• Journal of Digital Convergence
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• v.10 no.11
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• pp.659-664
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• 2012

This research has chosen the animation character creation as a part of research for effective communication with audience due to the character taste getting diversity. The way of characters creation in this research suggest as follows. First, animation character action and a way of thinking, which makes regulation factor is a global outlook. It expresses a outer factors include appearance, style, action, facial expressions, tone of voice, hobbies, occupation, status and internal factors shows nature, conception, culture. Second, the given condition of general tendency of animation character, Cultural background, and Key characteristics and experiences is built up by global outlook. Third, the attractive of animation character show up the familiarity, originality, fun, various senses, and flexibility. Fourth, it is harmony of new global outlook and character. The establishment of animation character is that the familiarity which is easy approach to audience with special global outlook, the originality which is different from other works, fun with laugh, at different times in different ways to interact with more flexibility, various sense to be delivered to audience for easy setting is the most desirable.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.243-249
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• 2021

In the postmodern world, it is widely believed that being a fool or looking foolish can be more profound and unique than being smart and serious. Comic characters, or fool characters in comedy, have been used as basic tools to make people laugh in various cultures around the world. As such, this study will summarize the types of fool characters that have been depicted in plays and organize how they can be categorized in a culture of laughter as well as revealing their characteristics in performing arts. The ridiculous actions and words of fool characters fall outside the common dichotomy of wisdom and foolishness. This is significant and it is because the ways in which they act overturn the values that we consider to be truthful in the world of experience and contain wit and ridicule beyond the general knowledge. Also, it's worth pointing out that many comic characters that appear on TV shows are not all the same. To put it simply, each and every funny character has unique traits and these characters predictably change according to the times. In performing arts, a fool character's personality is displayed through his or her interactions with the audience. That is, on one hand, the character may or may not recognize himself as a fool, while on the other hand, the audience may regard the character as a fool or otherwise. Based on this background, the comic characters that appear in performing arts are categorized into four types and their features are discussed.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.123-132
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• 2019

This paper analyzes the performances of actor Song Kang-Ho in the background of interdisciplinary and integrated film acting, using performance rather than acting as a general term. If the act is a concept limited to acting training or acting skills, performance is a broad concept that includes expressions, movements, and emotions. The performance on the screen can be explained in the context of film and can be extended to the social attitude of acting. In addition, I used the term screen in terms of representation rather than film referring to medium. Song Kang-Ho expressed the performances of various characters in more than 30 films. Although his facial expressions, gestures, and voices suitable for individual characters in various genres are represented in various ways, personality inherent in the actor Song Kang-Ho integrates persona with character. What drives it is the social attitude of screen performance. As a sign, acting is an ideological construct and foregrounds a character who describes a certain social and historical moment. Song Gang-Ho as actor, persona and character, who asserts the popularity, speaks to society and makes discourse. His comic performance is always confronting the tragedy of life, his face is the spirit of the times, and it expands into social meaning. The face of the close-up does not laugh at all, the gesture symbolized by the curved rear view is exaggerated disorderedly and disturbingly, and the voice using dialect accent does not follow the standard of the vocal.

• (The) Research of the performance art and culture
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• no.42
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• pp.291-319
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• 2021

In this paper, I looked for the parts where laughter appeared in the Mundoong, Yangban, Yeongno, and Grandfather and Grandmother of Tongyeong Ogwangdae and Dongrae Yaryu, and investigated the meaning of those parts. Laughter in mask play has made him more tolerant of human injustice and foolishness. I softened the critical content and naturally revealed what I thought should be hidden. Through a short and noisy plot, the opposing forces, the inner conflict of the Mundoong, Yangban, Yeongno, and Grandfather and Grandmother were shown in a realistic and realistic way. The worldview that creates the structure of realism is typically skeptical and ironic, and the worldview that creates the comical structure related to laughter aims for the ultimate emergence of a new order based on unity and harmony. Masking is thought to be a work in the stage of moving from the latter to the former. Therefore, it is judged that laughter in mask play served as an important medium for Korean art thought to have a realist view of the world. This is because various expression methods that induce laughter are working to reveal negativity, reveal the illusion of contemporary values, and naturally expose restraint and taboo suppression. In laughter, there is a path that transforms perception by fusing several elements. There was realism at the end of the pathway to new perception.

