• Cartoon and Animation Studies
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• s.50
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• pp.43-73
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• 2018

This is a study on 'Objet' in animation culture art education. Research on the use of Objet in modern art is actively under way. From Cubism to Dadaism, Surrealism, Futurism and Pop art, it is no exaggeration to say that the Objet is stepping with modern art. In addition, Objet has a remarkable value in the field of visual arts expressing 'motion' such as kinetic art, video art, media art, and animation. However, there are not many cases of classifying and studying the types of Objets used in artworks. Therefore, this researcher has been influenced by the surrealism discourse and prepared six types of Objets type analysis framework. And the research focused on 'the aesthetic emotion and educational aspect of creativity improvement' of Objet animation was conducted. The type analysis framework is named as a drawing Objet, Objet of existence, a morphine Objet, epidermis Objet, assigned Objet and assemblage Objet and this type is presented and analyzed with case image. The data used in this study was focused on the outcome of Objet animation that were trained for non-experts in culture and arts education. This aesthetic emotion refers to Freud's desire for life (Eros) as Attraction, and desire for death (Thanatos) as Uncanny (fearful unfamiliarity) and explains the conflicting concept with the Animism, the indigenous religion. Next, educational aspects of Objet animation creativity improvement in relation to the term 'functional fixedness' was discussed as described by Gestalt psychologist Karl Duncker (1903-1940). Overcoming the functional fixedness is a phenomenon that is fixed only to the functional aspects of things and can't be changed. In this study, the educational aspect of creativity improvement was demonstrated as a case of overcoming the functional fixedness through 'Objet Animation' culture and art education. Ultimately, this study is to prove the aesthetic emotion and creativity of the Objet animation by analyzing Objet types. Furthermore, it is meaningful to suggest direction when using 'Objet Animation' in culture and arts education.

• Cartoon and Animation Studies
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• s.50
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• pp.75-99
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• 2018

Makoto Shinkai, an animated film maker in Japan, has been featured as a one-person production system and as a 'writer of light', but his 2016 release of "Your Name" was a departure from the elements that characterize his existing works. At the same time, by the combination of the traditional musubi(むすび) story, ending these, it was a big hit due to its rich narratives and attraction of open interpretation possibility. As it can be guessed from the title of this work, this work shows the encounter between the Japanese ancient language and the modern language in relation to the 'name', and presents the image that the role of the name(language) is repeatedly emphasized with various variations in events for the perfect 'encounter'. In this work, the interpretations of $Signifi\acute{e}$ for characters and objects are extended and reserved as a metaphorical role of the similarity, depending on the meaning of the subject which they touch. The relationship between words and objects analyzed through the structure of Signifiant and $Signifi\acute{e}$ is an epoch-making ideological discovery of modern times revealed through F. Saussure. Focusing on "the difference" between being this and that from the notion of Saussure, Derrida dismissed logocentrism, rationalism that fully obeyed the order of Logos. Likewise, dismissing the center, or dismissing the owner had emerged after the exclusive and closed principle of metaphysics in the west was dismissed. Derrida's definition of 'deconstruction' is a philosophical strategy that starts with the insight on the nature of language. 'Dissemination,' a metaphor that he used as a methodological concept to read texts acts as interpretation and practice (or play), but does not pursue an ultimate interpretation. His 'undecidability' does not start with infinity, but ends with infinity. The researcher testifies himself and identifies that we can't be an interpreter of the world because we, as a human are not the subject of language but a user. Derrida also interpreted the world of things composed of Signifiant and $Signifi\acute{e}$ as open texts. In this respect, this study aimed to read Makoto's works telling about the meeting of a thing and a thing with name as a guide, based on Derrida's frame of 'deconstruction' and 'dissemination.' This study intends to re-consider which relationship the Signifiant and $Signifi\acute{e}$ have with human beings who live in modern times, examine the relationship between words and objects presented in this work through Jacques Derrida's destruction and dissemination concepts, and recognize that we are merely a part of Signifiant and $Signifi\acute{e}$. Just as Taki and Mitsuha confirm the existence by asking each other, we are in the world of things, expecting musubi that a world of names calls me.

