• Cartoon and Animation Studies
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• s.43
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• pp.255-284
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• 2016

This article aims at a discourse analysis on the selected 1970s Myungrang Manwhas, in the cases of Ggubungi, Doggaebi Gamtu, Yochul Balmyungwang. For the analysis, the history, pre-censorship, and distribution structure of Myungrang Manwha are referenced, as well as the considerable changes and developments on the definition of 'myungrang' since the 1920s. In employing Foucauldian discourse analysis to the texts, the selected Myungrang Manwhas are analyzed as discursive formation, which emerged within the social relations of the era; the characters' dialogues are analyzed as statement. The analysis examines the discourses that the texts disseminated, and the social context of the utterance. It is demonstrated that the Myungrang Manwhas are forms of representation, which implies 'the contested acquisition on capital and power', 'the emphasis on nationalist aspects', and 'the interpellation and discipline of subject active' of the time. Moreover, it is revealed that the forms of control, such as pre-censorship, were the articulation of the will to power, which drove the discoursive formation to function as an apparatus that meticulously constituted the ruling ideology. In conclusion, the Myungrang Manwhas are rather texts that encompasses political and social context of the era than a mere comic relief.

• Cartoon and Animation Studies
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• s.44
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• pp.211-233
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• 2016

Fairy tales starting with the phrase 'Once upon a time' have been told throughout generations to generations. These stories of the past started with the history of mankind, and are constantly recreated under the names of legends, fables and myths. Through understanding the archetypes frequently occurring in legends and story telling techniques used to visualize them, the possibility of better recreation of stories and animations are sought. The purpose of this study is to analyze how the original form of archetypical Jeju epic dance lyrics are adjusted accordingly to meet the author's intention as it transforms into the modern animation 'Oneuli' By this comparative analysis, the utilization of archetypes and mythic motifs in the creation of animation are expected to enhance the interactions with the audiences beyond the border and age.

• Cartoon and Animation Studies
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• s.36
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• pp.75-89
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• 2014

Since the first animated Chinese commercial titled directed by Wan Three Brothers in 1926, Chinese animation commercials are steadily increasing every year. The proportion of animation commercials in Advertisement industry increases gradually, animation becomes one of the direct means of rising commodity value. In this premise, this paper researches the history and characteristics of animated commercials, compare and analyze commercial samples from two world advertisement festivals and four Chinese advertisement festivals. Compared the world animation-advertisement market, Chinese animation-advertisement market is relatively limited under its particular status. Under the condition, this paper will analyze the current situation of Chinese animation advertisement through the samples from advertising festivals. Finally, the paper concludes finding out ways of development and effective marketing of animation commercial industry in China by checking out animation advertisement in industrial classification between Chinese and world's advertisement market.

• 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.

• Cartoon and Animation Studies
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• s.13
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• pp.83-96
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• 2008

Digital production method in animation has enabled us to reconstruction the real world in the way we had sought in visual all. However, spectator's visual desire is not satisfied with mere photographic visual reconstruction. It demands traditional picturesque qualify with involves a great deal of contingencies and errors. Naturally, Digital film technology has also sometimes tried to simulate analogue technique such as hand drawing so on. This is not caused by nostalgia, but by recursive instinct. The spectator's visual desire for media doesn't remain only precision of real world but require mental demand on successive visual and perceptive errors while repealing ripeness of new media and going through perception and recognition. This spectator's desire and visual art technology pursuits variously its visual perfection in history.

• Cartoon and Animation Studies
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• s.24
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• pp.199-222
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• 2011

While Korea has actively discussed the fields of comics and animation, with an aim toward public art and publicity for cultural welfare, research on public cultural content for the underprivileged and their regions is in fact lacking. The Korean government has also tried to improve Korea's cultural welfare, but its benefits have failed to be evenly given to the underprivileged. Therefore, we need to take greater interest in the underprivileged and their regions. Korea should work to correct the unbalance among regions in the field of cultural welfare (cultural differences between the capital area and other regions, and between new towns and old), as well as improve the living environments of isolated areas. For this reason, such a public art project should be conducted from two directions. First, the underprivileged living in poor conditions should be allowed to live in clean and cultural environments. And second, public art, comics, and storytelling through animation should be formed with an eye on urban culture. This project aims to focus on improving "the quality of citizens' lives" through creating the unique characteristics and landscape of the city. It will be presented through the use of public art, which presents the elements of the city with charm and vitality. The two directions stated above are our urgent tasks. Public art, comics, and animation storytelling regarding the history, culture, and natural resources of the region will develop with the affection and pride of the citizens, and public art will help create an environment that allows people to discuss their issues. In addition, it will be cultural environments that will allow all citizens to enjoy beautiful streets and events. This project will be an opportunity to realize cultural democracy by pursuing social values such as publicity, communication, equality, and participation.

