• Cartoon and Animation Studies
• /
• s.45
• /
• pp.417-434
• /
• 2016

The wall painting of Altamira cave "eight-legged wild boar" is often presented as a typical example of long-held desire of humanity for expressing movement. However, the eight legs are the product of so-called "double layer", of two paintings painted in different periods. Nonetheless, the explanation of Altamira cave paintings linking with the origin of animation is constantly reproduced without any particular doubt, verification or citation of sources. The fact of associating eight legs with movement is irrelevant to visual perception transcending time. This should be considered a movement expression code invented in a particular period of time. Sequential photography tried in the late 19th century, in particular, chronography of $\acute{E}tienne$-Jules Marey plays a crucial role in this. Marey's photography of which a series of sequence movements are overlapped in one frame and printed was reflected in painting works of artists including Duchamp and Balla in the early 20th century and formed as movement expression code. Animation manuals started to emerge from that period of time introduced the images of Marey's chronophotography as a way of analyzing and embodying the movement. In sum, the act of considering Altamira cave paintings of eight-legged wild boar as an expression of movement is an error intending to look at the past through today's visual code.

• Broadcasting and Media Magazine
• /
• v.10 no.1
• /
• pp.99-112
• /
• 2005

Christian Metz, the precursor of cine-semiology, considered cinema as a language in the sense that it is a set of messages grounded in a given matter of expression, and a signifying practice characterized by specific codifications. According to Metz, film forms a structured network produced by the interweaving of cinematic codes, within which cinematic subcodes represent specific usages of the particular code. For Metz, cinematic language is a totality of cinematic codes and subcodes, and history of the cinema is the trace of the competition, incorporations and exclusions of the subcodes. He also suggested a filmic text is not just a list of codes in effect, but a process of constant displacement and deformation of codes. Following Metz' textual analysis methodology, I investigated the formal configuration of Hayao Miyazaki‘s animation, Spirited Away. It is interesting to trace the interweaving of cinematic codes in Spirited Away, i.e. codes of lighting, color, movement, and auteurism, across the animation. I focused on the first scene at the bridge to Yubaba's bathhouse, analyzing each cinematic code and its subcode applied. The first bridge scene is carefully constructed to stand out the confrontation of Chihiro (with Haku) and the bathhouse. The bathhouse is not just a building, it represents the powerful witch, Yubaba, yet to appear on the scene, and functions as an antipode to Chihiro. In each shot, every subcode within the codes of framing, direction, angle, color, lighting and movement is used to maximize the contrast between the dominant bathhouse and the feeble 10-year-old girl. In Spirited Away, the subcodes within each cinematic ode are constantly competing and displacing each other to augment the antithesis between the characters and develop the narrative. As Metz's argument that film constitutes a quasi-linguistic practice as a pluricodic medium, Spirited Away communicates with the spectators with the combination and displacement of these cinematic codes and subcodes.

• The Korean Journal of Food And Nutrition
• /
• v.15 no.2
• /
• pp.112-118
• /
• 2002

Sporulation in the fission yeast Schizosaccharomyces pombe has been regarded as an important model of cellular development and differentiation. S. pombe cells proliferate by mitosis and binary fission on growth medium. Deprivation of nutrients especially nitrogen sources, causes the cessation of mitosis and initiates sexual reproduction by matting between two sexually compatible cell types. Meiosis is then followed in a diploid cell in the absence of nitrogen source. DNA fragment complemented with the mutations of sporulation gene was isolated from the S. pombe gene library constructed in the vector, pDB 248' and designated as pDB(spo5)1. We futher analyzed six recombinant plasmids, pDB(spo5)2, pDB(spo5)3, pDB(spo5)4, pDB(spo5)5, pDB (spo5)6, pDB(spo5)7 and found each of these plasmids is able to rescue the spo5-2, spo5-3, spo5-4, spo5-5, spo5-6, spo5-7 mutations, respectively. Mapping of the integrated plasmid into the homologous site of the S. pombe chromosomes demonstrated that pDB(spo5)1, and pDB(spu5)Rl contained the spo5 gene. Transcripts of spo5 gene were analyzed by Northern hybridization. Two transcripts of 3.2 kb and 2.5kb were detected with 5kb Hind Ⅲ fragment containing a part of the spo5 gene as a probe. The small mRNA(2.5kb) appeared only when a wild-type strain was cultured in the absence of nitrogen source in which condition the large mRNA (3.2kb) was produced constitutively. Appearance of a 2.5kb spo5-mRNA depends upon the function of the meil, mei2 and mei3 genes.