• Cartoon and Animation Studies
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• s.43
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• pp.103-122
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• 2016

Inside Out(2015) and The Spiriting Away of Sen And Chihiro(2001) have similar narrative structures and scenes. This paper aimed to compare and analyze the intermedial relationship between the two animations. The result of the study showed intermedial relationship between Inside Out and The Spiriting Away of Sen And Chihiro, which was produced and released about 14 years before. However, it was hard to say the former referred to the system of the latter and adopted it. When seen from the narrative structure of exposition, development, crisis, climax, resolution, in Inside Out, various motifs of The Spiriting Away of Sen And Chihiro were restructured, creating a new feeling. This study considered intermediality as something that a single medium overcomes limitations and is transformed through materials, or media, and an important way to provide consumers with contents of better quality, and using Rajewsky's frame of analyzing intermediality, compared and analyzed the relationship of the two animations.

• Archives of design research
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• v.17 no.3
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• pp.51-60
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• 2004

The esthetics of 'grotesque' and its entertaining values have many things in common with the characteristics and properties of animation as a medium of expression. The ways to express grotesque images in animation have expanded its realm of expression with the development of modern image digitalization technologies. The grotesque images that were expressed by the combination of photographs and animations and objet animations have been developing its disharmony in a more realistic manner with full 3D animation technology and realistic motions of virtual characters with motion capture. The subject matter also has become more diverse with the advance of modern scientific civilization. An example is the appearance of Cyborg(cybernetic+organism) characters and the grotesque images in the modern times mainly start to appear in animations dealing with the isolation of human beings among its characteristics. Also, the changes of the expression methods of grotesque images along with the development of visual technology development in the future will transform its methodological forms by changing its expression methods to VR forms and interactive visuals. Thus it is expected that the grotesque images and characteristics will change into a visual genre which emphasizes dehumanization.

• Journal of Digital Convergence
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• v.17 no.9
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• pp.327-335
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• 2019

In the 1970s, Korea actively produced so many animated works which is called the "golden age" of korean animation. However, Korea imported and subcontracted foreign animations than creating original works and, there has been a constant controversy that many of the korean animations imitated foreign works. Therefore, this paper aims to analyze the factors that caused this and its patterns, focusing on works suspected of plagiarism in Korean animation during the 1970s and 1980s. First, the focus will be on the definition and composition of plagiarism in art creation, secondly, on the political-ideological, industrial-administrational, production-structural, and copyright awareness aspects of the factors of plagiarized animation. Thirdly, 30 korean animations produced at the time will be analyzed on the degree of design theft and plagiarism based on six criteria focusing on characters' shapes and color arrangements. By analyzing the social factors and patterns of plagiarism, this study aims to provide a social and cultural understanding of academic value about the process of korean animation's development.

• Korea Science and Art Forum
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• v.30
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• pp.41-56
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• 2017

This study is an intensive study on Tae Rin Lee's research results. A linear system for Estimating the Strength of Super Personal Conflict (ESSPC) in animations is proposed. Tae Rin Lee has extracted the Super Personal Conflict (SPC) shots of animations, and obtained the strength through the experts' psychological test experiment. The purpose of this study is to find a model that automatically computes the superpersonal conflict intensity value (ESSPC). By utilizing these results, 1) 20 image feature vectors are suggested for analyzing the SPC, and 2) a linear system is found for auto-calculating ESSPC by using the pseudo inverse matrix. The proposed system shows 9.25% root mean square error and the effectiveness is proven.

