• Cartoon and Animation Studies
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• s.36
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• pp.91-119
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• 2014

This paper analyzed and compared the storytelling of female characters in Korean, American, Japanese animations and revealed the ideal image of woman of each culture. Chapter 2 analyzed the superficial images of the female characters and figured out how these images reflected awareness of a reality. This paper revealed that female characters act as a representative cultural symbols and embodies the paradigm and the order of those cultures. In Chapter 3, this paper analyzed and compared how the female characters solve the dramatic events in the entire narrative structure, and revealed the cultural implications of their action and these events. Korean characters were imitating the idols as an extension of the real world, and American characters were drawn as unreal Super Heroes who were utilized to enhance the order of the world if the United States. Japanese characters, the magical girls are led to create a magic circle and then become surreal goddesses. In this way, this paper revealed that female characters in animation reflect the male-centered ideology of each culture according to the awareness of a reality and cultural paradigm.

• Cartoon and Animation Studies
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• s.19
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• pp.65-88
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• 2010

The purpose of this article is to investigate the relation the animation to culture archetype, focusing on the case of the matter for animation content creation. Furthermore, in the paper, we also study about the animation industry development using various cultural archetypes such as the tale, myth, legend, folk tale, which are usable for animation content industry. For purposes of this study, we analyzed the aspects of power of folk tale and the essential vitality of folk tale in KBS Satellite Channel's and Michel Ocelot's $\grave{e}$re>. Above all, the origin of literature, folk tales are characterized by their uniqueness of each people as well as the global universality, being reproduced over and over again in oral literature. In the existent mode, folk tales have a firm structure because of storytelling, and have characteristics of performance and tradition on the basis of this structure. These characteristics can make emotional experience deepen and insure quality of narrative experience through direct communications. In this context, comparing folk tales of diverse forms of each nation and discovering the ethnicism and universality would not only be critical in the animation content development aspects, but provide precious data for effective animation marketing to apply One Source-Multi Use.

• Cartoon and Animation Studies
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• s.49
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• pp.25-52
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• 2017

As the expansion of the cultural industry expands, various competitive structures are formed and the methodologies for producing commercial success are being discussed. Among them, Hollywood studios use political relationships and apply ideologies that can produce the best interests. Also, they use a structure that can convey this ideology, which is a mythology. The myth has satisfied the public for a ling time. Campbell suggested that strategies come from the myth, and the ideology emerged as a result of what mythology has to do with existing powers. Disney and Dream Works use the mythology and combine their own values into ideology. Disney and Dream Works choose conflicting ideologies in a different growth background. If Disney is recognized as an educational animation by the ruling class, Dream Works are supported by the public for their actions against Disney. Disney has conservative and patriotic personality, Dream Works is more liberal and progressive. Disney's structure came out first, and Dream Works parodied it. So we can compare Disney and Dream Works with similar myths to create a storytelling structure that embodies ideology. As a result, Disney and Dream Works have been choosing the 9 stages the key of Ideology form the 17 stages of the mythology and reduced them to the introduction, growth and completion. In the first units of the introduction, Disney dealt with the subject of social leaders who sacrificed to the ruling class and Dream Works hinted at the overthrow of the ruling class through the irony. If Disney had deployed colored races in the main characters, Dream Works used a variety of races from the main characters to others. In the second units of growth, Disney organized the process of accepting the value of the ruling class, and Dream Works showed the individual values, not the values of society. In the third units completion, Disney showed the main character who live in the world of the ruling class rebuilded, and Dream Works removed the ruling class and went back to the Individual life. Through the structure of Disney and DreamWorks, we learned how to utilize the mythical structures that transform according to ideologies. The right way to organize works will require the strategic approach to storytelling.

• The Journal of the Korea Contents Association
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• v.16 no.11
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• pp.29-37
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• 2016

With the emergence of SNS, TV, newspapers and radio, which are one-way communication media, have become less important. Therefore social networking enables social networking beyond the constraints of time and space, and communication and emotional communication required for social relations have emerged as a factor in the importance of social media. Social media, which is based on rapid connectivity and scalability, is an medium of expression that is advantageous for companies and consumers to communicate more easily than traditional advertising media. Advertising can form a consensus that consumers and companies can create an atmosphere of friendly conversation because of the social media that has the efficiency of communication. This study compares two ads. One is the advertisement of 'Bear and Hare', an animation of John Lewis department store in the UK, where a new form of advertising marketing strategy is fused with emotional storytelling and social media. The second is an advertisement of LG, 'I love you LG' to be. Social media should be remembered as a warm and loving company in the heart of customers through open communication with customers, rather than companies that pursue merit profits by using social media ads as a medium of emotional transmission to consumers. It is a study on useful advertising strategy that can pursue the sales of the company at the same time.

• Cartoon and Animation Studies
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• s.49
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• pp.299-323
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• 2017

Interests to cultural prototype as a material of cultural contents are getting more increasing nowadays. One of them is myth. The important thing when you are dealing with the myth as the material that how to convert prototype narratives. Today, digital culture is becoming one of the essential elements of mankind, that is a new sociocultural phenomenon and distinguishing differentiation from the past analogue era. In this regard, the combination of mythology and digital culture is effective strategies for transforming storytelling that can resonate with people who are not familiar with myths. puts the view both of this world and underworld, mythical characters, and various elements of the Grim Reaper into the story. And combines them with digital elements. sets the world that the transcendental soul exists as physically transferred data form. and reinterprets the traditional mythology world into the digitally operated world. Soul-Phone from this anime reflects the digital culture such as storage and transmission, and helps enjoying audiences accept the unfamiliar world of myth. And also It symbolically shows dystopian viewpoints through side effects can caused by digital technology development, such as the instrumentalization of human being, the risk of communication through digital media, and ego-loss caused by duplication, etc. In conclusion, forms a consensus with the audience through the transformation strategy of storytelling that converts the world of myth into the digital world. And it reflects the dystopian view and shows a differentiated world view from the narrative of myth.

