• Cartoon and Animation Studies
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• s.40
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• pp.139-155
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• 2015

Animation is completed in accordance with the original planning of visual direction in the process of post-production. Especially, a variety of visualization skills to meet the planning idea are directed in editing and compositing processes such as rendering and shading in the production of 3D animation. Therefore, the studies how to implement these visual effects have been conducted since the emergence of the animation. The rendering method which appears in the recent animations so often is the effect of 2D animation style although it is applied by 3D technique. 3D animation can be classified as two types including photo realistic and non-photo realistic renderings. The former is to render the images realistically while the latter is to highlight the formative effect with analogue style free from the realism of the photographs. Visual effect of 2D animation is non-realistic, that is, non-photo realistic rendering. The animations produced by this method have the depth of 3D animation expression in terms of space and animating, and can direct the viewer-friendly analogue style visuals, which are widely used as a post-production effect. Hence in this study, we selected a short animation, 'Paperman,' one of Disney's animations, produced by cartoon rendering method which belongs to the class of non-photo rendering technique in 3D graphics, as our subject. We analyzed their techniques and visual effects of the scenes expressed by cartoon rendering method so as to understand whether they meet the original direction idea with the composition work. In addition, we expect further developments of post-production methods, exceeding the limit of graphic expression in alignment with the trend that has become more various in the types and genres of non-photo rendering.

• Cartoon and Animation Studies
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• s.44
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• pp.57-84
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• 2016

The image of woman shown in an animation was pretty extraordinary as Disney has kept the conservative tendency so far. The two princesses in were described as independent women getting out of the traditional gender role and dependence on men. For this reason, there is a tendency that interprets as a feminist work. Even though the character showing the image of independent woman could be an essential index to define feminist work, it is not enough to define the tendency of works. Thus, this study reviewed if it would be valid to interpret as a feminist work. First, the 'sisterhood' which is the main theme of contained the feminist concept as 'women's solidarity' on top of friendship between sisters. Therefore, when analyzed focusing on the core concept of women's solidarity like difference, empathy, and solidarity, reflected 'differences' in narration, character, and image, etc. When differences in sisters which became the cause for misunderstanding and conflict were acknowledge based on their true love, the process of forming empathy and solidarity was described. The solidarity between Elsa and Anna not only became the power to defeat the enemy, but also reflected the feminist value of forming the community of coexistence like Adelen which was rebuilt after getting back the spring. Thus, it was verified that is a feminist work.

• The Journal of the Korea Contents Association
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• v.20 no.7
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• pp.107-117
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• 2020

Animation films form a substantial part of pop culture and depict the sociocultural changes and values of the time in which they are made through visual expression of story and characters. In the process of appreciating animation films and accepting the characters, the audience learns the gender role behaviors that appear in the works as socially acceptable representations of men and women. This study illustrates whether the expression of gender role and behaviors of characters from animation films have changed over time or not by analyzing the costume and gestures of the female protagonists in 'Mulan', 'Tangled', 'Moana', and 'Frozen 2'. These films are considered to reflect the modern female identity on their story and characters. The study confirms that the stereotypical gestures and behaviors of women are still used today to portray the female protagonists in the animation films contrary to the story composition and various aspects of characters which escaped the formal stereotype. It is important for children and adolescents, the main consumers of animation, to learn and know how to consume media properly. Thus, this study seeks to illuminate the importance of research on animation literacy eduction for children and adolescents by examining the visual expressions and their implications in various animation films.

• Cartoon and Animation Studies
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• s.6
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• pp.7-22
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• 2002

Animation constitutes the core of the media industry, which in turn lies at the center of the cultural industry. It is considered one of the industries where South Korea has the competitive edge over other countries. With the pool of customers getting wider, the genre of animation has become more and more diverse, forming a great market for it. Aware of this trend, this study focused on animation as a part of the pop culture, and on providing corresponding various viewpoints for future cultural studies. This researcher measured the practicality and persuasiveness of this study through Shreck, a three-dimensional C.G. animation which is acclaimed for its success in dismantling the old grammar of animation movies that represent the anti-Disney ideas. This researcher felt it imperative to heed the unique language of Shreck, which contains discourses on various cultural ideologies such as paradoxical structure that pits entertainment that is shown through dismantling of the canon, feminism and antifeminism against each other. This study analyzed the entertaining element of the animation genre by means of the Semiotics of Keith Moxey, thereby attempting to establish a legitimate social status of the genre, whose artfulness has been depreciated in the art society. In chapter II, this researcher examines the chronological development of three-dimensional C.G. animation that has shown a rapid advancement. Chapter III defines the cultural ideology of Shreck by exploring basic theories and texts employed in analysis of art works. This study started with the assumption that defines, from the viewpoint of symbology, the animation text as an aggregate of discourses on entertainment, and competitive and paradoxical ideologies. Then, this researcher analyzed the text and the generation process of meanings in Shreck. Consequently, this study has come to the following conclusions: First, Shreck induces changes of concepts about the canon by means of distorting and reversing the existing animation movies, which seems to reflect in the contemporary tendency of seeking new interpretations of entertainment. Second, Shreck shows up the cognitive changes of our age as to feminism by competing feminism against antifeminism. Although Shreck serves as a venue of competition between the two opposing ideas, it stops short of brushing off women as outsiders in society. Rather, it represents the resistance to the male chauvinism existing in the structures of animation and culture. As shown in the text analysis, Shreck presents an advent of a new ideology critical of the previous animation films. In addition, it reflects in the struggle between the pro-feminism on the part of the viewers and the anti-feminism that lies in the social and culture structure. This study, however, is limited in its scope and selection of subject. First, although this researcher has stressed the importance of understanding the animation as part of the pop culture and conducting researches within the historic paradigm, this study fails to provide an in-depth insight in the impacts that the changes in the C.G. industry and the systematic conditions may have on the three-dimensional C.G. animation genre. Furthermore, this study runs the risk of being understood as pro-American due to its selection of Shreck as its research subject.

