• Cartoon and Animation Studies
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• s.10
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• pp.1-16
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• 2006

This thesis aims to recall the importance of language in comics by studying comic strips in Korean daily newspapers: the comic strips are analyzed for rhetorical puns in its language text as they representatively show the value and role of language in comics. Moreover, Korean comic strips, as they developed into current affairs comics, acquired a stronger media characteristic of communicating information compared to other genres of cartoons. As a result, comics strips have become a genre where language plays an important role and the words needing to be able to convey the meaning quickly and implicitly. Due to tight control of national authority, the language technique developed into an indirect expression rather than a stronger direct imaging technique. The political oppression of the comic strip paradoxically brought on the rhetorical development in the creative techniques. Based on this analysis, the writer studied the rhetorical puns of the texts Korean comic strips by implementing the classification techniques of rhetoric expressions. As a result, through quotes and analysis of actual comic strips, the writer confirmed that Korean comic strips do actually show tremendously vast rhetorical puns in its language application techniques. The writer was also able to conclude that the rhetorical puns in comics were the force entertaining and impressing the readers, and also acting as the creative principle. Concluding this study, the writer emphasizes that language, not only in comic strips, is a combination of words and images and is also an important factor in all cartoons in general. Thus the thesis proposes that the training of humanistic thoughts and linguistic sensitivity are as important as learning to draw in the creation of cartoons.

• Journal of English Language & Literature
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• v.56 no.4
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• pp.575-596
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• 2010

The modes of narratives and communication have expanded due to social and cultural changes and technological development. Thus texts have become multimodal and media hybridities and media crossover have been increasing as well. Multimodality requires new literacy to understand and interpret those multimodal texts other than existing traditional literacy approaches. The New London Group (2000) argues that multiliteracies are needed to serve today's changing multimodal texts. Kress (2003) also argues, visual texts have been prevailing, being mingled with other modes of texts such as linguistic, audio, gestural, and spatial modes. Literary texts are not exception in this trend of multimodality. The recent renaissance of comics, in particular, the new light on graphic novels can be interpreted in this historical vein. In comparison to comics, no consensus has been made in defining graphic novels, however, many studies have been recently conducted in order to look into the potential of graphic novels in building multiliteracies. In this paper, the graphic novel as a literary genre are explored from a histocial perspective and the definition of graphic novels was attempted to be made. In the light of multiliteracies, this paper presented cases that show how graphic novels can be utilized to build multiliteracies. Lastly, the use of graphic novels for English as a foreign language was introduced as well. The author hopes that at the age of multimodality, the potential graphic novels have in language and literacy education can be taken into account by language teachers and students in expanding their territory of literacy.

• Cartoon and Animation Studies
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• s.32
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• pp.141-158
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• 2013

Comics are a genre that convey meaning through compositional arrangements of dialogue and images as well as through the flow of panels across a page. Communicating that meaning to readers through a combination of language and visual lexicons is the essential process of drawing comics, a process that in itself is significant. The semiotics of comics is a field of scholarship grounded in the broader discipline of semiotic theory in which all the components of comics, both visual and verbal, are the subject of study and research. By adopting a semiotic approach we are able to objectively analyze and understand the symbolic, social and ideological meanings embedded in the signs and sign processes expressed in comics. The fundamental pedagogical mission of teaching comics is to cultivate human nature through the study of theory as well as through the production and completion of original works that explore new modes of expression. To go further, interpreting those embedded meanings in the context of comics fosters effective and creative skills of expression that go beyond a mere fascination for the genre itself. In short, because the semiotic approach to understanding visual communication is the essence teaching comics, we can expect that the act of reading and creating comics plays a significant role in understanding visual communication.

• Journal of Korean language education
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• v.25 no.1
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• pp.203-234
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• 2014

This paper demonstrates how to incorporate the teaching of communication strategies into a large class of English-speaking learners of the Korean language. The method proposed here was developed to overcome the difficulty of conducting language activities involving communicative interactions amongst students and also between teacher and students in a large classroom. As a way of compensating the minimal opportunities for interactions in the classroom, students are given the task of expressing in Korean the English translations of authentic Korean comics via Twitter, which was later replaced with the feedback feature on Moodle, and then their Korean expressions are collected and projected onto a big screen. These collected expressions by students naturally differ from one another, helping students to realize that it is possible for them to express the same message or meaning in many different ways. The results of two separately conducted questionnaires show that this method is an effective way of providing students with significantly increased chances of producing 'comprehensible output' that requires them to think of how to communicate with their limited knowledge of the Korean language. Many students also commented that the teachers' feedback on errors provides them with the opportunity to learn about common errors as well as their own errors.

• The Journal of the Korea Contents Association
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• v.7 no.2
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• pp.246-254
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• 2007

As for comics and animation, the specific gravity came to become still larger in all the art fields together with the importance in various image media now which is useful and goes the time of the 21st century new media. Especially the demand of users to the vision culture which develops day by day, Sensitivity Engineering Department is trying to realize the necessity for a sensitivity design acutely together. The influence of the comics which have toxicity most also in Japanese culture in a geographical position like South Korea on it, and animation is the actual condition in the reason which has reached from youth universally to the layer for years, to be inquired systematic to a Korean comics language. This research was conducted as we thought sufficient study on various situations are required, and among them for the research of expressions of cartoons's characters, we've divided the expressions of characters that comes out in Japanese cartoons into categories of 'happiness, anger, sadness, pleasure' and 'fear, astonishment and dislike' and based on these categories, we've drawn out the minimum elements to express emotions in cartoon and prepared image-map by relating them with languages that express emotions of people and based on this, we've made a calculating tools on how our readers would recognize the expression languages. Samples of Japanese cartoons of which we've chosen for the purpose of drawing out the elements of expressions were limited to only published cartoons and we've made a foot steps for expression analysis of animation characters in the future.

