• Cartoon and Animation Studies
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• s.42
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• pp.25-52
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• 2016

Animation documentary is a hybrid genre that is newly highlighted with opposite properties. The actual world is reproduced with an unrealistic method in documentary aspect, but the objectivity of documentaries cannot be guaranteed as the boundary of actual pictures and digital images has become ambiguous. As the animation documentary by Ari Folman succeeded in 2008, the focus of this study is on 'how can fictional animations prove the authenticity of documentaries?' in which the study is mainly conducted in documentary aspect. For this, the researcher considers visual style research has important role in understanding and developing a new video genre, and asserts the necessity of research on reproduction image that is produced by the characteristics of animation which is produced in frame units. This paper has contents on the visual style of animation documentaries with pictorial reproduction methods in which animation images were classified into 3 styles based on previous research on animation documentary style. Visual styles are classified into actual image that is based on similarity with reality to deliver objective facts, image that is transformed through emphasis and omission which are factors of animations, and surrealistic image that reproduces non-visual regions such as illusions and the inner side of characters. Through this study that analyzes visual style types and characteristics, animation documentaries are expected to position as a hybrid genre that illustrates reality with a new method instead of being included in the existing reproduction method of documentaries.

• Cartoon and Animation Studies
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• s.45
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• pp.27-50
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• 2016

The present study argues that documentary-animation films, which are based on actual human voices, on the level of representation, constitute a new expansion for the medium of animation films, which serve as testimonies to the real world. Animation films are produced using very diverse techniques so that they are complex to the degree of being indefinable, and documentary films, though based on objective representation, increase in complexity in that there exist various types of artificial interventions such as direction and digital image processing. Having emerged as a hybrid genre of the two media, documentary-animation films draw into themselves actual events and elements so that they conceptually share reality-based narratives and are visually characterized by the trappings of animation films. Generally classified as 'animated documentaries', this genre triggered discussions following the release of , a work that is mistaken as having used rotoscoping transforming live action in terms of the technique. When analyzed in detail, however, this work is presented as an ambiguous medium where the characteristics of animation films, which are virtual simulacra without reality, and of documentaries, which are based on the objective indexicality of the referents, coexist because of its mixed use of typical animation techniques, 3D programs, and live-action images. Discussed in the present study, , , and share the characteristics of the medium of documentaries in that the narratives develop as testimonies of historical figures but, at the same time, are connected to animation films because of their production techniques and direction characteristics. Consequently, this medium must be discussed as a new expansion rather than being included in the existing classification system, and such a presupposition is an indispensable process for directly facing the reality of the works and for developing discussions. Through works that directly use the interviewees' voices yet do not transcend the characteristics of animation films, the present study seeks to define documentary-animation films and to discuss the possibility of the medium, which has expanded as a testimony to the real world.

• Cartoon and Animation Studies
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• s.45
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• pp.479-512
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• 2016

This is a practice-based research, aiming to explore the experiments of Animated Documentary, which is a unique form can explore the mysteries and complexity of memories. Animated Documentary is a medium through which one can reveal an individual's memories within the context of a narrative that is historically situated and influenced. The marriage of animation and documentary gave birth to a new form of film. How to category this new form? Is it an animated short or documentary short? In fact, this raises issue that questioning the nature of animation and documentary. From Shuibo Wang's works, more young Chinese artists began to experiment with symbols (related to the Political Pop Trend) in visual narration, which could also be seen as a reflection of structuralism and semiology in the contemporary Chinese art field. As a case study, this paper demonstrates how animated short "Ketchup" revealed the problems of youth and social turmoil through the memories of a six-year boy. On the Festivals and conferences, the publics were shocked to know "Ketchup" based on true memories, and they were more curious why the crucial things almost be forgotten. Actually forget fulness is one of the layers of memories and Animated Documentary will offer a new way to explore how our memories are shaped.

• International Journal of Advanced Culture Technology
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• v.10 no.4
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• pp.226-227
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• 2022

The most dangerous and safest place, the busiest and most serene place, the DMZ where the wounds of the bitter war melt away, but at the same time contain life and healing. In this space of paradox, we now want to look at 'peace'. The KTV documentary 'DMZ Coexistence' is made in the form of a human road documentary that consists of various perspectives looking at the DMZ, various characters, and the most unknown Korean story materials, and the stories related to the performers in UHD 4K. In this study, we will show the process of creating an 'opening title' of 'DMZ Coexistence' captured in 4k and make it usable in academia and industry in the future.

• Cartoon and Animation Studies
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• s.27
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• pp.199-219
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• 2012

An innovative narrative film-making always came out of conflict and negotiation between reality and film form. A lesson we learn from their film-making is a certain reality is no more possible to be dealt with by conventional narrative. A dialectic between a real life and a representation drives a certain film-makers to make films. Kore-eda Hirokazu is internationally known as developing his own method of meshing of so-called real life and the artifice of film. As He began his career as a documentary film-maker, made several documentaries for TV and then turned to his feature film-making, documentary film-making defines the basic stance in all of his film-making. He in particular emphasized that he considered the fundamental ethical standpoint of documentary to be filming from the standpoint that one does not - or cannot - know the person one is filming. And therefore even in his fiction films he avoids subjective cinematic structures that offer easy access to the internal states of his characters. He makes his audience observe the internal states of his characters from the outside with his narrative strategy. This article will analyse two documentary films of Koreeda Hirokazu in such a way that his documentaries meshes a real life and the artifice of film and then explores such a fiction film like that changes its documentary methods into narrative strategy for the same effect on the audience.

