• 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.17
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• pp.5-19
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• 2009

As webtoon became activated, new forms of expression corresponding to a web format were appeared. New forms can be classified into two. The first is regarding on the computer, which includes a wide use of CG, and color comics. The second is related to web-based one, which includes the trend of a vertical scroll, the introduction of concept in time, animation stage effects, the manufacture trend of media optimization, and the various media mixing. While problems regarding web-based comics service such as copyright and cartoonist become manifested, webtoon will widen new horizon of comics with its characteristics and the change in the form of expression.

• Journal of English Language & Literature
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• v.56 no.4
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• pp.575-596
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• 2010

The modes of narratives and communication have expanded due to social and cultural changes and technological development. Thus texts have become multimodal and media hybridities and media crossover have been increasing as well. Multimodality requires new literacy to understand and interpret those multimodal texts other than existing traditional literacy approaches. The New London Group (2000) argues that multiliteracies are needed to serve today's changing multimodal texts. Kress (2003) also argues, visual texts have been prevailing, being mingled with other modes of texts such as linguistic, audio, gestural, and spatial modes. Literary texts are not exception in this trend of multimodality. The recent renaissance of comics, in particular, the new light on graphic novels can be interpreted in this historical vein. In comparison to comics, no consensus has been made in defining graphic novels, however, many studies have been recently conducted in order to look into the potential of graphic novels in building multiliteracies. In this paper, the graphic novel as a literary genre are explored from a histocial perspective and the definition of graphic novels was attempted to be made. In the light of multiliteracies, this paper presented cases that show how graphic novels can be utilized to build multiliteracies. Lastly, the use of graphic novels for English as a foreign language was introduced as well. The author hopes that at the age of multimodality, the potential graphic novels have in language and literacy education can be taken into account by language teachers and students in expanding their territory of literacy.

• Journal of Digital Convergence
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• v.19 no.6
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• pp.315-321
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• 2021

This study analyzes the characteristics of the process of changing content as print media is remediation as video media. By applying the dual logic of remediation, we analyze the process of remediation analog media(print) into new media(video). Through the results, we present the possibility that remediation methods using changes and variations in various media can be applied to the design methodology. Marvel Comics has been remediationed as Marvel Cinematic Universe. By understanding the phenomenon that analog media is remediation as new media, Design methodologies can be presented so that designers can derive the results by using the characteristics of remediation when designing.

• Journal of Digital Convergence
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• v.11 no.12
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• pp.709-723
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• 2013

This study aims to diagnose the present condition of the Digital comics industry, including the "webtoon", which is receiving attention as the new Korean wave (Hallyu) cultural content, and explore ways to vitalize these contents. Considering the fact that the distribution rate of smart devices in Korea is the highest in the world as of June 2013, and that comics as contents have been known to show the easiest and fastest adaptation to changes in the media, the Digital comics industry is certainly an area with high expected growth, but its actual size of the industry shows a very low growth rate compared to other digital contents. This study analyzes the present condition of the Digital comics industry through theoretical and precedent study, and deducts 7 major factors that inhibit the growth of Digital comics industry by summing up the industry structure through making surveys of major businesses in the industry. Further, problems and possible solutions of the digital comics industry are discussed through in-depth interviews with total 10 digital comics industry experts. Building a ecosystem based charged service, realizing a total management system, government support and improvements on restrictions are discussed as solutions to a sustained growth of the Digital comics industry.

• The Journal of the Korea Contents Association
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• v.8 no.7
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• pp.153-160
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• 2008

It devides that a comic book is based on paper and the other one is serviced through the medium of internet. Each one called conventional form of comic book and digital one. Currently digital comics are published on the various portals and WEB sites and they become one of the comic media and service. However, it is simply uploaded scan-images of comic book on monitors instead of paper. This is just only difference of output form of comics and it does not bring out any digital feature. Now we need a new comic research and experiments that are applied characters of digital for the conventional comic directing. Thus this research presents that the new possibility of digital comics with the core of digital contents, interactivity is applied for comic frame-manner and user customized storytelling.