• Cartoon and Animation Studies
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• s.47
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• pp.241-271
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• 2017

Film color is equivalent to other elements of film, including narrative, and has a textual meaning according to the identity of expression. In general, red has a function of focusing attention, and the meaning derived from it is diffused. In the interaction of text and context, the function of concentration and the meaning of diffusion can be presented. The concept of concentration and diffusion is shaped by the relationship between independent colors, colors and other cinematic elements, and interactions between colors. In order to confirm this, this study analyzes a series of popular Korean films, how film colors interact, and in particular, the concentration function of red and the meaning of proliferation. The results of this study are as follows. First, in Korean popular films, at its most basic, red symbolizes a nation, a people, and a nation. The red of nationalism surrounding ethnicity, nationality and country visualizes ideology and conflict. The purpose of an individual or group, the relationship between the offender and the victim is mediated through red. The flag, the name tag, the costume appearing in the film are red. This can be seen in films such as Train to Busan, Assassination, Masquerade, Miracle in Cell No.7, Brotherhood of War, Northern Limit Line, Joint Security Area, Welcome to Dongmakgol, and May 18. Second, the red color attached to the female body fixes or strengthens socio-cultural sexuality and gender. The examples are films like Ode to My Father, The Thieves, The Host, Purpose Of Love, Sunny, Like A Virgin, Forbidden Quest, Untold Scandal, Bewitching Attraction, and Ssanghwajeom. Third, the blood red in Korean films is a visual device that directs magical horror, anger, and asceticism. Such films include The Neighbors, Bunshinsaba, R-Point, A Tale Of Two Sisters, Whispering Corridors, The Uninvited, Thirst, SECTOR 7, Asura:The City of Madness, The Tiger, Veteran, and so on. Fourth, red of tears constitutes the specific emotions such as a beautiful desire and a brilliant tragedy in films like King and The Clown, Oldboy, Memories of Murder, 26 Years, The Attorney, Unbowed, Sympathy For Lady Vengeance, Happy End, Punch, Calling, The Yellow Sea, and He's on Duty.

• Cartoon and Animation Studies
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• s.45
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• pp.397-415
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• 2016

This paper will investigate how animated practice can be a research form as practice-led research in an ethnography approach. This practice-led research will explore the issue of the construction of contemporary identities (based on the strange case of Dr. Jekyll and Mr. Hyde) and in particular, the Korean youth culture and identity, exemplified, for example, creation of 'avatars' in the virtual characters of animated online games such as Massively Multiplayer Online Role-playing Games (MMORPGs). In this proposed discussion, I will argue that the sudden period of change in contemporary Korea bears some resemblance to the Victorian era as explored in gothic fiction (e.g. Jekyll and Hyde). In this sense, my animation investigates the connection between the fictional Jekyll and Hyde and a real murder incident by a young Korean boy, which actually happened on the 16th November 2010, in SouthKorea.I will, therefore, construct this practice-led research to obtain the primary data consisted of online and offline practices in 'social ethnography'. These practices engage with specific Korean youth identity, comparing the 'avatar' with the real lives of participants. However, this paper will only focus on the (ethnographic) research process and strategy, using animated (visual) practices, rather than giving the meaning of the specific case of 'Korean-ness'. Eventually, I will explore the four different animated representations as it presents the distinctive animated realties or documentaries by online and offline practices. My intention is to visually interpret the issue of 'Korean-ness' within its socio-cultural context, adapting the convention and code of Jekyll and Hyde concept into an animated documentary in the 'virtual' world (auto-animated documentary by recording avatar interviews and online game footages) and the 'real' world (self-created animated documentary, based on real people and events).

• Cartoon and Animation Studies
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• s.49
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• pp.611-631
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• 2017

At first there was practice, then festivals and theory followed. Compared to the animation production, which is older then the medium film itself, festivals and theory in this area started with a delay. While animation programs where shown in film festivals like Cannes since the mid 1940s, the first animation festival in Annecy, France was founded in 1960, followed by several short-lived events in Romania, Italy and Tokyo and finally in 1972 by the second oldest festival up to date, Animafest Zagreb. Animation theory evolved in the late 1980s in the Anglo-American area with associations like the Society for Animation Studies, following its 'big sister' film studies. Expanding ever since as a research area, European animation studies in e.g. France, German speaking countries, Poland or Croatia have been catching up in recent years by organizing theoretical conferences and publications. A vivid synergy between practice, festivals and theory has always been a key factor for establishing a platform for the art form and culture of animation. However, in the past few years a trend could be observed towards a more intense interaction between animation festivals and theory. Animation festivals are hosting theoretical and scientific symposia or conferences, which are open for artist positions and insights into the industry. At the beginning of the lecture a short reflection of the concept of Animafest Scanner itself is followed by an introduction of the Symposium Expanded Animation at the media festival Ars Electronica Linz. The talk will subsequently focus on the multilayered academic symposia at the Festival of Animated Film ITFS and the International Conference on Animation, Effects, VR, Games and Transmedia in Stuttgart. These case studies will reveal the blurring boundaries between art, science, theory and industry as well as the specificities of the interplay between artists, practitioners, scholars, curators and festival visitors in different formats.

