• Cartoon and Animation Studies
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• s.36
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• pp.619-641
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• 2014

Animation is an important tool to establish the identity of mutually related countries, as cultural contents with the economic value. That is, it is necessary that the Korean animation should extend the previous boundary of exchange, for the status of representative cultural industry in the 21st century global market. Especially, to overcome the regionally prejudiced and unbalanced cultural exchange, the possibility of extension with Czech animation, which has not had an active exchange with Korea, will be considered and the efficient method will be proposed. The Czech Republic is geopolitically located in the center of Europe and its infrastructure like industrial construction, investment environment, human resources is outstanding among Visegrad Group. The Czech Republic has a remarkable cultural border-crossing phenomenon, and as a complex country of cultural and religious characteristics of eastern and western European, it is a powerful nation leading Central Europe. Therefore, the animation exchange of Czech and Korea is valuable in culture and economy of both nations. Through such an animation exchange of both nations, not only Korean animation secures the diversity of exchange but also insignificant cultural exchange after formal establishment of diplomatic relations in 1990, will be revitalized and international firm relationship of both nations will be established. Therefore, as an activation plan or cultural exchange of Korea and the Czech Republic, concrete plan like Stop Motion Animation Workshop is proposed.

• Cartoon and Animation Studies
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• s.16
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• pp.33-47
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• 2009

This research investigated which evaluation factors in children's television animation programs children between 7 and 11 years of age value. We collected data by means of questionnaires among 120 children of elementary school first through fourth graders. As research result, the most important evaluation factors for children were fun and action, closely followed by innocuousness, purity, realism, comprehensibility, and violence respectively. Boys in both samples attached more value to fun and action in a children's television animation, whereas girls in both samples attached more value to innocuousness and fun.

• Journal of KIISE:Computing Practices and Letters
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• v.16 no.11
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• pp.1101-1105
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• 2010

We present a sketch-based animation interface that allows novice users to create informative 2D web animation quickly, In this paper, we uses cutouts as a main animated primitive to allow users to quickly create 'cutouts on whiteboard' style animations. Users can freely draw and write, and at the same time they can easily manipulate animated cutouts to create impressive animations, We demonstrate that our system is capable of creating more impressive animations more quickly than sketch-only animation approaches.

• 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.

• Proceedings of the Korean Information Science Society Conference
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• 2003.04c
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• pp.163-165
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• 2003

최근 컴퓨터 그래픽스에서 비사실적인 표현에 관한 연구가 되고 있다. 그 중 애니메이션 분야는 기존의 2D 애니메이션 기법을 적용하여 비사실적인 애니메이션(Non Photorealistic Animation) 을 표현할 수 있다. 여러 기법 중 기대(Anticipation) 효과를 얼굴 표정 애니메이션(Facial Animation)에 적용한다면 조금 더 역동적인 표정을 표현할 수 있게 된다. 얼굴 표정 애니메이션(Facial Animation)을 제작하기 위해서는 실제 사람의 얼굴 표정을 캡쳐하거나 애니메이터가 많은 노력과 시간을 투자하여 작업을 해야 한다. 본 논문에서는 이런 방법으로 생성된 얼굴 표정 애니메이션에 사용자가 원하는 표정에 기대 효과를 자동으로 추가하여 더 좋은 표정을 생성하는 방법을 소개한다.

• Cartoon and Animation Studies
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• s.32
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• pp.63-90
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• 2013

The purpose of this study is to improve the standards for the animation education in '2011 Arts and Culture Education Standards: Cartoon and Animation'. Animation Education Standards has been developed by discussion about Arts and Culture Education, and by study of documents about animation, and by investigation about experimental recognition. And the study of domestic and foreign art education standards are reflected in these standards. These standards consist of seven categories reflecting various aspects of animation and each category is classified into five stages by age. This standard has two axes: seven categories by various aspects of animation and five stages by age, and it represents achievement requirement in animation learning. This study suggests that 'Animation Education Standards' has five features as below. First, it reflects the character of Animation as an independent subject. Second, it is studied on the basis of the framework of arts and culture education. Third, it provides basic achievement requirement, and it has no limitation in learning activities. Fourth, the achievement requirements of two or more categories can be applied simultaneously in real classroom; each category is set by themes of animation education. This study presents five methods to improve existing standard. First, independent standard for animation education must be developed. Second, categories must be established distinctly. Third, each categories and achievement requirement must reflect unique characteristic of animation. Fourth, the description of achievement requires must be systemized. Fifth, to help to adapt education standard, explanation about practical teaching and learning activities must be added. '2011 Art and Culture Education Standards: Cartoon and Animation' is important in that it is the first study that systemized animation education and presented pedagogical achievement requirements by suggesting achievement requirements for animation education by two axes -ages and categories. It will be very helpful in studying the animation education as a subject, and developing education programs, and teaching and learning in an actual class.

