• Cartoon and Animation Studies
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• s.28
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• pp.55-78
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• 2012

Underground comics is a trend of comics started by reflecting hippie culture in the 1960's. It reflects hippie culture proclaiming return to nature and denying war with no humanity and social systems of material civilization expresses anti-culture in a radical and humorous way. Robert Crumb adds the features of hippie culture to comics aggressively with issuing comic book, series. Especially received great response from hippie. It became the chance for underground comics to improve further. includes works like 'Whiteman' expressing the hidden desire of conservative middle class or 'Keep on truckin' describing youths in hippie culture as characters lording it over somebody, strutting confidently across various landscape. The Comic was published and distributed independently and character-driven comic that reflected the variety of hippie culture. The Comic represented the characteristics of the underground comics very well. Winding lines and points, a strong contrast, were used for excellent graphical effect. These comics escaped from heroic comics of the era and played great roles in opening an era of underground comics which express satires of social culture more freely.

• Cartoon and Animation Studies
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• s.16
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• pp.67-78
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• 2009

To celebrate the Centennial Anniversary of korean comics, the various and meaningful programs are organized. But then, it is apprehended that these programs don't deal with the present and urgent problems. In particular, in the fast-changing media environment, in the changing of promotion-organizations, it's very important that the recherche on relevant laws and institutes around comics to defend and to explore an ecosystem of the comics culture and the comics industry. This study insist to point out the limits of Cultural industry-related laws and Cultural promotion-organizations at present for the concrete policy of comics culture and comics industry. Treating and analysing specially 'Culture Industry Promotion Basic Law', 'Publication Promotion Law' and 'Legal Deposit', this article suggest to enact Comics Promotional Law to aide the filed of korea comics.

• 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.16
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• pp.1-20
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• 2009

This paper explores the research trends in the area of the comics studies in Korea. In this article, the 664 academic articles are examined in terms of the characteristics of the researchers, the field of comics studies, the research theme and the research methodology. This study is on the basis of the recognition that there have been no consensus on what the core essence of comics studies is. As a result, there are a few articles on the academic identity of the comics studies. The comics studies have not consider the distinctive characteristics of the Korean comics significantly. In Korea, over 50% of the academic articles on the comics have been published by comics scholarships in the field of pedagogy and human sciences. Since the 1990's, comics studies have started to consider the value of the comics positively. The comics text studies also have increased since the 1990's in Korea. The comics studies on the comics policy and comics industries have been increased since 2000. The rise of comics studies is concomitant with the increased awareness of comics in Korea. The article concludes that the comics studies need to become an independent academic discipline in the future. The interdisciplinary studies on the comics is necessary to study the diverse aspects of the comics. In addition, the infrastructure for the comics studies should be established in order to improve the comics studies.

• Cartoon and Animation Studies
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• s.32
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• pp.189-220
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• 2013

It is expected that interests and supports for 'the creative economy' will increase considerably since the establishment of the Park Geun Hye Administration. According to a report with respect to its cultural policy handed in by the Minister of Culture to the president on March 28, 2013, the administration will set up a basic plan of establishing regional fusion-typed laboratories including such genres as story telling, animations, games, cartoons, performances, etc. in May this year, and opening contents Korea laboratories across the country by the first quarter in 2014 as part of its core task. Furthermore, it will focus on implementing such policies for training professional manpower as creative mentoring programs, expansion of education for field employees and expansion of a creative education for young students, including a plan to train 1,000 creative contents talents by 2017 as described in the report. Since the Comics Promotional Law took effect in August 2012, the Korea Culture and Content Agency and the Comics Industry have been establishing the third plan for medium and long term development of the comics industry together. One of the most important policy is about training professional manpower. "Joint Business with Creative Talents," in which the amount of 4.5 billion won was invested, has already been implemented, and "Support Business for Field Employees of Comics Creating Enterprises," in which the amount of 0.6 billion won was invested, has been performed so far through the Korea Comics Contents Agency upon the request of the Comics Industry. The government's plan to train professional manpower is interlocked with its foundation and employment policies, and thus, this will be a good opportunity for colleges and universities that have comics related majors, especially for those that need proper measures for bring their graduates a chance to get a job. Accordingly, it seems that if the government develops more aggressive policies, reflects this on the third medium and long term development plan of the comics industry, and then organizes policy and study meetings led by the learned societies to implement this, it will be able to generate a significant synergy effect. This Article will concentrate on first examining the flow and patterns of the policy to train special manpower by the comics industry, the Ministry of Culture and related institutions since the establishment of the Comics Promotional Law, analyzing some problems in the first and second medium and long term development plan of the comics industry to be implemented from 2003 through 2013 and the third medium and long term development plan to be announced in June 2013 to train professional manpower, and then suggesting an effective direction and some alternatives to train professional manpower in universities in a medium and long term way.

