• Cartoon and Animation Studies
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• s.13
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• pp.181-197
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• 2008

Government set violence as one of the important criteria when it rates movies or TV programs for juveniles. The purpose of selling this criteria is to prohibit the violence in TV programs or movies from affecting the actual behavior of juveniles. However, it is still under discussion how much the violence in broadcasting media actually affects juvenile violence. Korea once carried out a social experiment on juvenile violence media. Back in 1970, violent animation was popular in Korea and Korean government completely banned televising violent animations from September 1980 in an effort to prevent juvenile violence. Investigating the effect of this policy on juvenile violence would draw some implications. The result shows that the policy to ban violent animation in September 1980 didn't have meaningful effect on the trend of juvenile violence. The implication from this paper is that there is no certain cause-and-effect relationship between violent animation and juvenile violence. Another implication is that In-depth discussion is needed if this governmen4 policy is violating the juvenile's right to choose public media.

• The Journal of the Korea Contents Association
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• v.10 no.11
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• pp.113-124
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• 2010

This article studies on the character design of North Korea's puppet animation around 1985. At that time North Korea's puppet animation are improved glaringly in quantitative side and qualitative side of modeling. There has been constant support nationalistically to puppet animation from the initial period of animation production in North Korea unlike South Korea, and North Korea communicated lively with European socialist countries where tradition of puppet animation is strong. We can discover structural and figurative change of distinct feature in character design in 1985. Structurally, experimental forms and correct movement of joint were possible, because they used ball and socket armature. Expressively, they established own esthetics of character design in puppet animation applying technique of korean traditional painting to character design: laconism, perspicuity, delicacy.

• Cartoon and Animation Studies
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• s.28
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• pp.101-124
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• 2012

Success of brought a large revolution in the world of cinema and the media market. They have predicted new industrial possibility for 3D Stereoscopic image and trends started to support for producing in the field of various media platform. We can see our domestic technology creates higher added value in the sphere of hard-wear for the market of worldwide home TV electronics. But in reality we are short of effective and organized pipeline of producing and we should analyse cases more for Stereoscopic 3D animations. Therefore in this paper, we present case study on animation made into Stereoscopic 3D animation to build up suitable Stereoscopic 3D TV animations pipeline. We differentiate from any other Stereoscopic content by applying artistic elements and technological elements, especially human factor and 3D Sweetening to elevate the level of 3D Stereoscopic effect for main audience, children. We propose how to strengthen the competitiveness of Korean animation for world animation market.

• Cartoon and Animation Studies
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• s.37
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• pp.247-265
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• 2014

This essay is about the considering the mutual relevance of animation and literary work in a case. The television animation Heidi, Girl of the Alps made in Japan is the most famous media version of the original novel. The novel Heidi by the Switzerland writer Johanna Spyri has been translated in a lot of countries, and the original Heidi has been adapted for mass media - literary(translation), movie, play, animation, cartoon, picture book. Here, with the relation between animation Heidi, Girl of the Alps and Spyri's Heidi and the present condition of the change in Japan and Korea, the relevance of animation and literature was reconsidered. First, Heidi, Girl of the Alps and Heidi have the different characteristic as media, and the content has some different set-up. On the other hand, original soul is inherited in the animation. Second, the animation has affected Heidi related visual image and the original media diffusion. The above consideration from a viewpoint of the mutual relevance between media shows the importance to return aiming at mutual understanding of animation and literature and mutual value between the diversified media. Moreover, it suggests a possibility of leading to creation of the energy which results in transformation also to action.

• Cartoon and Animation Studies
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• s.13
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• pp.211-221
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• 2008

Animation programs are regarded as bad genre in the aspect of advertisement revenues due to relative low viewing ratios. But programming of animation can be considered positively in the aspect of channel loyalty and preference. This study is based on the assumption that if the scheduling of animation genres could bring out the improvement of channel image of broadcasting stations in the long term, the terrestrial broadcasters could reconsider the increase of animation programs. The research questions of this study are as follows: 1. What is the relationship between the programming ratio of animation genres and the concentration of viewing patterns? 2. How has the increase of animation programming influenced the channel image of broadcasters? 3. Why is it necessary to increase of reinforce the programming of animation genre in the new media platforms? The teenagers aged from 8 to 14 can generally make a decision which program they want to watch. Likewise, the adult viewers aged from 30 to 40 can make a selection which commodity they want to buy. The results of this study indicate that the adult viewers have showed the strong preference for the same broadcasting stations which they have been exposed to in their teenages. This result implies that in the new media environment, animation genre can lead the viewers' loyally and preference for the broadcasting channel for a long period.