• Cartoon and Animation Studies
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• s.10
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• pp.137-148
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• 2006

The purpose of this article is to study the aspects of transformation of Treasure Island(1883), Robert Louis Stevenson's novel in two feature animations (1987) of Osamu Dezaki and (2002) of Ron Clements and John Musker by analyzing characters. In the original novel, as a typical wicked villain and traitor, Long John Silver functioned as an obstacle in Jim Hawkins' Bildungsroman. And Osamu Dezaki laid great emphasis on the friendship between Jim and Stiver His might be an excellent example of the faithful adaptation. But in Disney's , from initial mistrust, to friendly co-worker, to mentor and protege, and finally, to mutual rescuers, Jim and Silver have created a permanent bond that can never be broken - their coming together has changed both their lives forever. Jim's voyage of searching for treasure is not just for the discovery of material riches unimaginable but also for the discovery of his own true worth. Making the Sliver/Jim relationship more focused, Jim ends up discovering not just an obvious treasure; he discovers an inner treasure. From this viewpoint, this feature film could be an outstanding transformative adaptation.

• The Journal of the Korea Contents Association
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• v.15 no.12
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• pp.50-60
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• 2015

The animation film , which became a worldwide sensation with its theme song 'Let it go', did not only rank first in the U.S. box office - it was also the greatest box office hit in the history of Disney animation. Why did , recreated into a musical animation, become a worldwide success and what were the characteristics of its materialized hybrid visual direction technique? In order to look into this, firstly, literature on musicals and animations were studied, and secondly, analysis standards were drawn for musical characteristics of musicals and direction techniques of animations. Thirdly, analyzation and investigation will be conducted on hybrid visual direction techniques based on the research above with as the example. Through this study, it's known that realizes its musical features such as 'exaggerated acting,' 'delivering the meaning of circumstances', 'dramatic expression of emotion' and etc. through animated characters and that its background music is aided by 'narrative features' through its musical composition. Besides, its snow effect through animated VFX composing scenes along with its musical characteristics realizes hybrid image direction. It can be said that image directing effects of musical animations through hybrid grafting and the characteristics of image aesthetics generate public demands worldwide.

• Cartoon and Animation Studies
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• s.45
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• pp.435-450
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• 2016

Animation is an artificial image created by artist's imagination. Animation is defined as "the art of the animated image" in the sense that immobile images can be seed as a living creature. In other words, the term "diegesis" in modern arts genre is generally considered as something that indicates fictional world in which narration develops. Therefore, when we say that animation world is formed based on diegesis, it represents the fictionality of animation world. The problem occurs at this point. Even thought the animation world is recognized as a fictional world, we contradictorily believe that the event occurring in the screen world are real and accept them as a true message. This condition is called "quasi-emotion". Quasi-emotion is not fake bit not real either, and it is the third emotional state. It happens when we "make believe" that we believe a fictitious figure or a situation. However, in order to actively operate this "make-believe" state, an appropriate environment and props are required, specially metaphorical imagination and storytelling in short animated film. So that this article will draw a conclusion from the method that make-believe the fictional world and communicate the message through analysing the short animate film, form Disney.

• Journal of Digital Convergence
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• v.15 no.12
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• pp.461-468
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• 2017

'Beauty and the Beast' was generated as a novel in 1740 and descended to date with the musical movie in 2017. This study is to understand what contents has been derived and expanded from one story for 277 years upon analyzing 'Beauty and the Beast' with the background of the times. Due to the limitation to include all the folktales and stories, the subjects of this study are limited with the contents that had been known and recorded as 'Beauty and the Beast.' 'Beauty and the Beast' has been expanded to 7 types of contents including novel, fairytale, movie, drama, animation, musical and film opera. It was created as a novel in the eighteenth century, made as a fairytale, and developed as a movie by Jean Cocteau, a movie director. With Industrial Revolution and the development of science, 'Beauty and the Beast' which derived into animation, drama, and musical contents, has been developed as the film opera thanks to the new trial of Philip Glass and the development of music industry. 'Beauty and the Beast' is still regenerating with a variety of contents continuously upon the development of computer technology and the fad of global remake. With anticipation of further analytical studies on 'Beauty and the Beast,' it is expected that the data of this study can be contributed as a reference in the other studies.

• The Journal of the Korea Contents Association
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• v.17 no.5
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• pp.509-519
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• 2017

This study addresses the effective utilization of film music as learning material for language, target culture, and ethics education. Music is intertwined with language and culture, and even with ethics. This study focuses on the potential power of film music in the processes of teaching and learning in a classroom. For this purpose, five songs are selected from the soundtrack of Disney's famous animation The Lion King: "Circle of life", "I just can't wait to be king", "Be prepared", "Hakuna Matata", and "Can you feel the love tonight?", and concrete learning activities are suggested based on these. Using these five songs, gap-filling and singing-recoding tasks are proposed as listening and speaking activities respectively. Film music is also very useful in learning vocabulary, sentence structure, and grammar. Learners participate in a writing activity involving creating their own lyrics for the tunes reflecting their experiences. Next, for culture education, a teacher asks their students to discuss about, and be aware of, food culture using a specific character's song. Finally, for ethics education, a philosophy of life, natural logic, leadership qualities, and the motto Hakuna Matata("no worries") are explored and discussed through an analysis of the lyrics. The open-ended questionnaire survey is conducted. The result shows that music has a positive effect on culture and ethics education. Film music can be effective in learning a second language, target culture, and ethics.

• 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.