• Cartoon and Animation Studies
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• s.43
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• pp.363-386
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• 2016

This research is to design basic framework for developing teaching and learning method in the field of art and design major in university. Especially taking off from oneway e-learning teaching method, it is focused on increasing reality of student learning situation with applying AR contents process to augment virtual condition on reality condition. The processing of framework design and developing teaching and learning method are about practice education based on AR for model experiment research which was published "The E-Learning for Practice Training Using Augmented Reality in the College Education". This thesis is supposed to be a precedent study of the pre-published, and the purpose of those two studies were for experiment test in earnest in studying effect research. The classification of learning method divided basically as Face-to-Face Learning(FFL), Blended Learning(BL), fully E-Learning(EL), and Augmented Reality based E-Learning(AREL). This research compares and analyzes each frame of FFL, BL, and EL. And then, designed framework lead to the over-all conclusion with the type of AREL. Additionally, AREL for PBE suggests the ways of advanced teaching learning.

• Cartoon and Animation Studies
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• s.43
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• pp.211-230
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• 2016

First this research starts with agreement that comics is 'the sequential art'. It means that over two sequential panels makes how to recognize the story and this research owes to the connection of forward panel and backward panel. Webtoon, internet comics is also consisted to sequential panels. But only it is different with the publish comics by direction, shape, length and so on. So this research tries to make point of the connection between first panel and second panel. Especially it researches what types of connections between the last panel of first episode and the first panel of second one beyond the connections of panels at only episode. This research treats the types of gutter, 'connection' means to continue the same scenes or 'separation' does to devide the story and shows the new scenes. Weekly webtoon must have a kind of break time. The first panel of next episode should remind of the former story, it means easy technique. Otherwise some first panel don't show the same scenes or story so this study researches 130 artworks from the portal sites; Naver, Daum, mobile comics platform; Lezhin Comics and Toptoon, Corea.

• Cartoon and Animation Studies
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• s.43
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• pp.343-362
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• 2016

The purpose of this study is to analyze the 'depth of the film image' and to discuss its aesthetic implications in the Wes Anderson's films. In this study, I have analysed his two recent representative films, (2014) and (2012). As a result, it is found that Wes Anderson created a symmetrical composition with the depth by placing symmetrically things on the Z axis or using one-point perspective. In general, symmetrical composition is a two-dimensional form. The symmetrical composition in these two films, however, has the depth perception. It gives a sense of the fantastic world, not the real world. Thus, it is the unique way of Wes Anderson's expressing the world of the fairy tale on his films. It is also found that he used the camera work, emphasizing the depth of the image. Through these devices, Wes Anderson has created his own sensational mise-en-scene for a storyline like a fairy tale.

• Cartoon and Animation Studies
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• s.18
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• pp.57-72
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• 2010

Textbooks used in Information Society need to use many illustrations and pictures which have positive effect in motivating and triggering students to study. "Pictures mean more than thousands of the word" says that it is significant to use media in class through visual materials. To meet the needs of the times, I examined one of the units, "IV Understanding Humans and Cultural Phenomena", among 7 authorized 'Society Culture' textbooks, so that there are 123 illustrations and 342 pictures that the percentage of them was 35.65% totally in the unit. On the examination of the frequency of using contents in each category, the illustrations are used 59 times (47.96%) in the research activity and the pictures 145 times (42.4%) in the context, which are most frequently used. Also on the examination into the actual states using contents among 'Society Culture' teachers by in-depth interviewing, they often use them when their class starts. And they require more increase in the illustrations than the pictures for easy and clear understanding and need more contents offering in the research activity to help students to study more interesting. Finally, on the result of the analysis of contents used in textbooks, exemplary cases were available to convey enough information without reading the context in the textbook because the proposed illustrations expressed the research activity's subject and the context's subject effectively. Even more, one illustration was able to indicate the sub-unit's subject while also presenting the content to be learned in the unit. However, improper cases included illustrations which are somewhat unrealistic or difficult to understand. Further, there are also some illustrations which are not related to the context. If these points are revised in the future, textbooks would be better.

• Cartoon and Animation Studies
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• s.35
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• pp.347-374
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• 2014

The aim of this article is to consider the future of industrialization of Augmented Reality contents focusing on cinematic imagination of films that used Augmented Reality techniques and artistic imagination of Augmented Reality Arts in the 21st century. The film showing future technology through cinematic imagination plays an role in the presentation of future vision important. Augmented Reality Arts show the big picture of future arts, future aspect of society, and future culture by using technically possible present technology. I classified the researched films according to Augmented Reality technique. It is expected that Gesture Recognition will develop with transparent display device techniques, Hologram techniques will be changed into individualized communication styles, Biometrics will be able to evolve into multi-Biometrics, and Wearable Computer will develop in the aspect of physical body augmentation and then industrialize. In Augmented Reality Arts, it seems that the various utilization of avatar will be related to Hologram, the utilization of the physiological phenomenon of the human body will be related to Biometrics, the mixture of reality and virtual reality will utilize display devices through Gesture Recognition, and a new experiment of HMD(Head-Mounted Display) will industrialize with the diversification of Wearable Computer. Augmented Reality contents created through the imagination and representation in the films and arts take a role in helping human life, and, at the same time, show the future image industrialized in the way of combination between human and environment without a medium.

