• 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.

• Journal of Korea Entertainment Industry Association
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• v.15 no.1
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• pp.53-62
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• 2021

After the first to present projected moving pictures to audiences, the film industry has been reshaping along with technological advancements. Through the full-scale introduction of visual effects-oriented post-production and digital technologies in the film-making process, the film industry has not only undergone significant changes in the production, but is also embracing the cutting edge technologies broadly and expanding the scope of industry. Not long after the change to digital cinema, the concept of artificial intelligence, first known at the Dartmouth summer research project in 1956, before the digitalization of film, is expected to bring about a big transformation in the film industry once again. Large volume of clear digital data from digital film-making makes easy to apply recent artificial intelligence technologies represented by machine learning and deep learning. The use of artificial intelligence techniques is prominent around major visual effects studios due to automate many laborious, time-consuming tasks currently performed by artists. This study aims to predict how artificial intelligence technology will change the film industry in the future through analysis of visual effects production cases using artificial intelligence technology as a production tool and to discuss the industrial potential of artificial intelligence as visual effects technology.

• Cartoon and Animation Studies
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• s.36
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• pp.147-165
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• 2014

Around the turn of 21st century, there has been a major technological shift in the animation industry. With development of reality-based computer graphics, major American animation studios replaced hand-drawn method with the new 3D computer graphics. Traditional animation was known for its simplified shapes such as circles and triangle that makes characters' movements distinctive from non-animated feature films. Computer-generated animation has largely replaced it, but is under continuous criticism that automated movements and reality-like graphics devaluate the aesthetics of animation. Although hand-drawn animation is still produced, 3D computer graphics have taken commercial lead and there has been many changes to acting of animated characters, which calls for detailed investigation. Firstly, the changes in acting of 3D characters can be traced from looking at human-like rigging method that mimics humanistic moving mechanism. Also, if hair and clothing was part of hand-drawn characters' acting, it has now been hidden inside mathematical simulation of 3D graphics, leaving only the body to be used in acting. Secondly, looking at "Stretch and Squash" method, which represents the distinctive movements of animation, through the lens of media, a paradox arises. Hand-drawn animation are produced frame-by-frame, and a subtle change would make animated frames shiver. This slight shivering acts as an aesthetic distinction of animated feature films, but can also require exaggerated movements to hide the shivering. On the contrary, acting of 3D animation make use of calculated movements that may seem exaggerated compared to human acting, but seem much more moderate and static compared to hand-drawn acting. Moreover, 3D computer graphics add the third dimension that allows more intuitive movements - maybe animators no longer need fine drawing skills; what they now need is directing skills to animate characters in 3D space intuitively. On the assumption that technological advancement and change of artistic expressionism are inseparable, this paper compares acting of 3D animation studio Pixar and classical drawing studio Disney to investigate character acting style and movements.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.17 no.5
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• pp.405-413
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• 1984