• Cartoon and Animation Studies
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• s.49
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• pp.325-357
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• 2017

It can be assumed that the reasons why the animation characters, 'Olaf (in Frozen Kingdom)' and 'Minions (in Super Bad)', etc., which were very successful in the merchandising market while having won the popularity better than the main characters are very popular even though such characters appeared only by playing a funny role while assisting the adventures of the main characters are not only because of their cute appearances but also because such characters have their own core features in their inner world as the transitional object-characters. Simply expressing, a 'Transitional Object' as a concept suggested by a child psychologist, 'Donald Winnicott', means a lovey doll or an imaginary friend which temporarily replaces an infant's mother during the procedure when the infant is mentally separated from its mother. However, in case that the theory of transitional objects was applied directly to many narrative content characters for doing a study, there must have been done some studies in advance for establishing some new criteria and indexes related to the transitional object-characters of such narrative contents. Accordingly, while thinking that the 'emotional relationship' between a growth-subject and a growth mediator must be dealt with as the most important content in order to define a transitional object-character in a narration clearly, this researcher established some emotional index for judging the propensities of a transitional object-character on the basis of such way of thinking. The index is composed of 4 kinds of emotional roles (quasi-family member, growth mediator, lovey doll, an imaginary friend), 6 kinds of emotional supports (hugging, protecting, accepting, giving the initiative, improving the relationship and mutual supervising) and 4 kinds of emotional impressions (impression by contacting, impression to protect and impression accepting an attack). In case that some main characters of a family feature animation, 'Inside Out', are analyzed while the index mentioned above is applied, it was found that 'Bing Bong' and 'Sadness' have a high propensity as a transitional object-character. Especially, it could be inversely inferred in which ways some good transitional object-characters can help the narrations on growth of a family feature animation by taking a look at the character, 'Sadness' that has the highest propensity as a transitional object-character. The transitional object-character, 'Sadness' assists the narration on growth internally and externally by helping the internal maturity of a growth-subject in a way of projecting the tasks for the internal maturity of a growth-subject while helping the growth-subject to be successfully externally in a way of providing the growth-subject with some kinds of facilitating emotion. As the results from this Study, since such kinds of emotional experiences provided by such transitional object-characters are displaced to not only the relevant growth-subjects but also the audience who are emphasized with such growth-subjects as they are, such transitional object-characters play a role of hidden benefactors who induce some immersion into the narrations and provide child and adult audience with various layers of emotional satisfaction.

• Cartoon and Animation Studies
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• s.41
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• pp.75-106
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• 2015

Animations characterize space as a strategy to effectively show the inner conflicts of characters and to highlight the theme. During the process of inner conflict, characters unconsciously use defense mechanism to protect their egos from the fear that came from deficiency, and because of the self-deceptive quality of self-defense mechanism, the reality is distorted and conflicts get intensified. This study focuses on the concept of anti-house, the space where conflicts get intensified, analyzes animations to find out the aspect of inner conflict, and interprets the characteristic of space that is used for metaphoric structure frame. Also, it aims to reveal how the defense mechanism, which intensifies the inner conflict of characters, is characterized as anti-house. The analysis in this study was mainly done with the TV series, , and the theater version of . It is because the characters have serious deficiency from broken home and have a psychological quality of closed boundary that is symbolized as 'A.T. field'. Especially, the core character, 'Shinji Ikari', shows how a character uses compulsive self-defense mechanism to deal with inner conflict and as a result, goes through ego-collapse and then introspection. This process of the character's experience is the core of the whole plot. Through analysis, the relationship between the character's self-defense mechanism and the space, anti-house(which expands to Anti-city), was inferred. The space is made up of three axes, x-axis of horizontal space, y-axis of vertical space, and in the sense that all the space has no exit, z-axis of deeper contradictory space. This thesis started with the decision that is the most suitable work in analyzing the metaphorical relationship between self-defense mechanism and anti-house. There was limitation, however, as the typical characteristics of Japanese animations, pedantic composition and the possibility of broad interpretation, hindered clear verification. Hopefully, this limitation will be overcome by following studies and this study is expected to show the importance of space in interpreting the text of animations, and to serve as database for other creative works.