• Cartoon and Animation Studies
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• s.32
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• pp.91-119
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• 2013

In recent years, the reader of comics get a chance to contact as well as korean comics, and foreign comics has increased to visibly. There was a relatively important progress also on international scale for mutual exchanges, but a variety of ways for the exposure of foreign comics can't help the reader to read easily the foreign comics. Socio-cultural differences also affects the choice of material, but it affects the format more fundamental. Format differences appear most, can be seen in the difference in narrative approach and medium (the book or the digital screen). This Article deals with two different comics, French and Korean comics. French comic is understood as other forms of literature, but the Korean is considered as a multi-media medium. This difference begins with cultural differences dealing with comics. It is also because the nature of the comics called hinge between the multi-media culture and culture of the books. This study will focus on the differences between the French comics which defend the value of the book and Korean Webtoons which suggest a new way in the digital environment. Through their differences, we can recognize the power of comics and can also predict its development in different medium.

• Cartoon and Animation Studies
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• s.32
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• pp.159-187
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• 2013

The purpose of this study is to verify the status of current digital comics research trends and the characteristics in Korea. For this purpose, 87 articles and dissertations published between 19900 to 2012 were analysed by a meta-analysis methods. Digital comics platforms, topics, methods were examined to understand the landscape of the digital comics in Korean context. The main results of this study are as follow. First of all, the number of researches on the digital comics has been in the rise, and the various academic journals have published articles to understand the digital comics on the basis of their own academic background. Despite of the short history of digital comics researches, the range of research subjects has been broaden, and more integrated approaches have been taken from the various research fields. The content of articles, however, was skewed to a certain platform, topic and the method such as the website based comics, the text analysis, and the qualitative methodology. Thus, the more systematic and integrated approaches are needed to understand the digital comics issues and to build up the digital comics studies.

• Cartoon and Animation Studies
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• s.32
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• pp.263-288
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• 2013

This research is about effects which frontal-flat cameras have on narrative films. This kind of confined camera angles make the audience have a sense of tension which is barely defined logically. I think the tension comes from aleatorism. The paper is a research on how aleatorism is working on what kind of value, and what kind of effects it has on narrative films. Russian Formalism had argued they had to meet aesthetic values by totally excluding narratives. It can be said that this was a practice for Brecht's estrangement that a sensitive arousal prohibits the audience immersing into excessive empathy and then make them have a reflective thought. But occasionally, optical arousals in narrative films induce deeper immersion into contemplation rather than reflective thought. I intend to find cases regarding this textualising Front-flat camera angles in narrative films and analysing their contents. To do this, I suggest a more specified definition of 'aleatorism'. Because the concept of the aleatorism is different between an aspect of static image like paintings or photographs and narrative contents like cinema. It is divided into approach through form and approach through content. And I also suggest an operative definition about 'Frontal-flat camera angle' with a several confinements because its formal definition is very flexible depending on audience. The case analysis will be done with a form of discourse discerning two aspects of form and content. Conclusively, Frontal-flat camera angle in narrative film is basically have an effect of attention by optical stimuli. But it cannot be said that this always means deterioration of narrative value. Depending on causality of episodes in the whole story, aleatorism which Frontal-flat camera angle has can support immersed contemplation regarding following narrative rather than reflective thought regarding amusing aesthetics.

• Cartoon and Animation Studies
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• s.32
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• pp.23-42
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• 2013

The music videos of and were made based on the music of Pink Floyd and Beatles. This study aims to compare the characteristics of the two songs in terms of music and storytelling method. Previous studies investigated the narrative structure and concept of the storytelling, which are the basis of the images. This study, a comparative study of the two songs, firstly analyzed the narrative structure focusing on the roles and relationships among characters in each song. Secondly, it investigated the method of composition structure and the characteristics of the two pieces of music of which genre is different from each other. Thirdly, it classified the images into intro part, development part, and conclusion part and analyzed by comparison how the song or images inserted in the music interacts with each other. As a result, it was found that described strong progressive rock from the subjective viewpoint through the material storytelling structure by space and it represents the alienation of the hero through simile and metaphor, spatial changes crossing the past and the present, and the actual and non-actual crossover directing. On the other hand, developed a narrative storytelling structure in which progressive fantasy images developed from the psychedelic viewpoint through the confrontation of the good and the bad to deliver the messages of love and peace.

• Cartoon and Animation Studies
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• s.32
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• pp.335-361
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• 2013

This study examines the ethnoscape of TV dramas on three Korean nationwide television channels from 2005 to 2012 by breaking down how many non-Koreans appear and how they are represented. Among all TV dramas, 6.4% show non-Korean characters of which are generally supportive or small roles. These characters are categorized into four groups: adoration, sympathy, proximity, and other. The adoration group consists mostly of white males from USA or Europe that have professional careers such as medical doctors or lawyers and are positively represented with attractive appearance and nice character. On the other hand, the sympathy group is made up of Southeast, Central Asians and blacks. They are mainly represented as an underprivileged group: females and low-paid workers. In the proximity group are the Japanese and Chinese characters. The Japanese are often represented as rich people that are highly competent or are able to easily cooperate with Koreans. This result shows that Korean TV dramas provide racial and ethnic stereotypes. Though rarely, some dramas represent various lives of foreigners and racial others in Korea. This study contributes to the establishment of sound multiculturalism by analyzing representation of racial others in TV dramas and internalized stereotypes of foreigners in the diverse and multicultural Korean society.