• Cartoon and Animation Studies
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• s.35
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• pp.89-106
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• 2014

According to Norman McLaren, a Canadian animator, "Animation is not art of moving pictures but art of drawn motions". As he puts it, animation performs the role of magic that turns static to dynamic. Particularly, the space of animation, which is generated through merger of several layers, creates distinctive space that is not to be found in other art genres. Also, the motion of animation, which, unlike live action in film, can be limitlessly created according to a director's subjective domain, has a more autonomous existence. In this paper, I study the space and motion in animation grounded in a director's subjective domain, based on the works by Tabaimo, the Japanese animator director and modern artist. She made an independent use of color sense and perspective that maximized a flat surface, which contributed to creating a new world that doesn't exist in reality. Motion created in such a space is more relative than universal. Therefore, Tabaimo's animation has made aggressive use of a device that gives more originality to the director's themed world, while audience can participate in the strange but new world.

• 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.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.

• Cartoon and Animation Studies
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• s.16
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• pp.165-178
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• 2009

It seems like that the main stream of animation for theaters transferred from cells to 30 animations. It can be easily seen if current situation is compared to the time when al! works were Cell animations. Although earlier papers were mostly about studies on Cell animation works, future studies will publish papers related to 30. Accordingly, this study studied the association of the researcher's paper with 30 works while It had been applied to 20. Then, based on the data, this study analyzed how major/supporting characters were transformed to animation characters in the scenes that were animated at the beginning and end of film that were reieased in 2007. This result was compared with the character made using a voice actor in the Pixar's long piece of animation for theater that had been already screened. The data were made into values to some extent in an attempt to increase satisfaction in the result of analysis comparing the character with the voice actor. When making characters using actual persons, it is hoped that grasping the modeling factors of the images making 20/30 characters as indicated in this study will be helpful in producing animation characters.

• The Journal of the Korea Contents Association
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• v.7 no.12
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• pp.55-65
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• 2007

The commercial value of the Korean animation was developed by the government's policies of revitalizing reform and national harmony from 1960 to the middle of 1980. Especially, the character of the anti communistic animation was organized by the structure of confrontation between South (good) and North (evil). The confrontation was viewed by communism and liberal democracy by red and white (or blue) and a pig or a boy. Such ideology and the policy of Korean culture gave some impact on its culture, for example, movie and animation. The animation became the tool of educating the idea of anti-communism and the policy of Korean culture by firming the policy of anti communism. But that animation of anti communism must not be blamed because it is a general animation of Korea which describes the reality. We have to take a hard view of the time and reconsider it by the new point of view.

• Fashion & Textile Research Journal
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• v.7 no.4
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• pp.361-370
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• 2005

This study was intended to investigate intertextuality expressed in fashion; intertextuality within fashion as sex, T.P.O., texture, and coordination and intertextuality between fashion and other genre like animation, music, film and technology. Intertextuality obtained by mixing the masculine and feminine text, coordinating various element without regarding T.P.O., texture has contributed to expending aesthetic realm and redefining the aesthetic value of traditional fashion design. The influence of animation, music, film on fashion and the interaction between these genre and fashion integrated high-class fashion and street-fashion, created the multicultural hybrid. Moreover according to the change of lifestyle the fashionable technical clothing was needed and developed. The intertextual tendency in the 21st-century fashion has given the new possibility of fashion design.

• Journal of Korea Entertainment Industry Association
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• v.14 no.1
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• pp.97-106
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• 2020

The mainstream of cinema animated film in today's world is the animated film produced by film companies such as Disney, DreamWorks, and 20th Century Fox. These animated films are influenced by Hollywood blockbusters, high cost, and big-budget, which have brought a gorgeous and splendid audio-visual feast to the global audience. DreamWorks Studios founded in 1994 has become noted in just over ten years. It has produced many high-quality animated works which are well-known all over the world. This achievement is no doubt inseparable from its superior external animation industry environment, and benefited from the American animation industry which commercially operated for almost 100 years. However, in addition to these external environmental factors, DreamWorks' achievements have also come from the extraordinary and superior creation of the animated film scripts, strong narrative script ensures the logic and appeal of animated films. This article takes Kung Fu Panda series, Shrek series, The Prince of Egypt, The Croods, Chicken Run, Megamind and other representative films produced by DreamWorks as key analysis object, using Jean Baudrillard's simulation and imaging theory, Syd Field's screenwriting skills, and Hegel's aesthetic point of view, explores the Creative Style of DreamWorks' Animated Film Script which contains the following four aspects. The script is exaggerated and novel, and the subject matter is rich and targeted. The script creation is very imaginative and can fully express the visual beauty. The structure of the story is well controlled, the space comes from reality but full of imagination. The characters have distinctive personality and the dialogue is moderated but forceful.

• Journal of Digital Contents Society
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• v.18 no.1
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• pp.79-85
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• 2017

Since Korea started producing original animations targeting children, market of character for children has been led by TV animation with continuous broadcasting and OSMU. With a successful fondation in animation toy industry, its market is expanding to film industry, at the same time, brings positive effect for benefit of domestic animation. Therefore, this study researched viewing rate of children's TV animation and analyzed character storytelling to help foster and grow the direction of future animation characters. For the analysis, I selected 20 animations with high viewing rate and analyzed the storytelling of 95 characters based on their roles. The results of this study are as follows: in children's animation appeared various types of characters helping each other to make the viewer learn socializing. In addition, character's external setting varied depending on its role. Moreover, in the characters' internal setting, the most frequently appeared keyword was leadership, however, their personality keyword varied depending on the role.

• Cartoon and Animation Studies
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• s.20
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• pp.87-104
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• 2010

Animation creates meaning and affection by combinig image and sound like film. directed by Yuri Norstein is a good text for analyzing animation sound in that it combines image and various music and sound effects well. This study focuses on analyzing the way that sound function to make meaning in this text. Generally sound is categorized into dialogue, music, and sound effect. And animation has its own characteristic in each category. The voice for dialogue is created corresponding to the image of the character and the rhythm is very important in Animation. Plus Sound effect in animation can be said to mimic not just sound but also movement. This study analyzes sound based on three sound factors and the concepts of the point of listening, subjective sound, and sound bridge. Subjective sound using the point of listening of the wolf and the baby bestows a special position on the main characters in the text. It is the overall characteristic of the sound use of this text that the repetitive combination of sound and image, the linguistic and annotative function of sound effect, and comparatively conventional use of music and sound effect enhance the affection and readability.

• Journal of Digital Convergence
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• v.18 no.8
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• pp.391-399
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• 2020

Even though the animation industry has been growth since 2011, there is still imitation by public stereotype which insists that animation is only able to cover the young age group and is not the proper genre of art to convey a social or a philosophical agenda. However, describes the philosophical agenda of 'social class' and 'life and death' in the limited space by expressing characteristics and background of fish through its own way. Thus, it shows how animation goes beyond aforementioned limits. Straying from traditional happy-ending, it criticizes present social problems by telling despite fishes' effort they cannot escape from structural contradictions. The drawing technique in musical expresses the character's ideology and attitude to make people think about how we will behave in the face of life and death. Therefore the purpose of this paper is analyzing director Lee Dae-hee's animation and present the genre expandability of animation.