• Cartoon and Animation Studies
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• s.34
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• pp.263-292
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• 2014

This research explores websites of comics museum provided by the Korean Manhwa Museum and the Kyoto International Manga Museum and is supposed to analyze the type of content and finding out features. Since both museums specialize in comics and provide diverse information related to comics and their museums, this research analyze them on the basis of three types of categories, which are public relations content, professional content, and exhibition/education content The result shows that both museums generally provide similar type of information and content even though there are small differences. Especially, they have common points in the way that both offer detailed information of museum facilities and about exhibition schedules and education programs. However, the goal they are aiming at shows a difference. Korea Manhwa Museum tries to have interactive communication with its site visitors using the bulletin board system and to update newly published comics and events frequently managing separate websites. Kyoto International Manga Museum seems to focus on promoting itself in order to have more museum visitors. It provides detailed information such as history of the museum building, the object of setting up the museum and so on. Also, it provides four different foreign language websites.

• The Journal of the Korea Contents Association
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• v.14 no.2
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• pp.84-93
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• 2014

Comics uses words to convey its content and meaning, while the comic image conveys the content as a narrative function to represent how language is combined with the text. This paper makes a comparison and analysis of the comics of Japan and South Korea, in terms of words and image expression, narrative techniques, and the way of communication, to study the characteristics of image narrative. The comic image of Jing ke is the other as a flow of narrative and getting rid of the current screen, to resonate with the readers. Go U-yeong's comics and Sumeragi Natsuki's set up a virtual narrative time and space through the line, surface, space and shade, to realize the reproduction of unhistorical facts and the significance of narrative with the artist's imagination. Sumeragi Natsuki's comics uses historical facts to represent exquisite narrative like still-life paintings. She focuses on the description of the objective facts of history, to seek the sensitive comic image beyond reality. The image narration of Go U-yeong's comics is a clash between his historical narrative among the subjective romantic image and the readers' awareness narrative flow that they insist inside. Therefore, he tries to keep balance. The instant image in his comics is not a reproduction of the historical real moment, but a reproduction image of the reality reconstructed by his own pursuit of narrative.

• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.227-231
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• 2006

As for comics and animation, the specific gravity came to become still larger in all the art fields together with the importance in various image media now which is useful and goes the time of the 21st century new media. Especially the demand of users to the vision culture which develops day by day, Sensitivity Engineering Department is trying to realize the necessity for a sensitivity design acutely together. The influence of the comics which have toxicity most also in Japanese culture in a geographical position like South Korea on it, and animation is the actual condition in the reason which has reached from youth universally to the layer for years, to be inquired systematic to a Korean comics language. This reserch was conducted as we thought sufficient study on various situations are required, and among them, for the reserch of expressions of cartoons's characters, we've divided the expressions of characters that comes out in Japanese cartoons into catagories of "happiness, anger, sadness, pleasure" and "fear, astonishment and dislike" and based on these catagories, we've drawn out the minimum elements to express emotions in cartoon and prepared image-map by relating them with languages that express emotions of people and based on this, we've made a calculating tools on how our readers would read the expression languages. Samples of Japanese cartoons of which we've chosen for the purpose of drawing out the elements of expressions were limited to only published cartoons and we've made a foot steps for expression analysis of animation characters in the future.

• Cartoon and Animation Studies
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• s.23
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• pp.51-66
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• 2011

Rodolphe Toepfer invented cartoon frames and following cartoonists developed this idea. But cartoon frames defineed before in historical documens and artifacts give a hint of the structure of a cartoon frame. In historical documents and artifacts show various form of the quadrangle frames. Now we see the cartoon frame is a result of historical things. Artists input in the framework, dubbed as a cartoon frame, all kinds of icons that belong to cartoon's language. Readers accept messages that artists want to say by considering this formation. Although cartoon frames are similar to camera frames they are more flexible than other general frames. By this flexibility, different shapes of frame influence reader's experiences. Applying these various cartoon frames extends function of framework. And if used by many cartoonists, you gradually get a rule. A time-tested rule standardizes it. In theory, shapes of frame are changeable in many ways. But frequently used frames are standardized in just one formation. In the process, I think it is a tacit rule of human lifestyle. That is a quadrangle. Why is the quadrangle chosen by a long term polished rule of frame? This study is to realise why a quadrangle form is used and its relation to human lifestyle.

• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.361-366
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• 2020

The Korean movies, and are suitable for "B-movie" for spending low budget and utilizing subculture factors such as kitsch, parody. Using surrealistic space and arbitrary language is the most prior element in constituting 'B-affection'. In that sense, Behind the Dark Night, Super Margin have characteristics overcrossing the media from comics to film. Despite absurd story, Behind the Dark Night has a realistic and concrete sense of what is the making films. The hero in Super Margin was swindled, so he strikes a blow the breeding-place of crime himself. In conclusion, showing comics characteristic aspects has been increasing comedy effects. But, on the other hand, Behind the Dark Night, Super Margin have pointed out that there are many kind of social problems such like career, fraud etc. In addition, they introspect the meaning what is that to making films.