• Cartoon and Animation Studies
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• s.51
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• pp.361-390
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• 2018

Users of KakaoTalk emoticons use Kakao Talk emoticons as means of communicating their emotions in virtual space. Emotional state is represented by design element (auxiliary, color, form, motion) and storytelling element contained in emoticons. The purpose of this study is to investigate the factors of the storytelling and design elements of kakaoTalk emoticons and how they prefer the kakaoTalk emoticons as emotional expression means. In terms of storytelling, crocodiles, peaches, dogs, ducks, lions, moles, and rabbits were made up of ordinary fruits and animals. Most of the emoticons are composed of stories with unique personality, and each story has a complex one by one, which makes it easy for users to approach and use them. In terms of design, I used various auxiliary elements (flame, sweat, tears, runny nose, angry eyes, etc.) to express angry, sincere, nervous, begging, joy, and sadness. The color elements consisted of most of the warm color series with the unique colors (green, red, yellow, pink, white, black, brown, etc.) of emoticon characters regardless of feelings of joy, anger, sadness, pleasure. The form factor is composed of a round shape when expressing factors such as joy and sadness. On the other hand, when FRODO and NEO express sadness and anger, they represent the shape of a rectangle. The motion elements are horizontal, vertical, and oblique expressions of APPEACH, NEO, TUBE, and JAY-G, expressing emotional expressions of sadness, anger, and pleasure. APEACH, TUBE, MUZI & / Shows the dynamic impression of the oblique and the radiation / back / forward / rotation. The anger of TUBE and FRODO shows horizontal / vertical / diagonal and radial motion. As a result of this study, storytelling is structured in accordance with each emoticon character. In terms of design, auxiliary elements such as flame, sweat, and tears are represented by images. The color elements used the unique colors of the character series regardless of the difference of emotion. The form factor represented various movements for each emotion expression. These findings will contribute to the development of communication, emotional design and industrial aspects. Despite the significance of the above paper, I would like to point out that the analysis framework of the storytelling and the semiotic analysis of the supplementary elements are not considered as limitations of the study.

• The Journal of the Korea Contents Association
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• v.12 no.10
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• pp.43-53
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• 2012

It is well known, with many researches, that identification is an important element for inducing audiences' emersion. If the director makes the audience to see with the eyes of characters, be identified, and understand the movie situations, the narrative can be transferred more effectively. The directing method of identification for visually connecting the characters and the audiences is studied. The effectiveness is verified by comparing animations and analyzing the responses of audiences. The authors want to establish the basis of directing the identification for real production.

• Cartoon and Animation Studies
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• s.32
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• pp.363-381
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• 2013

In this paper, on the web, offline mobile learning content to reinforce the learning of the video frame-by-frame necessary for re-learning area to capture only the important areas. The frame of the captured image and the image in the form of advanced training time saved and also a description of the notes feature to store. The area needed for the capture area re-learning the learner to learner-centered custom systems can be applied. In order to capture the learning program, regardless of the configuration of the selected frame by frame in order to capture the user-centric storytelling-based learning can be applied. Capture the full effect of the system compared to learning and learner-centered learning time-saving reconstruction of the frame according to the customized learning to play a positive role in improving effectiveness.

• Proceedings of the Korea Contents Association Conference
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• 2008.05a
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• pp.166-169
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• 2008

There is necessity that Manhwa in culture contents industry must establish more systematic process to be activated as original contents. Also, through theoretical system and analysis standard, must have industrial mind that have drawn interest elements. This paper has purpose that wish to establish systematic process of Manhwa drawing component. So, that wish to improve industrial efficiency. By the result, I presented process of Manhwa production by basis creation, story composition, storytelling, frame-layout, and drawing and drew each component and the result that detail step by step.

• Cartoon and Animation Studies
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• s.26
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• pp.31-56
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• 2012

This is a scientific study of subjectivity on recognition types and preferences of animation audience. Therefore, Q-methodology was used as a methodology of this study. As a result, it was possible to find the various characteristics according to the preferences of audience on animation genres. The features of each type were classified into 3 types. First was an artistic and literary value-oriented type that explored storytelling and descriptive value. Second was a pictorial and aesthetic value-oriented type that explored visual beauty such as characters and Mise en scene. Third was a visual and entertainment value-oriented type that explored entertainment factors and attractions. Thus, according to the classification of preference types, it was inferred that digital image generation audience with an active preference that can create and consume images have developed a tendency that independently consumed their preferences based on thoroughly personal or subjective preferences rather than classified and accepted their preferred culture as their symbolic expressions of hierarchical position. In this aspect, Q-methodological consideration that is useful to analyze the subjectivity of audience could be a significant work. Nevertheless, this study alone could not reveal various generative contexts of specific preferences. It seems to have more significant results by applying various qualitative or quantitative methodologies together with this study and analyzing recognition types and preferences of audience.