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A Study on the Characters' Costumes in the Disney's Animations (디즈니 장편 애니메이션 캐릭터 의상 분석)

  • Lee, Ah Lam;Chun, Jae Hoon
    • Journal of the Korean Society of Costume
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    • v.65 no.2
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    • pp.1-16
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    • 2015
  • This study aims to provide a new perspective on Disney's animations, by examining how Disney systematized and transformed his own ways of cognitive systems of producing meaning through the costumes of his characters. For this purpose, 10 Disney animations of which the main characters were costume-wearing humans were selected and analyzed. First, the characters' costumes of the passive female heroines were much different from those of the active female heroines while the costumes of male heroes did not have any common characteristics. Second, the characters' costumes according to the settings of the animations had different aspects: the Western-Europe-based animations exhibited the appropriate costumes of the set times, but the non-Western-Europe-based animations exhibited the imaginative costumes of Disney rather than the appropriate costumes of the actual countries. Third, the costumes played the role of expressing the situations of the animations, and had their own repetitive conventions in each animation. Changes in the situations or the upward mobility of the status could be found easily through the costumes, but such distinctiveness became less visible in the later animations. Disney displayed his own distinctive formula of visual aesthetics through the characters' costumes. But it is recommended that we should have the critical views on the cultural messages of Disney's to prevent fixed ideas or cultural prejudices.

Case Study on Artists' Training Program at Walt Disney Feature Animation (디즈니 극장용 애니메이션의 아티스트 트레이닝 프로그램 사례 연구)

  • Paik, Jiwon
    • Journal of Korea Multimedia Society
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    • v.23 no.7
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    • pp.840-849
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    • 2020
  • Walt Disney Feature Animation released high quality films such as 'Frozen', 'Big Hero 6', 'Wreck-it Ralph', 'Zootopia', 'Moana', 'Frozen 2' and not only got high score in box office but showed great CG and visuals. However, making feature animation requires a lot of time, money, and efforts so it is very important to support studios' artists to finish each show within limited budget and time. This paper shows artists' training program such as 'Short Circuit' and 'Bootcamp' that walt disney feature animation provides their artists to improve their creativity and do their jobs artistically and efficiently. Disney's training program not only provides artists various training classes but gives them chances to work on short animation which enhances artistic skills and enable them to work in different departments and experience different tasks. This paper also explains some training cases of CG studios in South Korea and Disney Animations' in-house tools.

A Report on Megaselia tamiladuensis Disney (Diptera: Phoridae) as a Pest of Oyster Mushroom, Pleurotus ostreatus in Korea (느타리버섯 해충 Megaselia tamiladuensis(버섯벼룩파리: 신칭) 보고)

  • 이흥수;김규진;정부근
    • Korean journal of applied entomology
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    • v.40 no.4
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    • pp.345-348
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    • 2001
  • We found that the cultivated oyster mushroom, Pleurotus ostreatus, was damaged by the phorid fly, Megaselia tamiladuensis Disney (Diptera: Phoridae). This fly is newly recorded as a pest in Korea. Brief morphological characteristics are described.

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The Tendency of Denotative Representation and Communication in Disney Animation (디즈니 애니메이션의 외시 의미적 표현과 소통의 경향)

  • Oh, Dong-Il
    • The Journal of the Korea Contents Association
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    • v.14 no.11
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    • pp.575-583
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    • 2014
  • Roland Barthes views a myth as a chain of connotative concepts that are mutually connected. For him, a myth appears through a chain connotation that is mutually related, due to the first-stage signification system. In other words, the connotation of a particular scene is already inherent in a culture in the form of social convention or social values before it is made. In the case of Disney animation, as mentioned Barthes, it has also two layers of denotation and connotation for signification. However, Disney animation shows the tendency that seek the denotative representation and the direct communication, based on the typified character, to the representation and delivery of the myth that is inherent. Therefore, the tendency of denotative signification is seen Disney animation can be said as a branch of research methodology for the approach to the aesthetics of Disney animation.

A Study on Disney Feature-length Drawn Animation Since Using Digital Technology (디지털 테크놀로지발전에 따른 디즈니 장편 드로잉 애니메이션 연구)

  • Park, Jae-Yoon
    • Cartoon and Animation Studies
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    • pp.57-78
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    • 2012
  • This article deals with the change of disney feature-length drawn animation since using digital technology. The spread of digital technology in the territory of traditional animation brought a massive transformation. Analogue production system for disney drawn animation was gradually replaced by digital production system and in the process, the overall quality of disney drawn animation was improved, although drawn animation industry had declined considerably due to the success of 3D computer animation. Currently, disney drawn animations not only just adopt digital technology but also use it for expressing the distinctive sensibility of the drawn animation.

