• Journal of Korea Multimedia Society
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• v.18 no.2
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• pp.260-267
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• 2015

The Ministry of Culture, Sports and Tourism has been implementing the 'Local Government 3D Contents Production Support Project' since 2010 to foster the 3D contents industry and secure high-quality 3D contents of local governments. This is part of national support for securing 3D media contents of local governments. In particular, stereo-scopic 3D animation is in the spotlight as media contents appropriate for simultaneous implementation of pleasure of narrative and high-level of presence to promote tourism resources of local governments. But existing stereo-scopic 3D animation-related studies are mostly concentrated in three dimensional effect expression for particular scenes or theater. Therefore, this study extracted elements required for storytelling planning by analyzing production cases of stereo-scopic 3D animation using tourism resources of local governments which have been recognized for a high quality of work.

• Journal of Digital Contents Society
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• v.18 no.1
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• pp.79-85
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• 2017

Since Korea started producing original animations targeting children, market of character for children has been led by TV animation with continuous broadcasting and OSMU. With a successful fondation in animation toy industry, its market is expanding to film industry, at the same time, brings positive effect for benefit of domestic animation. Therefore, this study researched viewing rate of children's TV animation and analyzed character storytelling to help foster and grow the direction of future animation characters. For the analysis, I selected 20 animations with high viewing rate and analyzed the storytelling of 95 characters based on their roles. The results of this study are as follows: in children's animation appeared various types of characters helping each other to make the viewer learn socializing. In addition, character's external setting varied depending on its role. Moreover, in the characters' internal setting, the most frequently appeared keyword was leadership, however, their personality keyword varied depending on the role.

• Journal of Digital Contents Society
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• v.18 no.7
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• pp.1217-1226
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• 2017

The Disney Studios have been aiming at the animation storytelling of the signification system that the contemporary audience can universally accept. And it can be said that such storytelling is aesthetic expression based on the contemporary mainstream dominant mythology. Seen from this perspective, the changes of the masculinity of male characters that are represented in the Disney feature animation Frozen are not just a simple aesthetic phenomenon but a strategy of animation storytelling that reflects the contemporary cultural and social trend. The gender identity of the male characters of Frozen is completely freed from the existing stereotypes about Disney feature animations, and it positively presents the changes of the gender roles that reflect the changes in social value and the needs of the times.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.2
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• pp.807-814
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• 2014

The purpose of this study is to analyze storytelling factors and mathematics contents of 'Eddy, the clever fox' on TV animation. The scenario and animation were analyzed according as criterion based on relevant materials. The results are as follows: First, Characters are 11 animals, Eddy is a problem solver. An ordinary story happens in the snow-covered woodland village. There is no story plot. And the story consists dialogue, song and narration. Second, mathematics contents in the animation appear in order number sense, geometry, measurement, data analysis and probability, pattern. So 'Eddy, the clever fox' is valuable as edutainment.

• Cartoon and Animation Studies
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• s.29
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• pp.61-75
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• 2012

The essay explores the narrative structure of the classical Chinese feature animation, (a.k.a. Da Nao Tian Gong, 1964). The film is presented with a modular structure which is quite unique compared with the storytelling in feature animated films from other cultures, but could be connected with the tradition narrative structure in Chinese Zhanghui style novels in Ming and Qing Dynasty. By relating the original text of the story, the 16th century novel Journey to the West (a.k.a. Xi You Ji), with the film , the essay addresses the question of how the narrative tradition in Chinese classical literature influenced the Uproar in Heave for its segment narrative structure, character driven storytelling strategy and mirrored repetitive 2 plot lines. The subject of this essay is even more significant after the restored 3D version of was re-released in the spring of 2012 and became one of the best-selling animated feature film in the history of the country.

• Proceedings of the Korea Contents Association Conference
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• 2007.11a
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• pp.622-626
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• 2007

As the time of edutainment has come, the importance of storytelling is attracting attention gradually in order to facilitate learners to receive and absorb information and knowledge. This research aims at observing how animations in the design of storytelling of edutainment affect elementary students and proposing learning-procedure and storyboard regarding to the storytellings based on animation. Thus, it could successfully establish plots and characters of the proverb learning appropriate to the elementary students and by applying them to the animations raise the importance of storytellings in the development of edutainment contents.

• Cartoon and Animation Studies
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• s.38
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• pp.217-236
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• 2015

Character business is generally synthetic business over the cultural barrier and it is highly estimated because it creates high added value as emotional business when emotional marketing is the hottest thing on the market lately. So, the long seller characters are regarded as important items much further. , the typical long seller character in Korea, succeeded in both the cartoon and animation with popularity and there are plenty of OSMU (One Source Multi Use) products spinning from it. Since 2000, however, the markets of comics, animation and characters have been departmentalized, and the characters which were analytically designed, have appeared. For these reasons, the characters market of is exceedingly stagnant than ever before. This is aimed at determining the reason why the characters market of is depressed focusing on the storytelling and then, displaying the innovation strategy for storytelling in .

• Journal of Digital Contents Society
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• v.18 no.4
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• pp.649-657
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• 2017

Hayao Miyazaki provides pleasure which go beyond the barrier of culture and language through realizing pan-cultural and mythical space which can communicate with the audience through unique, aesthetic expression. In his animation storytelling, diverse tangible and intangible symbolic elements based on the traditional culture inherent to Japan are actively utilized, and he provides the audience with the aesthetic pleasure of arbitrary interpretation and contemplation by composing the system of connotative signification through such symbols. In this process, he creates the value of the system of meaning which clearly conveys the mythical message of connotative meaning of the work through the aesthetic form based on the universal experience of confrontation and coexistence. It can be said that this is the communicative value of animation storytelling pursued by Hayao.

• Cartoon and Animation Studies
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• s.49
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• pp.221-246
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• 2017

Visual narrative or storytelling involve two important aspects of the cognitive perception: the conscious and subconscious. Color is one of the cognitive storytelling elements, its interpretation is captured by the subconscious and it is considered an emotional resource due to its psychological background. On the other hand, the character is also part of cognitive perception and storytelling tool, but this is interpreted consciously, character is considered as a logical resource. Ghibli and Disney have organized their cinematographic techniques in different ways, so it would be unfair to say that one narrative style is better than the other, it depends of perception of beauty which varies according to society. However the present study seeks to determine the differences between Ghibli and Disney narrative style, taking as reference color. Ghibli and Disney are perfect example about color effects as a storytelling agent, It can be classified in two aspects: dynamics of color and color as a narrative sequence. The dynamics of color analyzes how color acts and is perceived into a stage, its meaning and symbolism regardless of the character's actions. The narrative sequence studies how color thermologic evolves in scene's development.

• The Journal of the Korea Contents Association
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• v.12 no.7
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• pp.54-64
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• 2012

This thesis is on the identification pattern for immersion of visual storytelling and studied identification which is psychological action in the visual aspect. Shots which the audience were identified with character's eyes in animation were classified and connection structures of shot and shot were coded through semiological analysis. In shot's coded combination regularly organized, identification patterns which have characteristic meanings were discovered. These patterns which have characteristic meanings can be used by choice following the narrative situation. Therefore identification visual patterns which can be used in real production environment are to be suggested.