• Journal of Korea Multimedia Society
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• v.23 no.7
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• pp.840-849
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• 2020

Walt Disney Feature Animation released high quality films such as 'Frozen', 'Big Hero 6', 'Wreck-it Ralph', 'Zootopia', 'Moana', 'Frozen 2' and not only got high score in box office but showed great CG and visuals. However, making feature animation requires a lot of time, money, and efforts so it is very important to support studios' artists to finish each show within limited budget and time. This paper shows artists' training program such as 'Short Circuit' and 'Bootcamp' that walt disney feature animation provides their artists to improve their creativity and do their jobs artistically and efficiently. Disney's training program not only provides artists various training classes but gives them chances to work on short animation which enhances artistic skills and enable them to work in different departments and experience different tasks. This paper also explains some training cases of CG studios in South Korea and Disney Animations' in-house tools.

• Cross-Cultural Studies
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• v.33
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• pp.287-307
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• 2013

One cat caused a big wave in Russian literature. This cat revived the heroine of Russian classics. Her light breath was scattered in the world, in the cloudy sky and in the cold spring wind about one hundred years ago. And the cat gave an opportunity of turning to Russian classics to Russian readers. Thanks to this cat, a Russian dreamer changed his typical thinking, as well as many ordinary readers start to read works of creator of this wonderful cat. Pelevin accomplished these works with one cat, which he has made. Of course "Nika" is not only caused to make readers to return to Russian classics. I think, the cat and "Nika" are the symbols of writer's purpose in Russian literature. In this study the understanding of "Nika" is following the steps of realization of writer's purpose. In the second chapter it is analyzed to the textual relationship between "Nika" and "Light breath". Apart from existing analyses to be emphasized the succession of thematic aspect of two works as well. Existence of observers to each heroine stress this succession of thematic aspect of two works. In the third chapter it is analyzed the use of technique of mystification in "Nika". This intentional use of mystification has been demanded to read a "Nika" from another point of view(internal speculation of hero-narrator). The purpose of writer was to expose the cognitive error of a human being. I think this purpose was effectively explained by Pelevin's Buddhist world view which was introduced in his several works.

• International Journal of Internet, Broadcasting and Communication
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• v.16 no.1
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• pp.297-306
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• 2024

At a specific juncture in industrial development, animation emerges as a product imbued with discernible features characteristic of the mechanical replication era. Through the integration of technology, it continually gives rise to postmodern cultural traits. Notably, the trajectories of postmodernism in China and Western Europe exhibit divergence. Following the reform and opening up, both postmodernism and modernism found acceptance and became interwoven. Chinese animated films, influenced by postmodernism, actively challenge traditional animation norms, exemplifying postmodern characteristics such as deconstruction, intertextuality, indeterminacy, collage, and diversity. This article endeavors to delve into the discourse surrounding postmodernism in both Western and Chinese contexts. It aims to scrutinize the manifestation of postmodern features, particularly with regard to ethnic elements, traditional mythological texts, and gender representations in Chinese animated films. Consequently, it becomes imperative to contemplate the affirmative adaptation and independent development of postmodernism within the unique Chinese milieu. Building upon an analysis of noteworthy traditional animated film genres and developmental trends in China, this study focuses on animated films from the 21st century, specifically Monkey King: Hero is Back, Big Fish & Begonia, Dahufa, White Snake and Nezha: Birth of the Demon Child. The paper seeks to explore the overarching characteristics of postmodernity reflected in the linguistic environment of postmodernism in China.

• Journal of the Korean Society for Computer Game
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• v.31 no.4
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• pp.175-184
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• 2018

The commercial success of the game has also led to animation of the original game, especially the live version of The Street Fighter II in 1994 and a variety of videos of the game-based version, 2D Animation and 3D Animaion until now. But animations are not always successful because they are based on popular and commercially successful games. That's because when the original game was remade into an animation, the difference between the narrative structure of the original game story and the setting of the game and animation is striking. Nevertheless, a feature-length animation based on the Angry Birds game, which was released on May 19, 2016, has also been a huge commercial success, with this paper analyzing the case applied to the 12th stage of Christopher Vogler's hero's journey, Aengibird the Movie, and discussing the way in which the animation developed based on the game compared with other animations. Christopher Vogler, a Hollywood playwright, analyzed the structure of popular-loved movies based on the common narrative of the myth as the main motif of the mythologist Joseph Campbell. His narrative style is a hero's journey, using a total of 12 stages of epic narrative structure to help the protagonist find himself and achieve what he wants. Foreign heroes, adventure films as well as animations from big studios like Disney, Pixar, and Ghibli are using the story-development method of this Christopher Vogler.

• Journal of the Korean Society of Costume
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• v.59 no.1
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• pp.106-118
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• 2009

This research is about the changes in the images of Bond and Bond Girl in '007' Series. And it examined through the social background of England from 1960s to 2000s and the costume in the film. The results were as follows: As the era of young fashion was opened after 1960, there was a big change, but Bond was expressed as a hero who had strong male chauvinism of the English aristocratic circles. However, after 1990s, he wore comfortable clothes and he underwent all sorts of hardships. On the other hand, Bond Girl had the image of a sexual target. However, after 1990s, she had sharp appearance and smart brain. Besides, she had professional ideas of a given work and she was changed into a healthy image. Second, Bond's job was an English secrete agent, but Bond Girl had no particular job in 1960s. In 1980s, various professional jobs appeared and in 1990s and 2000s, the professional job which was directly related with Bond's duties appeared. Third, Bond's upper class image was expressed by tuxedo, suit, black, gray, navy, beige, brown, and ivory. His hair was 2:8 parting or Dandy all black style produced his dignified and neat image. After 1990s, he often had casual dress, which created a comfortable image. Bond Girl was expressed feminine style by bikini, underwear, long dress, sky-blue, violet, black, simple costume. After 1990s, she wore a suite, one-piece, or a combat uniform, which showed her professionalism. especially Bond Girl's red dress was used as a psychological color to express temptation, enemy, and betray.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.315-347
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• 2019

(1986) and (1987) represent the society of 1980s in which the professional baseball game was initiated to cover the irrational military culture. The love and marriage of sports players were the headlines of the media, and the yearly salary of the players was the hottest issue of conversation. The military culture is represented in the scenes where the coaches train the failures and inapt players in extreme drills. The films pinpoint the absurdity of military culture and win-at-all-costs mentality. The collapse of the dictatorial leadership at the end of the films is a metaphor for the collapse of the fifth Republic of Korea. The episodes where the players talk about contract money, and the trade of players and sports business were a new phenomenon of the 1980's. The fact that Oh Hyesung of chooses love instead of victory deals a big blow to the secular ambition for money, victory and dictatorial leadership. His option provides catharsis for an audience oppressed under military leadership and success driven ideology. On the other hand, Oh Hyesung of dies right at the moment of winning the world champion. He achieves neither love nor success. While Oh Hyesung of is a symbol of pure love and gives spiritual comfort to the audience, Oh Hyesung of gives a sense of hopelessness to the audience. Both of the two sports films reflect the representation of the 1980's but received opposing reviews from audiences.