Disney's Acquisition of Fox and the Changing Media Environment in the U.S. (디즈니의 폭스 인수와 미국의 변화하는 미디어 환경)

  • Joo, Jeong-Suk
    • Journal of Convergence for Information Technology
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    • v.10 no.1
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    • pp.28-34
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    • 2020
  • This paper intends to examine the recent acquisition of 21st Century Fox by Walt Disney Co. in terms of how information communication technology, especially the internet, has been reshaping the media industry. In particular, it looks at the deal as Disney's attempt to adapt to the rapidly shifting media environment and strike back at the challenges from online streaming services. After looking at the overview of the deal and some of the major changes and challenges the rise of streaming services has brought to film and media landscape, the paper looks at Disney responded to them by launching its own streaming services and how its acquisition of Fox assets factors in this. It also examines the implications of Disney's move as well as the opportunity and challenges it faces.

A Study on the storytelling strategy of Animation Studio using Mythology - Based on the comparative analysis of Disney and Dream Works (신화를 활용한 애니메이션 스튜디오의 스토리텔링 전략 -디즈니<미녀와 야수>와 드림웍스<슈렉>의 비교분석을 중심으로)

  • Lee, Hye-Won
    • Cartoon and Animation Studies
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    • pp.25-52
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    • 2017
  • As the expansion of the cultural industry expands, various competitive structures are formed and the methodologies for producing commercial success are being discussed. Among them, Hollywood studios use political relationships and apply ideologies that can produce the best interests. Also, they use a structure that can convey this ideology, which is a mythology. The myth has satisfied the public for a ling time. Campbell suggested that strategies come from the myth, and the ideology emerged as a result of what mythology has to do with existing powers. Disney and Dream Works use the mythology and combine their own values into ideology. Disney and Dream Works choose conflicting ideologies in a different growth background. If Disney is recognized as an educational animation by the ruling class, Dream Works are supported by the public for their actions against Disney. Disney has conservative and patriotic personality, Dream Works is more liberal and progressive. Disney's structure came out first, and Dream Works parodied it. So we can compare Disney and Dream Works with similar myths to create a storytelling structure that embodies ideology. As a result, Disney and Dream Works have been choosing the 9 stages the key of Ideology form the 17 stages of the mythology and reduced them to the introduction, growth and completion. In the first units of the introduction, Disney dealt with the subject of social leaders who sacrificed to the ruling class and Dream Works hinted at the overthrow of the ruling class through the irony. If Disney had deployed colored races in the main characters, Dream Works used a variety of races from the main characters to others. In the second units of growth, Disney organized the process of accepting the value of the ruling class, and Dream Works showed the individual values, not the values of society. In the third units completion, Disney showed the main character who live in the world of the ruling class rebuilded, and Dream Works removed the ruling class and went back to the Individual life. Through the structure of Disney and DreamWorks, we learned how to utilize the mythical structures that transform according to ideologies. The right way to organize works will require the strategic approach to storytelling.

A Study on the Masculinity of Male Characters Represented in the Disney Feature Animation Frozen (디즈니 장편 애니메이션 <겨울왕국>에 나타나는 남성 캐릭터의 남성성 연구)

  • Oh, Dong-Il
    • Journal of Digital Contents Society
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    • v.18 no.7
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    • pp.1217-1226
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    • 2017
  • The Disney Studios have been aiming at the animation storytelling of the signification system that the contemporary audience can universally accept. And it can be said that such storytelling is aesthetic expression based on the contemporary mainstream dominant mythology. Seen from this perspective, the changes of the masculinity of male characters that are represented in the Disney feature animation Frozen are not just a simple aesthetic phenomenon but a strategy of animation storytelling that reflects the contemporary cultural and social trend. The gender identity of the male characters of Frozen is completely freed from the existing stereotypes about Disney feature animations, and it positively presents the changes of the gender roles that reflect the changes in social value and the needs of the times.

Research on Disney's 3D Animation 's Style, Layout Pipeline, and Camer a Capture System

  • Paik, Jiwon;Kim, Cheeyong
    • Journal of Korea Multimedia Society
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    • v.16 no.11
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    • pp.1348-1356
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    • 2013
  • Disney Animation has showed not only artistic excellence but also technological innovations through a lot of animation films that they released. Especially with the unique concept that free-willed game characters dive into different worlds of games in animation film, received both critical and commercial acclaim for its stunning visuals and outstanding CG (computer graphics) effects. The purpose of this study is to analyze different styles of game worlds, Disney's layout pipeline, and in-house camera capture system used in . This paper analyzes that three game worlds in this film such as Fix-It Felix Jr., Sugar Rush, and Hero's Duty express different styles by using appropriate character animation and camera movements. Especially Hero's Duty game which new in-house camera capture system is extensively used maximizes unseen visuals by perfectly making realistic and believable game world. Disney's newly developed in-house camera capture system, which is used in this film for the first time, allows real camera's motion and shake and real-time camera's movement and correction within animation set. Result of this study proves that this system improves directing of feature animation and enhance efficiency of the layout department's production process. Therefore, it contributes to a great extent to development of animation films' business.