• The Journal of the Korea Contents Association
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• v.22 no.7
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• pp.599-606
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• 2022

This study investigates trends and changes in gender expression in film and animation. It compares how gender, race, and class discrimination that was socially and culturally expressed differently in past and modern media contents. Indiscriminate content appreciation by the "digital native" generation is likely to unconsciously create false stereotypes. In this study, 「Aladdin」(1992) and 「Aladdin」(2019) were analyzed. This study looks at in the characters have changed since the original, which was a 2D animation in 1992, was re-released as a live-action film in 2019. For character analysis, we compare and analyze major characters and find out the differences based on the nine personality types of Enneagram, which define human personality types. As a result, Princess Jasmine's character change was remarkable. In the past, Disney animations had the majority of patriarchal and male-dependent princess characters, but now Disney is aiming for self-directed and independent female characters. Also, scenes that could instill stereotypes of gender, race, and class were changed. Disney's change can be seen as expressing the gender image that the public wants. Analysis of the change in character's personality in these works can be a useful methodology for creating attractive characters for the public.

• Journal of Information Technology Services
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• v.12 no.3
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• pp.195-205
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• 2013

Global media companies like Sony, Fox, Vivendi, and Disney expand their activities aggressively to foreign markets. This paper seeks to find out their precise strategies to succeed in the global market. Our study focus on two companies Fox and Sony who manage successively in Korean market. Particularly, these two media companies launched in Korean market several channels, joint venture companies with Korean partners and have expanded.Korean channel in East asian countries.

• Proceedings of the Korea Contents Association Conference
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• 2018.05a
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• pp.505-506
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• 2018

애니메이션은 화면을 구성하는 모든 요소를 제작자의 의도에 따라 창조할 수 있다는 부분에서 메시지를 전달하는 표현 도구로써 언어적 성격이 강하다. 이에 애니메이션 작품을 대상으로 선정해 작품 속에서 묘사되는 공간의 역할과 그 상징의미에 대해 고찰하고 그것이 어떻게 기호화 되어 있는지에 대해 분석하기 위한 선행연구를 진행하였다.

• Journal of Digital Convergence
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• v.16 no.9
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• pp.405-412
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• 2018

When a film company decides whether to invest or not in a scenario is the appropriate time to predict box office success. In response to market demands, AI based scenario analysis service has been launched, yet the algorithm is by no means perfect. The purpose of this study is to present a prediction model of movie scenario's box office hit based on human brain processing mechanism. In order to derive patterns of visual, auditory, and cognitive stimuli on the time spectrum of box office animation hit, this study applied Weber's law and brain mechanism. The results are as follow. First, the frequency of brain stimulation in the biggest box office movies was 1.79 times greater than that in the failure movies. Second, in the box office success, the cognitive stimuli codes are spread evenly, whereas in the failure, concentrated among few intervals. Third, in the box office success movie, cognitive stimuli which have big cognition load appeared alone, whereas visual and auditory stimuli which have little cognitive load appeared simultaneously.

• Journal of Digital Contents Society
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• v.17 no.6
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• pp.613-621
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• 2016

This paper has the first aim to analyze Elsa's magic power of why and how she, as a heroine in the animation of Frozen, is in the emotion of fear and anger. This paper will explain why these two emotions are twisted compound to identify Elsa's iced emotion in the ice kingdom. And secondly, this paper attempts to connect Elsa's fear emotion in her real life is the other flip with that of anger throughout the characters' network in Frozen, which symbolically reflect the feminine pattern of real society that Walt Disney prospects for the dream society. Through the cognitive process for Elsa's ice kingdom between emotion status and social network, we can assume the pattern of social network with emotional chart and the archetype of human emotion through the cognitive-emotional storytelling on the emotion of Elsa in Frozen.

• The Journal of the Korea Contents Association
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• v.7 no.1
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• pp.199-206
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• 2007

Animation becomes combination of narrative together visual(image) and hearing(sound) information rather than transmits only visual information. The image and sound of such animation are adjusted and controlled in the structure of narrative, and com to receive a meaning by its context. Even if animation begun by equal motive, the meaning which is different in each other with a director is generated. Although Snow White of the Walt Disney Co. and Fleischer's studio was manufactured by motive in fairy tale Snow White, it can look for a large difference in semantic generation of narrative. While Disney's Snow White re-interpreted the original meaning for a director's view of the world and re-made it by animation, Snow White of Fleischer constitutes a work from a meaning of the Snow White original newly completely, is not only weakening the union power of narrative, and but also reflecting the situation at that time.