• Cartoon and Animation Studies
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• s.36
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• pp.303-323
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• 2014

After TV Broadcasting service started, American Animation Industry changed dramatically. Through 1930th to 1940th, Major Animation Studios made every effort to adapt to new Animation production environment. Those efforts led rapid improvement of Animation again by succession of heritage in the golden age of American Animation. in spite of successful outcome, some critic like Bernard Oma blamed Animation on repeated chasing pattern, glamorized violence with exaggeration and humor caused by lack of idea. Nevertheless the decade passed by, achievement of the era still have influenced today. The animated films of the age have attractive power in comparison to today's works and Chuck Jones was a glamorous one of the age-leading masters. "Tom and Jerry" series, "Bugs Bunny", "Daffy Duck", and so on, he planned, designed characters and directed those masterpieces. In this study, episodes of "Tom and Jerry" that had been directed by Chuck Jones during 1963 and 1967 are analysed in the view point of direction style. In recently, Korean Animation Industry seems to be accumulated power for rising again by showing new animations that are adapted to new media. Thus, this study aims to give an idea for the new vision of Korean Animation through analysing Chuck Jones' Masterpieces.

• Cartoon and Animation Studies
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• s.30
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• pp.27-57
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• 2013

Animation which appeared with films in the late 19th century was a medium which came on obtaining nourishment from art historical style of modernism. However, the relation establishment between animation and modernism has been focused mainly on animation shapes, namely painted images. This sprang from explaining the relationship between animation and paintings, and for this reason, discussions of movements in animation were understood in tradition of chromophotograph of Muybridge and Jules Marey, or some characteristics owned by the live-action film. However, movements of animation were essentially different from the indexical sign of films or photogram, and objects of reproduction were different between them. Movements reproduced by animation are not ordinary movements, but expressions of or compressed movements and considerably systematic movements. As a result, these movements are far from reproduction of live-action film photogram. Rather, the logic of movements reproduced by animation comes near to controlling their motion scopes, time, distance etc. after dividing each part of the body. This is concluded in a standpoint of modern mechanism which is represented by Descartes and La Mettrie who tried to understand human body as a exchangeable machine. Design of modern mechanism ranging from modern society to industrial society and the age of modernism came to lead to analysis of physical motions of modern industrial society called composition of efficient movements understanding them as the law of nature rather than movements as nature. In the late 19th century, Taylor, F. W. and Gilbreth, Frank Bunker's studies of workers' working hours and 'motion study' were a way of constituting the frame of machine-human, which indicates that tradition of modern mechanism affected the entire modernism passing through industrial society. Further, we can see that motion studies conducted by them have almost similar characteristics to action analysis to study animation later in the name of 'timing'.

• Cartoon and Animation Studies
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• s.42
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• pp.177-194
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• 2016

This study investigated an evolutionary process of In-game Animation and researched on the action of realization establishing virtual reality. In-game Animation, functioning as contents to visualize games, is responsible for conveying information to achieve goals of games. In-game Animation which is affected by graphic technology was initiated with setting up indicators by dot and line. Followed by the development of technology, In-game Animation has pursued realization, after passing through processes of iconography, materialization, and dimensionalization. The realization of In-game Animation does not simply imitate the real world but creates meaning of reality by establishing space with various factors such as characters and background along with the story, under the premise of virtuality. The realization of In-game Animation is very important to provide the experience of immersion, as it forms a sense of presence through such visual tactility. The process to create meaning of reality provides gamers with experiences, and leads them to expand senses through visual perception and finally absorb the virtuality as reality. Therefore, the image of In-game Animation does not simply imitate the real world but creates meaning of reality by establishing space with various factors such as characters and background along with the story, under the premise of virtuality. The realization of In-game Animation is not limited to blindly portray a realistic image. In addition, the process of realization pursued by In-game Animation is an action to immerse in the game rather than a mere product of technological development.

• The Journal of the Korea Contents Association
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• v.18 no.3
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• pp.456-471
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• 2018

A Comparative Study on the Korean animation industry and 3 of this paper is a matter of Korea, China, Chinese animation industry and the Current Status and Problem of Chinese animation business in overseas markets.Aimed to find ways to expand exports. In order to realize this purpose with theoretical backgrounds, such as animation concept and characteristics of the research literature, look at ways a paper from an animation industry, work, China.Chinese animation development plan based on the bibliographic data and case study based on books. First, by government in terms of development measures and supplement the system and a law on the animation industry. First of all animation industry and producers To help protect the government is to become an active policy must be supported with funds and animation to ease the relevant laws and regulations and joint venture with foreign countries.Pursuing an active policy is needed. Second, an animated feature can get the full benefit of the industrial chain to and create derivative works as a multilateral needs to be improved. Third, the animation expertise to build human resources need to be nurtured. Fourth, in order to cater to overseas markets in China will create various types of Chinese traditional culture based on the animation is important. Fifth, and a mobile home page to get in. Sixth, will be easily exported to overseas markets to the creation of joint international exchange and international.