• Korean Journal of Biological Psychiatry
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• v.2 no.2
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• pp.218-236
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• 1995

The author studied prognostic indicators of sixty Korean male alcoholics in psychological, social and biological aspects who were divided into abstinent and drinking groups. Thirty patients were assigned to each group. They were controlled in age and sex. Both groups were compared in terms of the demographic characteristics, past drinking history, treatment history, famaily history, ego strength and personality factors differences and distribution of dopamine $D_2$ receptor gene Al allele. Also the author studied relation of clinical course, alcoholic family history and dopamine $D_2$ receptor gene Al allele in both groups. The results were as follows; 1) The abstinent group had higher rate of married state, higher economic status, longer education years and maintained more stable job than the drinking group. But made no differences in occupation and religion. 2) The abstinent group showed higher rate of living with family members than the drinking group, and wives and fellows of the alcoholics anonymous were important factors for maintenance of abstinence. Family loading and parent's characters were not different. 3) The abstinent group had longer maximal length of abstinence but mean amount of alcohol consumption per day were larger than the drinking group. But there were no differences in duration of past drinking, drinking pattern, main drinking time, first drinking age and preference of the kind of alcoholic beverage in the past drinking history. 4) The abstinent group showed stronger treatment motivation, absolute abstinence in treatment goal, more voluntary adimission and maintained longer therapeutic relationship otter discharge than the drinking group. But both groups showed negative attitude toward antabuse therapy. 5) The abstinent group had higher mean score in ego strength scale than the drinking group. 6) In the personality factor questionnaire, the abstinent group showed strong laugh poise and the trait of praxernia, conservatism personality but the drinking group showed tough poise, the trait of weak ego strength(unstableness) and tough mindedness personality. 7) In comparision of dopamine $D_2$ receptor gene A1 allele, the prevalence of A1 allele was seventy percent and the frequency was 0.38 in the abstinent group. The prevalence of A1 allele was sixty percent and the frequency was 0.42 in the drinking group. Both groups were not significantly different in A1 allele prevalence and frequency. 8) In comparision of dopamine $D_2$ receptor gene A1 allele according to alcoholic family history, the prevalence of A1 allele was seventy percent and the frequency was 0.43 in the family history positive group. The prevalence of A1 allele was sixty-one percent and the frequency was 0.38 in the family history negative group. Both groups were not significantly different in A1 allele prevalence and frequency. In comparision of past drinking history according to alcoholic family history, the family history positive group showed earlier first drinking and problem drinking, but the family history negative group hod longer duration of past drinking. The mean amount of alcohol consumption per day, the longest duration of abstinence and Alcoholism Screening Test of Seoul Natoinal Mental Hospital(NAST) results were not significant. In conclusion, the results suggest that successful prognostic indicators of Korean alcoholics are married state, higher economic status, longer education years, stable job, living with family members, longer abstinence during past drinking history, strong treatment motivation, absolute abstinence in treatment goal, voluntary adimission, maintained therapeufic relationship, strong ego strength and the trait of praxernia, conservatism personality. But occupation, religion, alcoholic family history, parent's characters, duration of past drinking, drinking pattern, main drinking time, first drinking age, preference of the kind of alcoholic beverage, attitude to antabuse therapy and distribution of dopamine $D_2$ receptor A1 allele were not significantly related to the prognostic indicators of Korean alcoholics.

• Cartoon and Animation Studies
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• s.48
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• pp.333-358
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• 2017

Mainland China is under different conditions both socially and politically than other countries, so there is a lack of practical researches on cartoon characters. With a profound interest, the researcher has selected a character that is realistic and loved by many Chinese. The subject of the study is "Shan Mao Series." Out of 16 seasons, the most famous one is the Chronicle of Shan Mao's Wander. I analyzed the character thoroughly, dealing with the beginning of the character, the process of character development, and a reality shown in the chronicle, etc. on chapter II, and the character's image component on chapter III. Chinese modern cartoons were affected by a situational anxiety because of foreign powers and war. Thus satire cartoons went in fads among the public. The epitome of a typical cartoon was the Shan Mao Series. From 1935, when the character was first created, to now it has eaten into Chinese people's hearts. It's because the story happens during a war period and it deals with a playful, humorous main character's life and these facts show the hidden side of the unfair social system. Most of readers prefer a smart, playful, righteous, and brave character. Shan means three and mao, hair in Chinese, so Shan Mao is a child who has three hair. The character is not just a simple cartoon character; it has developed into a national figure among many Chinese. The reason why the researcher has chosen the series created by Zhang Leping, the author of the cartoon, is because a good cartoon, good animation, and even good movie stimulate the feelings that we get from our surroundings. The character which is created in China seems very unique and bizarre but there is a sense of friendliness. Also its character image and scenes make people laugh and it has become a typical symbol of a modern cartoon in China.

