, lighting is the process of illuminating digital scenes in an artistic and technical manner so the audience can perceive what the director intends to display on the screen with the appropriate clarity and mood. The lighting has the role of making the scenes beautiful and harmonious as an aesthetics of light and color created and controlled by people. It can be also stylized in symbolic and metaphorical methods environmental mood which we pursue to expose and story which we want to express. It thus appears that the concept of lighting style is intimately related to the particular context and art direction of animation film. But unfortunately, there are no foolproof formulas to the process of lighting a scene. In short, the lighting contributes to define the style of the scene as a conditional lighting setups' elements including position, color, intensity, shadow's area and scope. But at the same time, we must not overlook the artistic aspects that the lighting might suggest over all moods the animation genre and the style of scene like tranquility, suspense, and high-drama.

• Journal of Digital Contents Society
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• v.16 no.5
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• pp.699-706
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• 2015

Never Ending Story is an animation work about the stories of the Japanese Sex Slavery Victims who were taken by the Japanese military and forced to sexual slavery, which tormented them with painful memories all their lives. This animation work stimulates the critical perspectives of the audiences in order to ensure a history-based approach based on facts. And, unlike general character animation works which pursue immersion and empathy through illusion of life that are created by the characters, this work demands the audiences to contemplate on historical facts described in the work and make their own judgements. In order to serve these purposes, this work is characterized by its aesthetics properties and elements such as 'sympathy', 'typification', and 'alienation effect'. And, these elements effectively deliver the reality of historical facts that cannot be denied in a chronological narrative. Therefore, this study would sufficiently be of a value in reviewing the diversity in expression and the methodologies used in them, let alone the significance of the theme itself.

• 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.