• Cartoon and Animation Studies
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• s.4
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• pp.254-266
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• 2000

• Cartoon and Animation Studies
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• s.17
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• pp.21-35
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• 2009

Continuous provocation of Japanese government to a Dokdo issue and Agreement on Fisheries between the Republic of Korea and Japan evokes a rage and resistance to whole nation in South Korea. In view of mass culture, Japanese Rightists cartoonists, Kobayashi Yoshinori and Yamano Syarin show distorted history in their works. Therefore the consideration of the birth of the Japanese right-wing cartoon is needed in historical, social and cultural viewpoints. First, the actual condition and historical background of Japanese Rightist will be showed. Second, a new Japanese history textbook which was written by right-wing organizations and Yasukuni-jinja will be discussed objectively. Finally, the representative of Japanese right-wing cartoons, and by Kobayashi Yoshinori and Yamano Syarin about historical distortion will be analyzed carefully. In this dissertation, through the factual analysis of cartoons, in opposition to a prejudice and distortion about Korean history of Japanese Rightist, cartoonists' precise and academic posture is proposed.

• Proceedings of the Korea Contents Association Conference
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• 2004.11a
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• pp.110-115
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• 2004

The cartoon communicates its messages by cartoon semiotics as a vehicle of emotion, face expression, act, glance, and texts along the story. this style of communication showed in the cartoon can be defined as "Cartoon communication style". Since, the cartoon is cultural and social product, an understanding of "Cartoon communication style" plays a major role in understanding culture and society as well as its production and interchange. To understand what is the "Cartoon communication style", systemic and objective research method through "Cartoon Analysis" is required. The study review cognitive tendency of cartoon expression through semiotic analysis of total 35,225 cuts of Korea, Japanese and Chinese published cartoons and consequently, classifies the cartoons by 3 forms - One-Root, One-Idea and One-Style to encode.

• Cartoon and Animation Studies
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• s.10
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• pp.33-53
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• 2006

On this treatise , we analyze the characteristic of a cartoon secured it's position as new popular media of popular culture in Korean modern society. And the purpose of this study is clarifying the social meaning of cartoon for formulating historical position of Korean cartoon. For a cartoon expand the sphere of research as a study, and secure the position as a unique popular culture genre in Korean society , we need to consider and ensure historical position which Korean cartoon had from the quickening period of it. As a visual culture, a cartoon realized stately the purpose of communication media at that society which had high illiteracy rate. In this upheaval at Korean society , the appearance of modern cartoon had became very important measure of propaganda and education for enlightened intellectuals who had enlightened the people and endeavored to regain sovereignty. Conversely, it also had became a measure of pro-Japanese. Also, it was important measure of securing a reader to a publishing company managed a media for commercial gain. Therefore, on this thesis, we judged that the quickening period of Korean cartoon is from the early 1900's (an occupation period of Japan) till 1945 (the day of liberation), and found the characteristic of Korean cartoon on basis of this period.

• Journal of Korean Elementary Science Education
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• v.24 no.2
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• pp.138-144
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• 2005

This study was intended to survey and analyze the illustrations of the elementary science textbooks in the』 7th revised education curriculum in Korea, and to compare the results with the illustration organization of the elementary science textbooks of Japan. The analysis criterion was composed of two categories, the kind of illustration and the role of illustration. The kind of illustration was divided into five subcategories such as photograph, picture, illustration, cartoon and diagram. The role of illustration was divided into four subcategories such as motive induction, guidance for learning, the supply of material, the presentation of results. According to the analyzing criterion, the frequencies of relevant subcategories of illustrations in science textbooks were checked and arranged and the resultant data were analyzed by grades. The findings of this study were as follows: 1. Korean science textbooks have about 3.29 illustrations per page whereas Japanese ones have 4.1l. Compared with Korean science textbooks, Japanese ones have more illustrations. 2. From the analysis of the kinds of the illustrations by grade basis, it was found that the order of percentage of illustrations is photograph, cartoon and picture in both countrys' science textbooks. Korean ones are highly dependent on photograph. As a contrast Japanese ones have more ratio of cartoon and picture than Korean science textbooks. 3. The analysis of the roles of the illustrations by grade basis showed that the role of guidance for learning is major in both countrys' science textbooks. The role of guidance for learning is prominent in Japanese ones, but in Korean ones, the role of guidance for learning is a little higher than that of the supply of material.

• The Journal of the Korea Contents Association
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• v.7 no.7
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• pp.68-76
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• 2007

The cartoon communicates its messages by cartoon semiotics as a vehicle of emotion, face expression, act, glance, and texts along the story. this style of communication showed in the cartoon can be defined as ${\ulcorner}$Cartoon communication style${\lrcorner}$. Since, the cartoon is cultural and social product, an understanding of ${\ulcorner}$Cartoon communication style${\lrcorner}$ plays a major role in understanding culture and society as well as its production and interchange. To understand what is the ${\ulcorner}$Cartoon communication style${\lrcorner}$, systemic and objective research method through ${\ulcorner}$Cartoon Analysis${\lrcorner}$ is required. The study review cognitive tendency of cartoon expression through semiotic analysis of total 30,081 cuts of Korea, and Japanese published cartoons and consequently, classifies the cartoons by 3 forms - One-Root, One-Idea and One-Style to encode.