• Journal of Korean Ophthalmic Optics Society
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• v.19 no.4
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• pp.435-443
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• 2014

Purpose: The purpose of this study was to analyze the design identity visual elements of optical shop brand$\underline{s}$ in order to provide objective data necessary for optical shop brands' design development. Methods: This study examined the design identity concept of the optical shop brands and analyzed visual elements of brand design identity with a focus on the symbols of domestic franchise optical shops, type of a symbol mark, representation style of logo type, color usage, use or non-use of character, etc. Results: Many symbols were directly associated with the eyeglasses, such as eyeglasses and eyes, face and iris. Along with that, letters or figures were also observed. For the type of symbol, most types were found to have the designs that took spherical and word mark shapes. Particularly, the word mark type had English words more often than Korean words. For logo types, the gothic format was dominant. In relation to the thickness of letter, thick boldface type was commonly used. The combination of 2 degrees was the color frequency used most often in the optical shop brand design. For the frequency of color usage, black and red colors were used most often. Particularly, the orange color, as well as the black color, was also often used for the main color of symbols or logo types. Meanwhile, the characters were used only in some optical shop. Most characters were animals and expressed in the cartoon and graphical forms. Conclusions: Typifier, symbol mark, logo type, color, and character are the elements forming the basic development system for brand design identity. Systematic design is needed which clearly ensures the function and role along with the mutual consistency as a important visual component of the optical shop brand.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.20 no.1
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• pp.23-38
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• 2009

The purpose of this study was to suggest the collection codes and simplification of call numbers for children's easy access to the children's materials. The classification schemes, author tables, expansion of classification schemes, collections codes, classification numbers used in domestic and foreign children's libraries were surveyed through questionnaires and interviewing with librarians. As a result, in foreign children's libraries, it was common practice to shelve children's materials separately into various collections and sub-collections, to mark the spine with collection code and the lead characters of the author's last name, and not to stick with their classification scheme when it comes to highly circulated children's materials such as fiction, picture book, biographies and so on. Also, in domestic children's libraries, it was found that a collection code was used a few and each call number was almost assigned by KDC number. Therefore, it was suggested that the types and codes of collection and sub-collection were divided as non-fiction, fiction, fiction/mystery, fiction/science fiction, picture book, cartoon, language, folks and fairy tales, biographies, legend, concept book, holiday, award, dinosaur, insect, DIY, transportation, tall book, pop-up, story book, board book, reference, magazine, series, new book, video, and audio and were easily expanded by combining age tables or fiction genre. Also, new simplifying methods of building call numbers with collection codes were suggested.

• Cartoon and Animation Studies
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• s.50
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• pp.349-382
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• 2018

China is a great civilization which is a combination of various ethnic groups with long history change. As one of these important components of traditional culture, the lucky shape has been going through the ideological upheaval of the history change of China. Up to now, it has become the important parts which can stimulate the emotion of Chinese nation. The lucky shape becomes the basis of the rich traditional culture by long history of the Chinese nation. Even say it is the centre of this traditional culture resource. The lucky shape is a way of expressing the Chinese history and national emotions. It is the important part of people's living habits, emotion, as well as the cultural background. What's more, it has the value of beliefs of Surname totem. Meanwhile, it also has the function of passing on information. The symbol of information finally was created by the being of lucky shape to indicate its conceptual content. There are various kinds of lucky shapes. It will have its limitations when researching all kinds of them professionally. So, here the lucky shape of FISH will be researched. The shape of fish is the first good shape created by the Chinese nation. It is about 6000 years. Its special shape and lucky meaning embody the peculiar inherent culture and intension of the Chinese nation. It's the important component of the Chinese traditional culture. The traditional shape of fish was focused on the continuation of history and the patterns recognition, etc. It seldom indicated the meaning of the shape into the using of the modern design. So by searching the lucky meaning & the way of fish shape, the purpose of the search is to explore the real analysis of value of the fish shape in the modern enterprise identity design. The way of search is through the development of the history, the evolvement and the meaning of lucky of the traditional fish shape to analyse the symbolic meaning and the cultural meaning from all levels in nation, culture, art and life, etc. And by using the huge living example of the enterprise identity design of the traditional shape of the fish to analyse that how it works in positive way by those enterprise which is based on the trust with good image. In the modern Chinese enterprise identity design, the lucky image will be reinterpreted in the modern way. It will be proofed by the national perceptual knowledge of the consumer and the way of enlarge the goodwill of corporate image. It will be the conclusion. The traditional fish shape is the important core of modern design.So this search is taken through the instance of the design of enterprise image of the traditional fish shape to analysis the idea of the majority Chinese people of the traditional luck and the influence of corporation which based on trust and credibility. In modern image design of Chinese corporation, the auspicious sign reappear. The question survey is taken by people through the perceptual knowledge of the consumer and the cognition the enterprise image. According the result, people can speculate the improvement of consumer's recognition and the possibility of development of traditional concept.