• The Bulletin of The Korean Astronomical Society
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• v.44 no.2
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• pp.51.1-51.1
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• 2019

At the commissioning phase of KVN from 2009 to 2013, single-dish survey and monitoring observations were performed toward about 1000 evolved stars and about 60 relatively strong SiO and H2O maser sources respectively. Based on these single-dish results and VLBI feasibility test observations at K/Q/W/D bands in 2014, KVN Key Science Project (KSP) has started from 2015 and will be completed in 2019 as KSP phase I. Here we present the overview of observational studies on evolved stars using KVN. In KSP phase I, we have focused on nine KSP sources which show a successful astrometrically registered maps of SiO and H2O masers using the source frequency phase referencing method. We aim at investigating the spatial structure and dynamical effect from 43/42/86/129 GHz SiO to 22 GHz H2O maser regions associated with a stellar pulsation and development of asymmetry in circumstellar envelopes. Using the combined network KaVA (KVN+Japanese VLBI network VERA), KaVA Large Program titled on "Expanded Study on Stellar Masers: ESTEMA Phase I" was performed from 2015 to 2016. Based on ESTEMA Phase I, EAVN Large Program titled on "EAVN Synthesis of Stellar Maser Animations: ESTEMA Phase II" was also performed from 2018. The ESTEMA II project aims to publish composite animations of circumstellar H2O and SiO masers, which taken from up to 6 long-period variable stars with a variety of the pulsation periods (333-1000 days). The animations will exhibit the three-dimensional kinematics of the maser gas clumps with complexity caused by stellar pulsation-driven shock waves and anisotropy of clump ejections from the stellar surface. Adding three EAVN telescopes (Tianma 65m, Nanshan 26m and NRO 45m telescopes) with KaVA always secures the high quality of the maser image frames through the monitoring program.

• Cartoon and Animation Studies
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• s.33
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• pp.153-172
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• 2013

There are many cases that messages of boring contents of most contents with public interests appear on the surface. Audiences don't think these contents are interesting. It is true that animations cannot be generally boring when delivering messages of public interests. was produced to focus on making audiences experience that a global warming story, the boring and textbook contents is interesting. And it was composed by the multiform story to realize narration through audiences' participation by utilizing the characteristics of live windows, not just watching the animation. This paper examines the differences between theaters and live window through the case that was produced and examples which utilized interaction for audiences' participation based on this. It analyzes the differences between environments according to characteristics of places and audiences in the differences between the theaters and live window, examines the examples to utilize interaction focusing on the process that narration is gradually changed as response to user environment design and interaction for unspecified individuals, and suggests direction that animation should move forward as public art based on the results to show the animation in Millano Piazza. According to the characteristics of live windows, the audiences of are people in the streets who are heading for different destinations, not the ones who come to theaters to watch the animation. Showing the animation with narration to them was a new attempt. When it began to show it in Millano Piazza, the audiences were very satisfied with the experiences that the stories were changed as they participated in it by themselves and naturally thought of global warming problems. You cannot know how the message of change people's habits and thoughts for the present, but this attempt was an opportunity that animations play the social role. Many animations are being produced in the world. Most of them are being done to aim at theaters, TVs, and film festivals. They should meet audiences through more various methods. One of them is animations as public art. And can be the new attempt in this sense. And in the future, animations as public art should make efforts to show you interesting experiences that you can share thoughts to be able to live together. As art of various media is changing to the one which considers public interests, animations can be new types of public art by integrating them with various technologies.

• Journal of Science of Art and Design
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• v.11
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• pp.51-78
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• 2007

Entertainment Industry is a high value-added business and its market includes the whole world. With high-tech industry, it is said that entertainment industry strengthen country's competitiveness, and the Korean government is trying to find a way to develop the animation industry. Some domestic feature animations were made, but they failed to get sufficient audiences. Meanwhile, Shrek 2, made by PDI, has earned about 92,000,000,000$ through just theatrical revenue. The reason is that domestic animations are not exciting. Contents should have amusement in it. The humor is the most important thing to make fun. So this thesis suggest to analyse Humor Types in animations. It is based on several theories about Humor. The types of humor defined by the previous studies are summarized into (1) humor, (2) wit, (3) satire and (4) irony. I categorize the productive methods of visual humor into (1) visual pun, (2) visual parody and (3) visual paradox adopting Henri Bergson's theory of the production methods of humor. And I comment on humorous scenes of Shrek in points of design basic elements, such as (1) visual elements, (2) relational elements and (3) practical elements. And I classify humor responses into the incongruity theory, the superiority theory, and relief theory. Therefore this study suggest a reasoned method to categorize the humor types effectively for producing or analyzing various types of humor effects in animation fields.