• The Journal of the Korea Contents Association
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• v.10 no.7
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• pp.149-158
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• 2010

This study is a comparative analysis of the creation and development of visual techniques used in girls' comics in the paradigmatic low and high-context cultures of American and Japan. As previous analyses have shown, there are qualitative differences in the expressive mechanisms employed in girls' comics in Eastern and Western cultures, and it is an investigation of this realm of expression that is the basis of this study. Particular emphasis is placed on an analysis of the structure of frames, one of the most fundamental expressive mechanisms in girls' comics. A close examination of this underlying structural component reveals that both cultures demonstrate autonomous growth, providing a theoretical framework for future studies.

• Journal of Science and Technology Studies
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• v.14 no.2
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• pp.281-318
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• 2014

This paper aims to examine women's understanding of technoscience by analyzing girls' comics(少女漫畵, Sonyeo Manhwa). The idea that women were not interested in science was a socially accepted. But this paper reveals that women are interested in science in a different way by analyzing Korean SF girls' comics. By examining an image of science in SF girls' comics in comparison to SF boys' comics(少年漫畵, Sonyeon Manhwa), this paper shows that women look technoscience through 'reflexivity' focused on 'human' and that this special character is derived from the feature of women's culture. SF girls comics have two features. First, girls comics reflect on power made by technoscience rather than describe it elaborately. And the reflexivity is expressed through a mental state, an emotion, and relations between human beings focused on a human nature, an ego, and an identity. It is different from boys comics that give weight to the mechanics and that show simple plot such as utopia or distopia, or a battle of good versus evil. Second, girls comics express technoscience as daily practices. In girls comics, some technosciences are linked to our daily lives and cartoonists and readers consider an 'essence of knowledge' together. It is different from men's view that regards knowledge as power or means.

• Cartoon and Animation Studies
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• s.50
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• pp.131-151
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• 2018

Notwithstanding various discourses among scholars on the unique characteristics of comics, in Korea there is nevertheless a scarcity of quality research on the subject. Therefore, to promote quality research, it is important to consider how to best use source materials in the field of comics scholarship. Source materials can generally be categorized into three types: pre-existing comics, scholar-generated comics and user-generated comics. For this study, user-generated comics are the primary source materials, specifically comics created by mothers of children with disabilities. It is intended that this research will contribute to the future direction of education for mothers who suffer from a relative sense of alienation as the primary caregivers of children with special needs. Although therapeutic arts and cultural programs make a tremendous difference in the lives of these mothers, teaching methodology and educational opportunities are extremely limited. Furthermore, existing scholarship focuses primarily on either the psychological transformation of the individual or a phenomenological approach for parents to understand and deal with the problematic behavior of children with disabilities. However, this research does little to help improve learning programs for these parents. Against this backdrop, this research sets out to consider the potentiality and effectiveness of using comics in the education of mothers of children with disabilities. These mothers, by creating comics, develop better awareness of themselves in a positive and enriching way. It is therefore hoped that this research provides a useful analysis for developing the potentiality and effectiveness of these programs.

• Cartoon and Animation Studies
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• s.34
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• pp.197-217
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• 2014

The 1920s and 1930s ushered in "the golden age" of Chinese comics when the comics flourished. Satirical cartoons in modern Chinese comics were popular due to emotional instability and war caused by foreign powers. Among many popular comics, this paper analyzes in the 1920s and in the 1930s which were made into films and dramas. Chapter Two shows that China in the Republican era of China expanded its consumer culture into some sectors like films, novels, magazines and fashion in the 1920s and 1930s. However, more than any other things, this chapter considers from the historical perspective "the golden age" of comics including comic magazine in the 1930s and a history of comic magazines that gained popularity with conventional and common story. Chapter Three explains that social satire cartoons were in vogue since the May Fourth Movement and anti-imperialistic and semi-feudalistic stories in the 1920s were realized in life. It also says that comics that describes the negative sides of its society were popular. Ye QianYu, a cartoonist, portrayed many facets of Shanghai through : the daily life of the middle and lower classes, bureaucratic corruption and sympathy for the working class. drawn by Zhang LePing describes the unfair social system between the bourgeoisie and the proletariat and the gap between the rich and poor through the main character, the powerless and poor orphan. and lampooned the reality of its time in an objective, witty and humorous way in terms of ethics and economy respectively. The researcher chooses to study and which are very familiar to us, because good cartoons, animations and movies stimulate the feelings about our surroundings.

• Cartoon and Animation Studies
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• s.42
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• pp.263-291
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• 2016

Recently, by growing of Korean comics/animation markets and number of consumers, the more people have been reproducing culture contents into derived contents. However, user experience of active users who enjoy these cultures have not been accepted well like other local culture festivals in South Korea, though there are high potentials of vitalization comics/animation festivals using the active users. In this study, the experiences of participants of BICOF (Bucheon International Comics Festival) from 2013 to 2014 researched using the method of ethnography, especially using (group) interviews and participant observations. The result from the research indicates that cosplayers have limited range of participation inside of festival. And they have negative experiences during their participation into festivals. Therefore, this study suggests necessity of methodology of continuous reflecting of the user experiences of active users into festival, for the solution of the successful festival, who was objectified in the festival.