• Cartoon and Animation Studies
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• s.45
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• pp.259-282
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• 2016

Documentaries are being recreated into a new genre and the Web Documentary is the typical case. Web Documentaries are the documentaries those comprise creators and users and they are the novel type of text that the interaction with users is absolute. In this research, two Web Documentaries and are analyzed for examining how Web utilizes its features as expressive media inducing users to experience reality. Web Documentaries have dual and spatial structure that allows user interaction and make users to face with various information and knowledge about reality by its encyclopedic characteristics. Also, Web Documentaries give the role of progressing documentary and expanding text to users and that is, they stimulate users' consciousness reminding that they are the ones who explore through reality. In this process, users of Web Documentaries get potentiality of critically examining the reality suggested by documentaries and grasping the meanings beneath it. These features make Web Documentaries special contrast to traditional documentaries not only with their way of pursuing the reality but also with their meanings. This makes the innovative position of Web Documentaries phenomenon clear, issuing the necessity of the discussion about Web Documentaries more strongly. Web Documentaries are not just new media technological phenomenon, and they have their significance as a fundamental challenge toward traditional documentaries.

• Proceedings of the Korea Contents Association Conference
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• 2015.05a
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• pp.425-426
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• 2015

With the progress of science and technology, animation is no longer about simply describing the nature. People's imagination is elevated to new stage, which not only improve the image in the reality, but also create the absent image in the reality. To analyze according to the existence, these characters have two basic elements. The one is the character existing in the reality, we process and design it according to the artistic technique, so as to make it service for the plot and film (hereafter called documentary character). The other is the character not existing in the reality (hereafter called conceptual character), which is called simulation image by Baudrillard.

• Cartoon and Animation Studies
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• s.45
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• pp.397-415
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• 2016

This paper will investigate how animated practice can be a research form as practice-led research in an ethnography approach. This practice-led research will explore the issue of the construction of contemporary identities (based on the strange case of Dr. Jekyll and Mr. Hyde) and in particular, the Korean youth culture and identity, exemplified, for example, creation of 'avatars' in the virtual characters of animated online games such as Massively Multiplayer Online Role-playing Games (MMORPGs). In this proposed discussion, I will argue that the sudden period of change in contemporary Korea bears some resemblance to the Victorian era as explored in gothic fiction (e.g. Jekyll and Hyde). In this sense, my animation investigates the connection between the fictional Jekyll and Hyde and a real murder incident by a young Korean boy, which actually happened on the 16th November 2010, in SouthKorea.I will, therefore, construct this practice-led research to obtain the primary data consisted of online and offline practices in 'social ethnography'. These practices engage with specific Korean youth identity, comparing the 'avatar' with the real lives of participants. However, this paper will only focus on the (ethnographic) research process and strategy, using animated (visual) practices, rather than giving the meaning of the specific case of 'Korean-ness'. Eventually, I will explore the four different animated representations as it presents the distinctive animated realties or documentaries by online and offline practices. My intention is to visually interpret the issue of 'Korean-ness' within its socio-cultural context, adapting the convention and code of Jekyll and Hyde concept into an animated documentary in the 'virtual' world (auto-animated documentary by recording avatar interviews and online game footages) and the 'real' world (self-created animated documentary, based on real people and events).

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.277-280
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• 2009

When an old-fashioned contents are combined with the digital contents, it will be emerged as q results of new genre. And if it is applied for business and industry, to develop it into a digital culture. Animentary combines the attributes of the animation in the documentary. Through this convergence content, old story is convert to new story and is recreated with a new method of storytelling and imagetelling. This research is to discover, convert, and recreate a story buried in the everyday life and also is to propose animentary production process recreated in the digital paradigm.

• Cartoon and Animation Studies
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• s.39
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• pp.157-182
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• 2015

Mr. Folman, an Israeli director, used a highly stylized form of animation in a decidedly adult way to make his documentary about the 1982 war in Lebanon, "Waltz With Bashir," in 2008. After 5 years, he has used another distinctive approach, fusing animation with live action in his latest film, a trippy and surreal undertaking called "The Congress." He dismantled the means through parodies, the core of post-modernism art and built a new meaning to create a unique world view and unique aesthetics. In this study, parodies of the modern concept of post-modernism being used as a major strategy in the creation of art have appeared the four characteristics of post-modern parody: 1) intertextuality, 2) dissolution and fusion of genres, and 3) strengthening of irony, and 4) pastiche. This study is characteristic of post-modern parody that discusses the relevance of contemporary parody and postmodernism being developed by analyzing how they appear on the practical work. Furthermore, through analysis of "The Congress", this study discusses the post-modernist world view and the creative way of creating an experimental art with parody.