• Cartoon and Animation Studies
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• s.51
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• pp.83-105
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• 2018

In the actantial model of Algirdas Julius Greimas, a story makes 3 kinds of relationships with 6 actants, and, in these relationships, the desires of subjects and objects are operated. And, when the subject performs its desire, there are both assistance of helper and disturbance of opponent. And, the object of desire wanted by the subject is provided by sender and receiver. Using this actantial model, this study analyzed the narrative structure of the animation 'Dalbitgungjeon', and, by rearranging the subject of capacity, examined general stream of communication. Korean animations have tried to approach using archetypes of Korean culture as motifs with various perspectives. But, it is true that, compared with foreign animations dramatized using cultural archetypes, Korean animations still have something to be desired. Thus, this study analyzed the narrative structure of 'Dalbitgungjeon' which was recently producted using archetypes of Korean culture as its motif, and, rearranging the subject of capacity, examined general stream of communication. By doing this, this study tried to search for the method of producing an animation equipped with more advanced narrative structure. Of course, narrative structure of Greimas has been studied in various aspects. However, there are still not enough animation researches using cultural archetypes of Greimas. Considering such aspects, this study focused on searching for a method of using the formation of cultural archetypes based on the analysis of fables of Greimas.

• The Journal of the Korea Contents Association
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• v.7 no.2
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• pp.117-124
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• 2007

This paper describes methodology that enables animators to create the facial expression animations and to control the facial expressions in real-time by reusing motion capture datas. In order to achieve this, we fix a facial expression state expression method to express facial states based on facial motion data. In addition, by distributing facial expressions into intuitive space using LLE algorithm, it is possible to create the animations or to control the expressions in real-time from facial expression space using user interface. In this paper, approximately 2400 facial expression frames are used to generate facial expression space. In addition, by navigating facial expression space projected on the 2-dimensional plane, it is possible to create the animations or to control the expressions of 3-dimensional avatars in real-time by selecting a series of expressions from facial expression space. In order to distribute approximately 2400 facial expression data into intuitional space, there is need to represents the state of each expressions from facial expression frames. In order to achieve this, the distance matrix that presents the distances between pairs of feature points on the faces, is used. In order to distribute this datas, LLE algorithm is used for visualization in 2-dimensional plane. Animators are told to control facial expressions or to create animations when using the user interface of this system. This paper evaluates the results of the experiment.

• Journal of the Korea Society of Computer and Information
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• v.19 no.12
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• pp.57-70
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• 2014

The study proposes an exploratory analysis on the success of animation films in Korea industry. It identifies animation films that have been successful in the Korean film industry during 2004-2013 period and explores (1) how the number of screens allocated to the films have been changed; (2) what are the major factors that influence the success of the films; (3) what are the differences between Japan and the US animation in terms of plots and genres; and (4) how the characteristics of the US animations are related to the success of the US market, the global market, and Korean market. Analyses show that the number of screens allocated to the animation films has been consistently increased due to the vertical integration of Korean film industry; and the (FTA) period, months in year (summer and winter break months for middle and high school students), and the number of screens allocated to the films were the major factors influencing the financial success of animations. It also finds that specific characteristics embedded in its own cultural trait were shown in the plots and genres in the animations. Lastly the study also finds that specific set of characteristics extracted from IMDB site influence certain markets. Budgets and actor's power were found to influence the success in the US market while period (pre-FTA, FTA, post-FTA) only influence the success in Korean market. The study points out that the success of the US and Japan animations in Korean film industry are due to the historicity of animation cultures which are not found in Korean animation industry.