• International Journal of Advanced Culture Technology
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• v.10 no.4
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• pp.77-85
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• 2022

Today's universities have a keen interest in educational reform. The issue of population decline in college-age due to population decline is not new. Universities have been developing quantitatively for a long time and are now considering ways to survive rather than qualitative growth. Since the sharp decline in the school-age population due to the population decline has no clear solution immediately, universities are overcoming this crisis by creating many alternatives. Attracting international students is one of them. In this study, the effectiveness of photovoice was examined through the analysis of the case of the Korean-Japanese convergence cartoon class. The photo-voice method has sufficient potential as a teaching method for foreign convergence classes and can be expected to play a role as a teaching method suitable for students participating in convergence classes with different social, cultural, and linguistic backgrounds. In particular, in the convergence class, since participating students generate research materials through photo production, it can be a tool for inner exploration necessary for webtoon production and a tool for narrative inquiry for storytelling. It is expected that expanding the understanding and use of photo voice will have the methodological value of convergence classes. In addition, the teaching method using photo voice produced in the composition of photos and stories is likely to be used as an appropriate tool for convergence classes for students with different social, cultural, and linguistic backgrounds.

• Cartoon and Animation Studies
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• s.8
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• pp.298-305
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• 2004

There are many opportunistic events that accidentally happen in Rin Taro's animations. However, audiences usually enjoy them in which dramatic catastrophic scenes inflict destruction on a city. Every acquaintance that a hero meets helps him to complete his wish in . Rin's animations describe the hero as a person that every acquaintance is eager to help. This means that the fulfillment of hero's wish depends on sympathy of the other persons toward the hero. Thus, the hero is psychologically dependent on the others. However, Rin Taro gradually became to describe destructive aspects of psychological dependence. A female character in 'X' has a symbiotic relationship with a computer that has a human-like jealousy. At last, it kills her from its jealousy. Rin Taro had shifted from helpful psychological dependence to destructive one in his animations. Therefore, Rin Taro described Japanese mental state as psychological dependence in his animations in accordance with the present state in Japan.

• Cartoon and Animation Studies
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• s.49
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• pp.169-202
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• 2017

In this thesis, we investigate the animation (2001) based on the three phases of the lyrical expression derived from Ye Weiqu's Mono no aware Aesthetic-a Japanese classical aesthetics' perspective, on the aspects of the perceptions of human, world, and nature. By analyzing each component of three phases of Mono no aware Aesthetic, the thesis illustrated that how (2001) utilized and expressed Japanese classical aesthetic and how Japanese classical aesthetics were widely utilized into modern Japanese animations. Moreover, the thesis also stated that Mono no aware Aesthetic has become a creative element in order to answer a development direction with future Japanese animations. Through integrating Japanese unique classical aesthetics into the animation elements, Satoshi Kon, the director of the animation, well carried and expressed the cultural content of Japanese nation, thus promoting a deep understanding of characteristics for Japanese animation which have a wide appeal. In his masterpiece -, the characters building, plot describing, theme expressing, cultural meaning could be analyzed respectively by means of Ye Weiqu's 3 phases of Mono no aware aesthetic, reflecting how inherited the legacy of Japanese classical aesthetics. Furthermore, based on the analysis method, the animation contributed tremendously to Japanese classical aesthetics and Mono no aware aesthetics. Tradition for classical aesthetics could play a role as a creative tool for contemporary and future animation.

• Cartoon and Animation Studies
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• s.29
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• pp.37-60
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• 2012

This essay is discusses the phase on expression as experimental animation for the tendency of the animation which appeared newly 1960s in Japan by "3 members in animation". In general, experimental animation is contrary to traditional animation. "3 members in animation" tried to present the concept of animation newly with the various trials which overthrow the form of the conventional animated cartoon. Those days, the feature animation of Toei was the mainstream of the cartoon film. When comparing with Yoji Kuri's works, the movement and theme on expression are different. It can be said that the difference is an alternative method to the mainstream. Other members Ryohei Yanagihara and Hiroshi Manabe connected design and illustration with animation. The independent creators participated in the animation festival which "3 members in animation" held. They tried to create animation interchanging with other genres. It can be said that the intermediality seen in their work is trial which sets variegated the object of animation and it expands the possibility of the new animation. Their approach overthrew the traditional tendency and was able to call it experimental animation. Japanese experimental animation in 1960s is the historical starting point of recent independent animation which searched for art in which an original expression has been formed in Japan.