• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.232-234
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• 2006

Main purpose of producing animation is to entertain children, however, it is create for adult as an art form. For commercial animation focus on young generation rather than art animation, to make consume all over the world. To extend usability, animation company divert from child only contents to family animation, Especially, not even Disney animation company but many animation productions changed their policy and more stressed on that recently. It, however, can not be detected any research on this subject, So this study can proved a basic theory of defining term of family animation and contents with to overcome the limitation of viewers range as consumers. Firstly, it is investigated the family animation in domestic and overseas, secondly will be clarified the target for animation and compare to market for other country, it also be a basic analysis of understanding a family animation in the ways of producing and merchandising as goods.

• The Journal of the Korea Contents Association
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• v.19 no.8
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• pp.35-43
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• 2019

There has been not the research on the reason of success based on the characteristic of narrative and characters of , I defined the major characteristic of this genre as family animation, and aimed at researching strategic character and narrative. The characteristics of each characters are identified, and compared with other animation, soap opera, and sitcom. The portion that characters participated in the narrative was analyzed, and the relationship between the point and viewers was also researched in the specific episodes. 1) The characters against the ideal ones function to satirize the fixed idea pursued by the mass, and stimulate the viewers' desire. 2) All the characters are protagonist and sometimes antagonist, or advisor. The circulating position expands the target of viewers, and decreases the cultural discount. 3) It produces a couple of layered narrative, then children, teenagers, and adults enjoy the each different depth of the narrative, resulted in the target expansion. Considering on the limit of theme and target in Korean animation, I expect the findings above will enable to produce more valuable and consistent contents. Later, characters in the Korean family animation is to be researched and the expandability and sustainability would be ensured.

• The Journal of the Korea institute of electronic communication sciences
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• v.18 no.6
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• pp.1207-1216
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• 2023

As the domestic animation industry is shrinking, it is time to actively respond to changes in new technologies and animation production methods. From 2016 to 2020, through patent information registered in the United States, China, and Korea in the field of animation technology, applicants who are the subject of technology were analyzed and technical policies and strategies pursued by applicants in each country were reviewed. China registered the most patents, so the technical activity index was high, and the US family patent size was high. As a result of positioning analysis, the U.S. market expansion influence decreased over time, China's technological activity gradually increased over time, and Korea's technological activity and family patent size decreased. Reflecting China's rise as the world's largest animation producer, Korea should also develop a policy to support animation.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2021.10a
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• pp.361-363
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• 2021

Digital character rigging is an important technology to improve animation vividness, and there are many kinds of complex ways of rigging system. To move naturally, the fish are tested for movement. Because 2,4 family role information although some, but the study of fish (0 family) action information is not much. As the diversity and complexity of fish production increases, inefficient time and capital are required. How to build a fish-like skeleton system depends on how to build an efficient and agile rigging program. The aim of this study is to compare the Advanced Skeleton-based animation process with Maya Rig, which can solve the high time-cost rigging problem, and to explore the best automatic plug-in based on the advantages of Advanced Skeleton, broadening the research scope of fish animation.

• Journal of Digital Convergence
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• v.20 no.4
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• pp.607-615
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• 2022

Animation is a popular art in the form of enlightenment that intimately approaches people of various ages and makes them reconsider the social problems they have ignored. Therefore, this paper analyzes how the character setting and formative symbolism in "The Willoughbys" raise awareness of social agendas. The previous studies found that the modern society needs to be aware of child abuse and various types of family, and examined that color and formativeness of animation induce psychological and behavior change from the audience. The work shows emotional abuse and neglect as characters, and presents the subdivided form of the family. The rainbow symbolizes diverse family members. The agents with visual characteristics express the modern principle-based secondary perpetrator along with apathetic neighbors to urge a change in audience perception. This paper insists the value of animation when it is essential to raise public awareness prior to the construction of a welfare society and support system.

• Cartoon and Animation Studies
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• s.18
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• pp.17-35
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• 2010

The purpose of this study is to find out the way to improve the funding system of Korean animation, which will lead the establishment of virtuous circle of Korean animation industry. The funding structure of Korean animations in the period of 2005-2009 is analyzed to find out that the funding surveyed to find out that the domestic funding source for Korean animation has reached its limitation. Without any active involvement of public fund, this will result in the shrink of Korean animation industry with heavy reliance on foreign capital and limited quality of Korean animation. This is not only a serious problem of Korean animation industry, but also the problem of Korean cultural identity and variety because it is related with the diminish and degradation of Korean children and family content. Meanwhile, in France and Canada, which are the major co-production partners of Korean animation, the animation production is being activated by the full support of government fund system, because the animation is regarded as the important genre which plays a critical public role in establishing the cultural identity and variety of such countries. Improvement of Korean animation funding system is not pursued by more injection of public fund into the industry. It should be designed to facilitate the investment from the private sector by improving the profitability of Korean animation. This goal can be achieved by public fund with annual budget of 25 billion Korean Won supporting the distribution and production of Korean animation. Discussion should be needed for securing the funding resources such as establishment of new animation fund or utilization of existing fund.

