• Cartoon and Animation Studies
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• s.43
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• pp.123-150
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• 2016

There has been discussed very little about animation authorship studies, especially the themes of authors and their original animation texts since 1990s. This study is to explore the academic discourse of animation authorship studies understanding the media aesthetics of animation and the scholarly approach of animation studies about authorship. This article examines 55 articles via meta analysis about animation authorship studies drawn from the 1,516 articles on the general animation studies. The results were as follows. First, the domestic animation studies on the authorship were made about animators of Japan, US, and european countries. Second, It was dominant that scholarly interest on the screen direction and visual expression of animation texts. This shows the authorship approaches were mainly about visual aspects of animations. The domestic animation authorship studies did not trace the authorship issues on author's world view and visual style revealed in the corpus of texts. Instead, they discussed authorship issues on the characteristics of individual animation text. It has been evident that animation studies were not enthusiastic about building the independent theory on animation. Therefore, animation studies have tried theorizing the animation issues borrowing the literature and film theories. This study can contribute to increase phase of animation studies by drawing the intensive discussion of animation authors and their authorship.

• Cartoon and Animation Studies
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• s.48
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• pp.45-67
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• 2017

Many of the modern animations have 3D technology, and as time goes by, their production technology becomes more diverse and sophisticated. When John Alan Lasseter insisted on studying CG animation technology, he might have taken our jobs to the computer in the near future, as many people were worried about. It may be premature to worry that an unstable future may become a reality at this point, but I do not think there will be any difference in the fact that many animations are being produced using 3D technology. Since the Toy Story was screened in 1995, the 3D animation production technology has started to develop rapidly and now it has been elaborately developed so that it can not distinguish the part where computer graphics technology is applied from the live film. On the other hand, Disney's 2D animation part falls into the decline path because the appearance of 3D animation was perceived as a new expression technique at that time, and the efficiency of the work process was superior to the 2D animation in addition to receiving the attention from the audience. Is it necessary to accept the retrogression of 2D animation technology, reflecting the environment of the animation industry that 3D animation production technology has become mainstream in the first 20 years since the first theatrical works appeared? Since 2D animation technology has a long history and is still attractive to the audience, it is not hard to find an attempt to combine 2D and 3D animation technology. In this paper, I want to study 2D hand - drawn character in 3D animation. Through this, it is hoped that animation convergence technology will be applied more actively in the future.

• Journal of Korea Multimedia Society
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• v.18 no.12
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• pp.1562-1568
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• 2015

The 3D contents are getting more attentions in various areas, such as in movies, advertising, games and exhibition contents. There are many authoring tools for making 3D Models and contents. However, those authoring tools take considerable amount of time to learn and to make 3D contents. In this paper, we propose the 3D model conversion algorithm to make 3D models from 2D pictures drawn on the touch screens or papers. The vertex animation method also proposed for the interactive 3D aquarium. The proposed vertex animation algorithm was tested for virtual 3D water creatures and compared with human-made animation. An Interactive 3D aquarium was implemented by using those proposed algorithms. Thus the simplicity and effectiveness of the algorithms can be applied to diverse industries.

• Cartoon and Animation Studies
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• s.45
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• pp.75-99
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• 2016

Unlike the other media, the animation has its unique aesthetic characteristics. First, one of the media characteristics of the animation is creativity images of the hand drawn animation by shooting of frame by frame. Next the animation image which is created through metamorphosis obtain new space-time by unique motility. This paper treats of two parts of space and time in animation. One is the metamorphosis image of animation and the other is the motility. To concrete this, this paper analyzed Georges Schwizgebel's Works. They are very interesting that the structural characteristics of the animation. Especially, , < La course ${\grave{a}}$ $l^{\prime}ab{\hat{i}}me$ > directed by Georges Schwizgebel are a good text for analyzing space-time of animation in that it combines various metamorphosis and motility with his expressions. The images of his works are continuously maintained transformational stream by his main expressions of metamorphosis and motility etc. This study focuses on analyzing the way of metamorphosis and motility function to make meaning in this texts. His works consist with metamorphosis and motility, and various moving images to let audience feel the characteristics of space and time in animation. We can experience numerous dual structures like space and time, freeze-frame and motility, rhythm and repetition, two dimension and three dimension, dissolution and reconstitution, abstract shape and concrete form etc from these cases. One of the main apparat is the emphasis of metamorphosis and motility by independent space of animation.