• Journal of Popular Narrative
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• v.27 no.3
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• pp.13-51
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• 2021

The aim of this essay is to illustrate Sunjung Manhwa in the 1970s which has been alienated in comics studies. This essay analyses the articles and the serial comics in Schoolgirl, the magazine in the 1970s, and examines the ideal representations of the girls at that time. Sunjung Manhwa is really different between the 1960s and 1970s. It cannot be explained on this gap just by analyzing Sunjung Manhwa in book form alone. Even though the censorship on comics was the element that has hampered the development of comics as a whole, the slumps of Sunjung Manhwa in the 1970s were very excessive compared to other comics genres. This article can gain the answers to the reason of the changes of Sunjung Manhwa by studying the magazines which was the main mass media aimed at girls with Sunjung Manhwa. While the articles in magazines show the editing direction and its characteristics, they reflect the values and ideologies at that time. The same is true for the comics in the magazines. Especially, the comics in the magazines was relatively free from the censorship. This essay examined how the articles and the comics in the girls' magazine in the 1970s represented the images of girls at the time by focusing on feature articles and comics in the magazine, Schoolgirl. This article explored Um, Hee-Ja's Blue Zone and Bang, Young-Jin's Mini March among a full-length serial comics in the magazine, Schoolgirl. Both Blue Zone and Mini March reveal the images of an ideal girl that has been emphasized by the articles in Schoolgirl. Blue Zone draws the appearances of an earnest and obedient daughter, and Mini March represents the figures of a cheerful and bright girl. Through this study, it can be recognized that the magazines in the 1970s highly appraised girls who are obedient to a given society and serve to a harmonious family as ideal ones, and it might be guessed that the ideal images of girls that was characterized ceaselessly by the magazines were the standard of the censorship on comics and its creativity and had also a huge impact on the contents and the expressions of a great deal of works. The 1970s was the times when its importance has been lost in the history of the comics studies by the censorship on the comics and the monopoly of "Hapdong(합동) publisher." The limits of expression in terms of censorship were awfully distinct, so its result was few of good works in quality, and there are still many blanks in the study on 1970s' comics. This study has a meaning which fills up a blank in the comics studies.

• Cartoon and Animation Studies
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• s.27
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• pp.79-97
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• 2012

Comic book readers have respectively different reading speed and this means that time in comics is translated by readers' view. The authors arrange panels and gutters to control time, but time recognition in comics depends on the readers and generally it is the readers' role. On the contrary, the phenomenon having occurred by infinite canvas varied the authority of timing. Infinite canvas can give the comic book authors more authority of controlling timing than the readers by intervening in readers' relative time as an agents and transforming their fictive time into absolute time. Following to the concept of "Agency" in games, agency is the power which satisfies the players by reemergence of their intentions. Since some of digital comics absorbed the properties of other media such as animation and sound, we can see that the reader's timing agency is shifted to the author's timing agency. The purpose of this study is to analyse this phenomenon and to remind that agency motivated by the balance between material constraints and formal constraints becomes a condition of readability of digital comics but excessive timing constraints given to the readers causes a decrease of the readers' timing agency. This also can be a considerable matter when we produce digital comics.

• Cartoon and Animation Studies
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• s.19
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• pp.199-224
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• 2010

Since the mid 1990s, Korea has recognized the importance of content industry and has carried out several support policies. Especially, the support system for the comic industry has been systematically organized, and organizations for this area have tried to extend the type of support programs and objects as well. One of the remarkable changes made by these support programs is to encourage the remaking of old comics, which mostly are published comics in 1970s and 1980s, into the new format, the webtoon. Some of revitalized old comics are open to public through several portal web sites, and people can reach them easily by free. This research is to consider support programs run by policy organizations that are managed in the regional level. This research mainly deals with the type of support programs for the remade old comics and, at the same time, considers the meanings of this support programs for the Korean comic industry.

• The Journal of the Korea Contents Association
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• v.7 no.2
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• pp.246-254
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• 2007

As for comics and animation, the specific gravity came to become still larger in all the art fields together with the importance in various image media now which is useful and goes the time of the 21st century new media. Especially the demand of users to the vision culture which develops day by day, Sensitivity Engineering Department is trying to realize the necessity for a sensitivity design acutely together. The influence of the comics which have toxicity most also in Japanese culture in a geographical position like South Korea on it, and animation is the actual condition in the reason which has reached from youth universally to the layer for years, to be inquired systematic to a Korean comics language. This research was conducted as we thought sufficient study on various situations are required, and among them for the research of expressions of cartoons's characters, we've divided the expressions of characters that comes out in Japanese cartoons into categories of 'happiness, anger, sadness, pleasure' and 'fear, astonishment and dislike' and based on these categories, we've drawn out the minimum elements to express emotions in cartoon and prepared image-map by relating them with languages that express emotions of people and based on this, we've made a calculating tools on how our readers would recognize the expression languages. Samples of Japanese cartoons of which we've chosen for the purpose of drawing out the elements of expressions were limited to only published cartoons and we've made a foot steps for expression analysis of animation characters in the future.