As the previous paper of studios on lipids in fresh-water fishes, the present study was designed and analyzed to investigate the distribution of lipid components in various tissues of snake head, Channa argus. The free lipid was consisted of neutral lipid ($66.6{\sim}72.4\%$), phospholipid($17.9{\sim}20.4\%$) and glycolipid ($5.7{\sim}12.2\%$), while the bound lipid was consisted of phospholipid($28.6{\sim}50.6\%$), neutral lipid($13.2{\sim}36.1\%$) and glycolipid($3.8{\sim}22.8\%$). The neutral lipid was mainly consisted of triglyceride($62.00{\sim}90.20\%$) in free lipid, and esterified sterol & hydrocarbon($51.30{\sim}72.70\%$) in bound lipid. The phospholipid was mainly consisted of phosphatidyl ethanolamine($28.96{\sim}42.75\%$) and phosphatidyl choline ($27.85{\sim}41.06\%$) in free lipid, and phosphatidyl choline($47.18{\sim}52.45\%$) and phosphatidyl ethanolamine ($17.88{\sim}26.67\%$) in bound lipid. The major fatty acids of polar lipid in free and bound lipids were $C_{16:0}(21.03\%,\;22.62\%),\;C_{16:1}(8.70\%,\;30.1\%),\;C_{18:1}(20.62\%,\;12.11\%),\;C_{22:5}(3.21\%,\;6.50\%)\;and\;C_{22:6}(7.56\%,\;16.02\%)$, and these of neutral lipid in free and bound lipids were $C_{16:0}(18.98\%,\;19.12\%),\;C_{16:1}(9.04\%,\;13.49\%),\;C_{18:1}(22.94\%,\;11.61\%)\;and\;C_{22:5}(3.00\%,\;10.05\%)$, respectively. The unsaturation(TUFA/TSFA) of bound lipid was 3.99, and 2.5 times higher than 1.43 of free lipid. The contents of total essential fatty acid in free lipid were ranged $7.99\%\;to\;14.69\%$, and slightly higher than $6.57\%\;to\;8.25\%$ of bound lipid. In both polar and nonpolar lipids, w3 highly unsaturated fatty acid(w3-HUFA) contents of bound lipid were ranged $22.57\%\;to\;31.83\%$, and $2{\sim}3$ times higher than $7.88\%\;to\;14.03\%$ of free lipid. There were significant difference between the lipid and its fatty acid composition in free and bound lipids and/or in various tissues.

• Parasites, Hosts and Diseases
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• v.25 no.1
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• pp.69-82
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• 1987

The prevalences of the cuke belonging to genus Metagonimus hove been reported along the upper stream of inhabitants by several workers since 1980, however the taxonomical problems of the fluke was not yet settled. The larval flukes; cercaria and metacercaria as well as their intermediate hosts, and adult were studied in order to identify the Mepagonimus in the areas. The results obtained are summarized as follows: 1. The snails, Semisulcospira globus were collected (rom the three different localities along the upper stream of the River. The cercariae were found from 125(7.2%) out of 1,730 snails by natural emerging method, and were identified into 5 species including Metagenimus sp. (3.7%), Pseudexorchis major(1.4%), Cercaria nipponensis (0.9%), Cercaria incerpa(0.6%), and Cercaria yoshidae(0.6%). Cercariae of Metagonimus species had four to dye oral spines on its anterior of the first line. 2. The cercariae of Metagonimus were experimentally exposed to goldfish. nfection rate was 22.9% out of 105 goldfish, and the encysted metacercariae were found in fins(86.7%) and on scales (13.7%) of the fishes, but not in their muscle, head or visceral organs. 3. Seven species of ask were caught in the Daecheong Reservoir and the upper stream. Infestations with metacercaria of Metagonimus were found 100% in Opsariichtys widens and the parasitized numbers of the metacercariae were observed from 250 to 2,400 per fish. In the upper stream, Zacco termmincki, Z. platypus and Pseudogobio esocinus were infected 100% with the metacercaria, on the other hand, the fishes caught in the reservoir showed the lower infestation rates, and a few metacercariae found in the fishes Carassius carassius and Cyprinus carpio in the reservoir and the stream. The majority of metacercariae was detected only on the scales of fishes. 4. In order to know the infectivity and the distribution patterns in the intestine of hosts, rats and dogs were infected with the metacercariae obtained from O. bidens and Z. platypus. In addition the metacercariae obtained from Z. temmincki, P. esocinus and goldfish were given to the rats. The recovery rates of the worms in the small intestine of dogs were higher (63.3~65.8%) than those of the rats (3.5~31.6%). The flukes were found mostly in the middle and the lower part of small intestine of the rats and the dogs, but no worm was collected in the upper part of the intestine of rats. 5. The sixte of adult flukes varied by the hosts. In the adult cukes, oral sucker was smaller than ventral sucker, and the right and left testes were located diagonally, the uterine tubules circled around the upper left testis. The average egg sixte was $29.1{\times}1.7{\mu\textrm{m}}$. According to the above results, the cukes belonging to genus Metagonimus distributed along the Geum River was concluded to be identical with Miyata type of M. yokogawai as that Saito had proposed.