• Cartoon and Animation Studies
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• s.42
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• pp.1-24
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• 2016

The 'fear' in animation has a couple of problems to apply the criteria for identical genre as in movie or literature. First, the mutilation and destruction of one's body and the appearance of monsters and ghosts are not a normal way of expression and could not apply to one genre. Second, the cause of fear comes from the subject of fear which is a reality that is something 'unrealistic' and 'special' and is approachable. This is all possible in a three dimensional world, but animation is not founded on realism. According to this logic, the horror genre in animation or the esthetic experience of animation is not possible. However, many of the powerful images you can see from the horror genre are all created from animation. Therefore, many writers are drawn to the horror in animation and tried to express in many different ways. This study will include the general idea of fear which drives the audience to the felling of fear and terror but we will mainly focus on the three types of fear - ghost story, cannibalism, and madness - and discover the meaning of fear used in animation. Through this process, we anticipate that fear in animation is not just for pure amusement, but will be able to investigate the meaning of fear philosophically even if the hidden side of reality is terrifying.

• Journal of Digital Convergence
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• v.15 no.12
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• pp.489-494
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• 2017

In spite of lots of differences in the production process of film animation, the animating method through computer is not much different between game animation and film animation. It is because the principles of film animation are also emphasized for the production of game animation. This study aims to consider the line of action showing the direction of movement and flow of energy among many considerations for the character pose work in case when producing game animation. Starting from the basic theory of drawing, the line of action plays a role of bible in the pose work including cell animation and 3D animation. After examining the theoretical background through preceding researches in order to understand the application of the line of action to the pose work of game characters, the poses of hero characters of a 3D online game 'Over Watch' were collected and then lines were directly drawn to analyze them. And as a result, the pose of characters with simple and clear 'Line of action' was good. This study aimed to consider the expression techniques of character pose in the production of game animation, which is expected to be used as an important reference for game animators at work.

• Cartoon and Animation Studies
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• s.33
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• pp.127-152
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• 2013

This study is focused on a compositional viewpoint of camera appears in animation feature films through nonverbal communication approach; analyzing the approach would reveal more effective interaction between receivers' and actants' communication. The content of study includes semiological analysis of one of Hayao Miyazaki's master pieces, Howl's Moving Castle, in terms of descriptive structure and interpretation of screen. The semiological analysis methods in this study composes with sequence analysis, actant analysis, disjunction and conjunction analysis, and "shot" in media semiology analysis. Through these analyses, a conclusion has been drawn that a characteristic of interactive symbol connects audience and feature films. This study applies nonverbal communication in compositional viewpoint of camera to bring more effective approach for communication among actants, animation feature films, and receivers.

• Cartoon and Animation Studies
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• s.36
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• pp.91-119
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• 2014

This paper analyzed and compared the storytelling of female characters in Korean, American, Japanese animations and revealed the ideal image of woman of each culture. Chapter 2 analyzed the superficial images of the female characters and figured out how these images reflected awareness of a reality. This paper revealed that female characters act as a representative cultural symbols and embodies the paradigm and the order of those cultures. In Chapter 3, this paper analyzed and compared how the female characters solve the dramatic events in the entire narrative structure, and revealed the cultural implications of their action and these events. Korean characters were imitating the idols as an extension of the real world, and American characters were drawn as unreal Super Heroes who were utilized to enhance the order of the world if the United States. Japanese characters, the magical girls are led to create a magic circle and then become surreal goddesses. In this way, this paper revealed that female characters in animation reflect the male-centered ideology of each culture according to the awareness of a reality and cultural paradigm.

• Journal of Game and Entertainment
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• v.2 no.1
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• pp.27-34
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• 2006

Computer-assisted animation production tools have an important role in animation production industries. They could reduce the production cost and time, but they rarely copy artistic characteristics of an animators. In this paper, a new computer-assisted line pattern drawing system is proposed. The system automatically copies artistic characteristics of an animator and applies them to computer-generated animations. The artistic characteristics are captured from key frames drawn by an animator. The result shows that the presented approach can copy artistic characteristics from key frames well and reduce time and cost for producing artistic animations.

• Cartoon and Animation Studies
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• s.24
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• pp.107-133
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• 2011

As importance of English has been getting more important with globalization, English education for preschoolers has drawn more attention from parents who were born in 1970's and 1980's. Demands for English education are very intense mainly because parent generation has experienced importance of English through own career and they have only one or two children, resulting parents' willingness to invest more on children's education. In order to response high demands for English education, Korean public education system has introduced more intense English education curriculum for younger children and put more weights on English education even for preschoolers. Even though there are numbers of studies to support effectiveness of English education for pre-school age children, adaption of English education for them without through preparation may cause unwanted results on children's learning experience. Hence, it is imperative to develop guideline for English education targeting pre-school age children based on through studies. The purpose of this paper is to justify English education for preschoolers based on various theories for language acquisition, research effectiveness of edutainment animation for English education, and provide basic guideline to develop edutainment animation in the future. To achieve this goal, this study visits how each theory emphasizes importance of language education in preschool age children and analyzes well-known edutainment animation titles by comparing them per characteristics. Furthermore, specifically from participation-inducing animation for education, each component, such as characters, story structure, & story telling methods, has been discussed. Based on the findings from this paper, basic guidelines to develop edutainment animation are developed by suggesting teaching tools for English education for preschoolers.