• Journal of Digital Convergence
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• v.16 no.3
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• pp.429-438
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• 2018

Brad Bird, a screenwriter and animation director in the United States, criticized the situation in which most animations were produced and released for the children since the early 2000s. He said that animation is an art form capable of conveying messages not only to children but also to adults, and that their development potential is high. In this study, I analyzed overall components such as narrative structure, character, subplot, symbol, and foreshadow of Brad Bird's animated feature films , , and examined his narrative features and strategies. As a result, the narrative features of animation as an art form are as follows: First, conveying the message of a serious subject that will deeply sympathize with adults as well as children. Second, expressing the social agenda which criticizes the contradiction of the real world and the periodic mistakes. Third, solid narrative structure through a dense plot based on realistic situation setting. I hope that this study will be used as basic research material for various animation production in the future.

• Cartoon and Animation Studies
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• s.10
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• pp.107-120
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• 2006

The movement of characters in ceil animation is the art that gives the feeling of movement. The movement expressed naturally and well done makes the scene more dramatic and interesting. The history of 3D animation is not fully riped yet but it has shown powerful impact. The genre of 3D has come closer to us, yet it has given freshness and problems at the same time. One of the problems is the awkwardness of movement. Overplaying, stretching and squashing of character, was extremely difficult to accomplish using the prior technique of 3D so! ftware. It was not very effective so animators have avoided doing it. However, advanced technique of 3D software, so to speak, ‘stretch and squash’, overcomes the limitation of movement. The new form of character animation can be accomplished. The theme of this paper is about the analysis and comparison of ‘stretch and squash’ in cell and 3D animation.

• 한국HCI학회:학술대회논문집
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• 2007.02b
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• pp.63-69
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• 2007

트레일러는 2분 내외의 짧은 시간 동안 관객에게 영화의 장점을 소개하여 영화를 소비하게 하는 일종의 영화 광고이다. 인터넷 보급과 스트리밍 기술의 발달은 비교적 용량이 작은 트레일러의 소비를 확산시켰다. 전에 비해 관객이 트레일러를 접하게 되는 경우가 많아지고 있으며, 이로 인해 트레일러 또한 작품 흥행에 영향을 끼치는 중요한 요소로 인식되고 있다. 이에 본 연구에서는 트레일러에 대한 수요 증가와 마케팅에서의 중요성 증가에 맞춰 사례 연구를 통해 효과적인 트레일러 스토리텔링 구조에 대해 분석하였다. 먼저, 영화의 메타정보, 캐릭터, 배경, 사건, 분위기, 기술력 등의 애니메이션 스토리텔링의 주요 요소를 도출하고 몬스터 주식회사(Monster Inc., 2001), 니모를 찾아서(Finding Nemo, 2003), 인크레더블(The Incredibles, 2004) 등 픽사 애니메이션 3가지 사례에서 이들 요소가 등장하는 시점과 비중을 분석함으로써 스토리텔링의 전체적인 구조를 파악하는 사례 연구를 수행하였다.

• Cartoon and Animation Studies
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• s.12
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• pp.74-85
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• 2007

The animation exercises its influence all over the our lives, specially it has originated the new film industry by combining and applying with movies and CF. The current of time being active of animation industry brought about many changes to all the field of making films, planning and consumption. This paper is written for to inspect animation techniques that has developed to expand and break the limit of the animation's processing and expanding the part of expression. Specially by analyzing which is made by PIXAR, inquired how the 12 Disney animation skills were applied. As a result, the 12 Disney animation skills were combined to express one natual movement. Even though is 3D animation made by not Disney but PIXAR and made in 2004, it was applied and followed the 2D animation's the processing skill in 1987. Consequently, we could know even if the production, the way to produce and the time change, the exact same way of the 1987's producing skill has applied for now.