• Cartoon and Animation Studies
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• s.16
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• pp.49-65
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• 2009

I try to extract typological factors from the historically relevant works of animation, for that we can refer 'style.' creator's individuality, general tendencies and restraints of his time, the national properties work on them. It is the individual aspect that excels in the works of Jiri Trnka, Tim Burton, Yuri Norstein, so they stand out not only in their own specific sensibility, vision but also in the elucidation of themes and the technology of dealing medium. On the other hand the Walt Disney's animation has so distinctive characteristics that we could identify them. Disney's so-called classical model accomplished a typically American animation form as full of expressive visual language, over reaction, full animation describing detail action. We could tell, Miyajaki Hayao's Gibri Studio represents Japanese animation, which works on traditional motives of Japan and expresses unique humanity.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.263-273
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• 2020

In 2019, Disney's musical film "Aladdin" was newly introduced with Princess Jasmine's theme song "Speechless," which was not featured in the animation "Aladdin" in 1992. Written as a theme song, "Speechless" expresses Princess Jasmine as a self-reliant, enterprising and dignified woman. The song made the change in Princess Jasmine's character very articulate. She has developed herself as an active and enthusiastic character from a rather passive and reserved figure. The musical film "Aladdin" has drawn much attention and love from many audiences with its own narrative and original songs, but the addition of a new theme song "Speechless", which was not in the animation in 1992, made the musical film "Aladdin" even more powerful and meaningful. The study examined the organic relationship between the musical features and narratives of the newly included theme song 'Speechless' in the musical film Aladdin. Through the analysis of the six scenes that include the musical features of the theme song "Speechless," the study looked at how the relationship between music and narratives had an influence on cinematic expression.

• Cartoon and Animation Studies
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• s.44
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• pp.117-141
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• 2016

The various representations are receiving attention in modern society that has so many contents. Among them, the fantasy shows that you can not see in reality. But the intention of these fantasies is not giving a visual fun. The fantasy show the reality through stories that are not in reality. The fantasy that allows readers to continue to make the suspect between the real and the imagination and that suspect arises from the desire of real life. If the desire break the community, the social ideology will collapses. Conversely, if the desire is overturned by community, the social will be maintained. The goal of the fantasy which has the relationships of society is revealed through the various expressions of existence. They are divided into the subject and the other show the inner side of the main character. The subject shows the inner side of the main character by the transformation, alter ego and the other exists. The other shows the desire of the subject by the transformation, alter ego and the strangers. Disney animation studios select the target audience and the message in relation with the society. They choose the original like the fairy tale, myth and change them to satisfy the middle class. The characters of Disney animation says that messages by the expression of fantasy. The subject go through the transformation by twice. The first transformation is antisocial and the second transformation is social. The second shows a complete transformation. The other characters personified show the many kinds of the main character. The other as the alter ego of the main character represents the desire of the subject. They are described as an object of fear and exclusion. They expresses as a dark and menacing looks and hinders the complete transformation of the subject. But they were overthrown by the subject at the end of the story and it strengthen the social ideology. As a result, Disney highlights the value and the moral message of the society by using the representation of fantasy.

• Archives of design research
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• v.21
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• pp.233-243
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• 1997

In 1970s, Computer Graphics of still and geometry changed computer Animation of image, and Computer Animation has diversely been used in movie, TV, fashion, sports, education, basic science, medical science, etc. by the development of LSI technology and the large size of computer in 1980s. Since Computer Animation was first used by movie of Futureworld in 1973, we easily experienced the essence of Computer Animation made of the Little Mermaid. Beauty and the Beast, the Lion King, Aladdin, etc. in Disney Animation and Terminator. Jurassic Park, the Mask, etc. in movie. And in other countries that have got the diversely special effect and knowhow in technology are effectively using the Computer Animation now. What situation we Korea are in now, if we compare the Computer Animation with that of other country using the progressive movie\ulcorner Although we first producted the movie title of Ticket, 10years ago, we have rarely been used it in movie, yet. Therefore, we know that it is very important for us to examine the historical and technical side for the purpose of overcoming the technological gap.