• Cartoon and Animation Studies
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• s.40
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• pp.139-155
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• 2015

Animation is completed in accordance with the original planning of visual direction in the process of post-production. Especially, a variety of visualization skills to meet the planning idea are directed in editing and compositing processes such as rendering and shading in the production of 3D animation. Therefore, the studies how to implement these visual effects have been conducted since the emergence of the animation. The rendering method which appears in the recent animations so often is the effect of 2D animation style although it is applied by 3D technique. 3D animation can be classified as two types including photo realistic and non-photo realistic renderings. The former is to render the images realistically while the latter is to highlight the formative effect with analogue style free from the realism of the photographs. Visual effect of 2D animation is non-realistic, that is, non-photo realistic rendering. The animations produced by this method have the depth of 3D animation expression in terms of space and animating, and can direct the viewer-friendly analogue style visuals, which are widely used as a post-production effect. Hence in this study, we selected a short animation, 'Paperman,' one of Disney's animations, produced by cartoon rendering method which belongs to the class of non-photo rendering technique in 3D graphics, as our subject. We analyzed their techniques and visual effects of the scenes expressed by cartoon rendering method so as to understand whether they meet the original direction idea with the composition work. In addition, we expect further developments of post-production methods, exceeding the limit of graphic expression in alignment with the trend that has become more various in the types and genres of non-photo rendering.

• Cartoon and Animation Studies
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• s.42
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• pp.1-24
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• 2016

The 'fear' in animation has a couple of problems to apply the criteria for identical genre as in movie or literature. First, the mutilation and destruction of one's body and the appearance of monsters and ghosts are not a normal way of expression and could not apply to one genre. Second, the cause of fear comes from the subject of fear which is a reality that is something 'unrealistic' and 'special' and is approachable. This is all possible in a three dimensional world, but animation is not founded on realism. According to this logic, the horror genre in animation or the esthetic experience of animation is not possible. However, many of the powerful images you can see from the horror genre are all created from animation. Therefore, many writers are drawn to the horror in animation and tried to express in many different ways. This study will include the general idea of fear which drives the audience to the felling of fear and terror but we will mainly focus on the three types of fear - ghost story, cannibalism, and madness - and discover the meaning of fear used in animation. Through this process, we anticipate that fear in animation is not just for pure amusement, but will be able to investigate the meaning of fear philosophically even if the hidden side of reality is terrifying.

• 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.

• Cartoon and Animation Studies
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• s.16
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• pp.21-32
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• 2009

This study provides an empirical analysis of box office performance for animation movies released in Korea between 2003 and 2008. Two dependent variables are both the number of audiences in the whole country and the number of audiences in Seoul. Such independent variables are employed : power of distributors, the number of screens, release time, sequel/remake, awards, film ratings, nationality, online reviews, and critics' reviews. For the total number of audiences in the whole country, significant variables are the number of screens, the power of USA distributors, Summer release, and online reviews. Since there is no analysis for box office performance for animation movies released in Korean theaters, this study will be considered to be meaningful.

• Journal of the Korean Society for Computer Game
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• v.31 no.4
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• pp.175-184
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• 2018

The commercial success of the game has also led to animation of the original game, especially the live version of The Street Fighter II in 1994 and a variety of videos of the game-based version, 2D Animation and 3D Animaion until now. But animations are not always successful because they are based on popular and commercially successful games. That's because when the original game was remade into an animation, the difference between the narrative structure of the original game story and the setting of the game and animation is striking. Nevertheless, a feature-length animation based on the Angry Birds game, which was released on May 19, 2016, has also been a huge commercial success, with this paper analyzing the case applied to the 12th stage of Christopher Vogler's hero's journey, Aengibird the Movie, and discussing the way in which the animation developed based on the game compared with other animations. Christopher Vogler, a Hollywood playwright, analyzed the structure of popular-loved movies based on the common narrative of the myth as the main motif of the mythologist Joseph Campbell. His narrative style is a hero's journey, using a total of 12 stages of epic narrative structure to help the protagonist find himself and achieve what he wants. Foreign heroes, adventure films as well as animations from big studios like Disney, Pixar, and Ghibli are using the story-development method of this Christopher Vogler.