• Cartoon and Animation Studies
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• s.15
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• pp.29-47
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• 2009

The changes in the field of high tech media promote the development of animation films, which was considered once as a decaying industry. A large success of Disney animation films in 1980's and the possibilities of animation as an economically profitable mass products allowed this art form to play a leading role in mass culture. But, the cultural and philosophical aspects of animation works are not studied enough up to this time, despite its importance. This article is focused on the study of animation as a serious cultural and philosophical text. The object of research is the Russian animation in the period of 1960-1980 years. In this time, new trends are noticed in the history of Russian animation : aesthetical experiments in style and subjects became possible since the society freed from totalitarian atmosphere after the political destalinization by Khrushchev. In addition to, it was the time when the system of state subsidies still functioned, that animation was not the object of cultural industry yet, as it happened in the period of Perestroika. In this condition, lots of short animation films, which were remarkable not only in the context of Soviet art culture, but also in the history of world animation films, were produced. This article proposes to analyze the characteristics of realities and fantasy, portrayed in the films of this period, and examine the role and status of animation films in the social-cultural context.

• Cartoon and Animation Studies
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• s.38
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• pp.93-114
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• 2015

In the history of animation, which created by Yuri Norstein is one of the best animations in the world. Out of all animations that Yuri Norstein created, is one animation that most people have hard time to understand because unexpected images and complicated structure of this animation get us confused. And also since this animation is based on Yuri Norstein's childhood memories and his own experiences, people who doesn't understand Russian culture and history will be lost. The purpose of this study is to analyze created by Yuri Norstein through the crystal-image in of Deleuze. According to Deleuze, we can see and understand unorganized time through the crystal-image which is the door way understanding and recognizing the time-image. In the there are some of the crystal-image appears. Eternity episode is one of the Crystal-images. In eternity episode we can see a peaceful life as simply continue endlessly. This is also the part that shows subject of animation and time itself accoding to Deleuze. By Yuri Norstein reflects Deleuze's claims that time-image we think and realize through crystal-image is eventually human life and universe.

• Cartoon and Animation Studies
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• s.37
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• pp.267-286
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• 2014

Yeon Sang-Ho's Animation occupies an exceptional place in Korean Animation, being categorized as the kind of realism representing the pitiable actuality rather than the liberal and creative imagination. His animation appreciated as 'stories much more real than the reality' mainly depicts the world of 'the others' who resides on the periphery of the society in a rough and straightforward way. Yeon Sang-Ho's Animation represents the emotions and desire of characters as well as the heartless real world refusing the fantasy, through which it reflects the portraits of people living in post-capitalistic era seen from the microscopic view. This article investigates the textual characteristics, defining his animation as the Brutal history of 'The Others'. Two conditions which constitute the actual world in his works are the absurd social system and the characters who are afflicted with the trauma, belonging to the lower classes. Therefore, the landscape of real life which contains vicious victim, corrupted monster and being as 'homo sacer' looks like a painting of hell. Yeon Sang-Ho's Animation summons the shadow of ourselves which has been negated or neglected through the figure of 'the others' produced in post-capitalistic era and exposes our bare face and the uncomfortable truth by displaying the affected area of out society plainly. Furthermore, his works demonstrate the possibility of Korean animation as a representational language of facing the reality and searching for the truth.

• Cartoon and Animation Studies
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• s.17
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• pp.83-95
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• 2009

As an exploratory research on China's animation, this study aims to enhance an understanding of the trends and characteristics of China's animation through examining its history and to forecast its future development trajectory. From its founding to recent period, China tried to maintain Communist political system through imbuing national identity to its people through management and supervision of media products under direct government's leadership in combination with ideological education. Such policy was also implemented in animation, major audience of which is children. With regard to the introduction of the policy and its influence, five historical phases could be identified as follows. During the first phase, from the founding of the Republic until the Cultural Revolution, national culture was introduced to China's animation. The second phase, which corresponds with the Cultural Revolution period, marks the decline of national culture. National culture was reemphasized during the third phase that follows the Cultural Revolution, which led to the nomination of the 'China school,' followed by the fourth phase, during which China's animation suffered the second decline due to the spread of TVs and foreign animation imports. Reintroduction of national culture on China's animation in the context of rapid industrialization process before and after 2000 characterizes the recent phase. It can be expected that although there could be some change in methods and forms, China's animation, which introduced national culture from its inception and maintained remarkable resilience following the period of decline, will continuously stress the its own national cultural identity.