• Cartoon and Animation Studies
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• s.36
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• pp.189-215
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• 2014

Since the launching of in 1963, a large amount of outstanding cartoons had been produced in China by the year 1980. During this period of time, international reputation was achieved with the extremely full expression and characteristic stories originated from Chinese culture. Decades of cartoons were produced ever year benefiting from support of the government in the last years. However, the quality and in fluence power dropped down comparing with the increasing productivity. The outward followed by examples of successful international box office most of the animation made in China. These cartoons did not obtain admitting internationally, or disclose any traditional speciality of China, although the domestic box office is considered to be fairly successful. The key factors to the successful cases should be analysed and researched rather than simply estimating, in order to achieve both artistic and commercial success. Factor of humor, as a key element of a successful cartoon is proposed in this thesis. Prior to the discussion, a general definition of humor factor is described through Henri Bergson's comedy concept, based on which the key factors of humor will be analysed. A classification system would be derived and introduced as a tool for the analysis of humor factors. According to Henri Bergson, Humor is determined by circumstance, language and character factors. Humor factors are divided into visual, scene and acoustic factors in this research taking the Speciality of cartoon media into consideration. It is the speciality that, in addition to the visual and language factors, multiple acoustic elements are also introduced in such a presentation pattern. This classification system would be considerably applicable to the analysis of humor factors in Chinese cartoons. In this study, around the year 2000 to share the Chinese animation masterpiece were analyzed by selecting and , and . This discussion about key factors of humor is likely to be beneficial to the development of Chinese Cartoons in the future.

• Sim-seong Yeon-gu
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• v.26 no.2
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• pp.149-188
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• 2011

This thesis presents the research of analytical psycholoy in respect of Jindo Dasiraegi. In a funeral of Jindo, situated in the southern island of Korea, there is a theatrical performance which is called Dasiraegi(rebirth). This research manifested a basic, universal meaning of psychological approach related the implicit of death in performing theatre from a analytic psychological point of view. The characteristics of this theatrical feast are like these ; 1) funeral festival 2) entrance of clown(the existence of antipole and conflict) 3) eroticism 4) active participation of female character 5) difficulty in her delivery 6) the moment of joy thanks to childbirth. The prerequisite of this feast should be a propitious mourning of person dying old and rich. That is, after having a complete life, it could be an entire death. Three main roles in Dasiraegi ; a bat-blind buddhist devotee, a strolling actor teasing men, an apostate monk, theses characters lock horns in a form of triangle conflict relations, then they keep a balance with a fake mourner as a protagonist , modulator and narrator. These characters are indeed clowns who manifested a metaphor as a decent, sacred and reasonable part of shadow regards group consciousness. The alive and the deceased, mourner and fake mourner, piety and confusion, wail and laugh, silence and grumble, death and birth, diverse antipole all coexist then theses are in harmony. The blind devotee and the monk are in antipole, the entertainer(anima) provokes a conflict between them. The infant is a solution as same as a result of conflict. This conflict seems to be eased by birth of a baby which is a symbol of wholeness(ganzheits) but the conflict of antipole is reenacted as insisting his parental right so this solution is leaving the baby to the chief mourner who is fourth character and the first beginning. Unconsciousness, hereby, is negotiating with appeared reality. The Images in unconsciousness are conscious and this new energy in unconsciousness is proceeding towards consciousness, then it became a therapeutic power for the loss of consciousness. Dasiraegi is the play of consolation much more for the alive than the deceased. The death signified not a loss but a resurrection and this intends a transition of new leading independent role for the alive. These make us have more prudent consideration concern the double sense of renewal for the dead and the alive. It is preserved as only a form of drama on stage after disappearance of Dasiraegi in a funeral recently. Dasiraegi was a manifestation of unconsciousness for compensation about the unilateral attitude of group consciousness to the strict death excessively. Therefore, this will enable reflect the relativeness and the attitude which regards the death as the end today.