• International journal of advanced smart convergence
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• v.12 no.4
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• pp.314-320
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• 2023

This paper examines how the design of female characters in Disney animations is evolving over time, and explores whether these changes are related to the social status of women in modern society. We analyze in detail how Disney's female character design has undergone changes in form, characteristics, and personality with the transition from 2D animation to 3D animation, and show that the change in perception of women in modern society is behind this change. It shows. It deals with changes in the design and personality of female characters, focusing on major Disney animation works before and after 2010. Starting with the movie <Rapunzel>, released in 2010, female characters showed stronger and more active characteristics and changed from traditional Disney princesses. Disney is bringing about this social change by breaking away from the image of an independent woman and showing the growth process of overcoming hardships based on one's abilities and the support of one's family, as well as the increasing number of female characters of various races and appearances. The conclusion was reached that it shows a conscious and active willingness to accept it.

• Cartoon and Animation Studies
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• s.40
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• pp.55-81
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• 2015

Animation as a public visuals media have been expanding increasingly its social and cultural influences beyond the ages and nations on the basis of global consumption. However, animation increases the negative impact in modern popular culture, and in regard to this, 'the recovery of ethics' should be considered in a reflexive and educational perspectives for the social role of animation. Thus, the research addresses the animation films of Brigham Young University students which contain a ethical values and receive attention by New York Times, etc. as a successful educational model. To do this, firstly, literature has reviewed by focusing on the negative impact of animation, 1) violence, 2) excessive sensationalism, 3) confusion of cultural identity, 4) gender discrimination, and 5) distorted view of history. Secondly, the education system of animation course at Brigham Young University will be analysed. Thirdly, based on this, the case study will be conducted by focusing on the 13 animation films of students to reveal the characteristics of the way of film direction. Through this research, firstly, most of animation films are comic genre, consisting of children and animal characters, family-friendly and lyrical story style and deployment of coincidental and allegoric incident. Thirdly, the religious spirit and multidisciplinary methods of education in Brigham Young University has influenced to the ethical expression and technical perfection in animation filmmaking. In the light of this, the research and suggests the new paradigm is for the practical disciplines of animation in the restoration of the ethical perspective and explores how the animation production adopts the moral significance.

• Journal of English Language & Literature
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• v.57 no.1
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• pp.51-72
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• 2011

This paper explores the issue of strangers and of hospitality in Mary Shelley's Frankenstein, based on Kant's concept of hospitality as "the right of a stranger" and on Derrida's discussion of hospitality. It first examines the similarities between the domestic relations within the Frankenstein family and Frankenstein's relation to the monster: an effort to create unity out of a multiplicity of elements, and what can be called a "debt economy." Then, reading the animation scene of the monster as a version of the advent of a stranger, it deals with the question of hospitality. More specifically, the arrival of Clerval immediately follows the animation of the monster because it effectively dramatizes the paradox that there is no hospitality without hostility. The opposition and the apposition between hospitality and hostility are also seen in the De Lacey family's welcoming Safie and rejecting the monster. Frankenstein's failure and the De Lacey family's failure to welcome the monster show that hospitality as "right" exemplified by Kantian hospitality does not apply to a stranger like the monster who has neither name nor relation and who is categorized into what Derrida terms "an absolute other." This paper also looks at Safie's problematic subversion against her father, which loses its subversive charge in the context of racial relations between Turkish Mahometans and European Christians. Safie's father looms large in the context of the issue of hospitality because his episode suggests that the category of race causes hospitality to malfunction.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.12 no.4
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• pp.1884-1888
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• 2011

This paper designed 3D animation in consideration of young children's characteristics to stimulate their interest and to be more understandable to them. It was also confirmed that, using the 3D animation contents, young children came to recognize the problem of environment pollution and developed desirable attitude and behavior for protecting the environment. Therefore, this paper suggested the proper environment education activity materials with our environment culture centered to enable teachers to do efficient and practical environment conservation education activities by forming close relationship between teachers and children's family.