• Cartoon and Animation Studies
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• s.49
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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.

• Journal of Korea Entertainment Industry Association
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• v.14 no.1
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• pp.97-106
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• 2020

The mainstream of cinema animated film in today's world is the animated film produced by film companies such as Disney, DreamWorks, and 20th Century Fox. These animated films are influenced by Hollywood blockbusters, high cost, and big-budget, which have brought a gorgeous and splendid audio-visual feast to the global audience. DreamWorks Studios founded in 1994 has become noted in just over ten years. It has produced many high-quality animated works which are well-known all over the world. This achievement is no doubt inseparable from its superior external animation industry environment, and benefited from the American animation industry which commercially operated for almost 100 years. However, in addition to these external environmental factors, DreamWorks' achievements have also come from the extraordinary and superior creation of the animated film scripts, strong narrative script ensures the logic and appeal of animated films. This article takes Kung Fu Panda series, Shrek series, The Prince of Egypt, The Croods, Chicken Run, Megamind and other representative films produced by DreamWorks as key analysis object, using Jean Baudrillard's simulation and imaging theory, Syd Field's screenwriting skills, and Hegel's aesthetic point of view, explores the Creative Style of DreamWorks' Animated Film Script which contains the following four aspects. The script is exaggerated and novel, and the subject matter is rich and targeted. The script creation is very imaginative and can fully express the visual beauty. The structure of the story is well controlled, the space comes from reality but full of imagination. The characters have distinctive personality and the dialogue is moderated but forceful.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.597-607
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• 2013

This research examined factors in determining the success of theatrical U.S. animation movies. Based on movie characteristics and content factors, this study explore determinants of the success for animation movies. The results are follows: firstly, the success of animation movies were determined by some factors such as production expenses, the way of producing animation movies, sequential movies and viewer ratings. Secondly, there differences between the success in the U.S. and other countries. Although the success of animation movies in the U.S. were more production related factors, those in other countries were more quality related factors.

• Cartoon and Animation Studies
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• s.38
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• pp.145-176
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• 2015

In animation, 'laughter' is an important factor for the fun. Dreamworks' animation is a successful popular animation. It has four series and spin-off animations, and settled as a successful case that created fun with strategic use of parody throughout the productions. Most preceding studies on this animation have focused on its humor, parody, and satire. However, not many studies have discussed its independent comedy as a piece of animation that satisfies the needs of public. This study considered that viewers' desire to watch an animation comes from their fantasies to discuss the comedy of based on its animated characters. Animated characters communicate with the public with wits that ignore the rules of reality. The characters that do not exist in reality are created and animated to turn the world of reality upside down. The comedy in comes from the entertaining deformation of the society's fixed ideas and prejudices. It is a fun variation of the ideology behind fairy tales created by the Disney animations to challenge Disney in the animation market in reality, and twisted the world of fairy tales in the story to quench the thirst of the public. 'Shrek', a monstrous character, stands in the center of the story. A monstrous character that always played an anti-role has become the main character to break the rule of fairy tales. This is the subjectivation of anti-character. Second, it is a new anti-character with an exaggerated and distorted body. Lord Farquad, who looks abject compared to the monstrous character for a person with so much power and ambition, brings laughter. Third, it is the variation of various characters from fairy tales. The conventional fairy tale characters, both animals and non-living things, come out of the box and appear as humorous characters that bring life to the story. uses comedy characters in the process of reinterpreting the fixed ideas, prejudices, and ideologies of the real world created by fairy tales. I hope that it helps Korean animations establish a successful format for creating characters that bring life to the stories.

• Cartoon and Animation Studies
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• s.30
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• pp.59-86
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• 2013

'Spectacles' and 'factuality' provided by computer technology are strengths of CG animation to still lure the audience and after commercial success of a number of theatrical CG animations whose typical producing companies are PIXAR and DreamWorks, were produced to be commercially successful and they win massive popularity even now. In Korea as well, several works tried to achieve a box office success including , , etc. but the result was truly miserable. In the past, this failure was often attributed to a lack of 'technical expertise', but it became clear that in the process of continuous trial and error, 'narrative' and 'images of imagination' which are bases and characteristics of animation are key elements of commercial success. Actually, statistics indicate that narrative is what is considered to be the most important by the audience when they select animation and its importance is so absolute that they say the most significant thing in animation is 'story.' In particular, it can be said that 'characters', 'situations', and 'ideas' play a key role in them which become elements of the story. This paper studied with what characteristics each animation aroused pleasure and fun focused on characters, situations and images in relation to , , and which are American theatrical CG animation films which succeeded in gaining popularity home and abroad. We hope that analysis in this paper will be helpful even just a little bit as a reference material, which allows domestic writers and producers to develop familiar and characteristic works based on imagination and creativity expressing each work's unique personality and characteristics.

• Journal of Science of Art and Design
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• v.11
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• pp.51-78
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• 2007

Entertainment Industry is a high value-added business and its market includes the whole world. With high-tech industry, it is said that entertainment industry strengthen country's competitiveness, and the Korean government is trying to find a way to develop the animation industry. Some domestic feature animations were made, but they failed to get sufficient audiences. Meanwhile, Shrek 2, made by PDI, has earned about 92,000,000,000$ through just theatrical revenue. The reason is that domestic animations are not exciting. Contents should have amusement in it. The humor is the most important thing to make fun. So this thesis suggest to analyse Humor Types in animations. It is based on several theories about Humor. The types of humor defined by the previous studies are summarized into (1) humor, (2) wit, (3) satire and (4) irony. I categorize the productive methods of visual humor into (1) visual pun, (2) visual parody and (3) visual paradox adopting Henri Bergson's theory of the production methods of humor. And I comment on humorous scenes of Shrek in points of design basic elements, such as (1) visual elements, (2) relational elements and (3) practical elements. And I classify humor responses into the incongruity theory, the superiority theory, and relief theory. Therefore this study suggest a reasoned method to categorize the humor types effectively for producing or analyzing various types of humor effects in animation fields.

• Cartoon and Animation Studies
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• s.26
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• pp.1-30
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• 2012

The purpose of animation is to give interesting stories to an audience through motion. To achieve the purpose, over the past century since its inception, animation has adopted many kinds of technologies, and thus developed diverse narrative methods and visual expression techniques. In addition, with the advancement of expression techniques, all elements making up animation have gradually been systemized, and at the same time, have helped express the worlds beyond the reality. As a result, people have faced the era when an audience can watch everything imaginated by an animation director on a big screen. These days, more efforts have been made in order for the audience to feel much more than enjoy pictures moving in a frame. In other words, the purpose of the animation is changing from the passive viewing of animation to feeling and sensing stuffs through the animation. In the center of the changing process is 3D technology which gives new interesting to an audience. Sometime ago, a 3D animation movie was produced in Korea. But it did not bring out box-office profits, for it failed to give satisfaction to an audience who expected high perfection and beauty being able to be rivalled to those of international 3D animation movies. The failure is attributable to the fact that the domestic 3D animation production industry is merely in the early stage, and has not sufficient human resources, technology, and experiences in producing 3D animation films. Moreover, the problem is that most studies on 3D focus on the technologies related to reenactment, but that few studies on the images, which an audience directly faces, have been conducted. Under the domestic circumstance, the study on stereoscopic image screen of , a 3D stereoscopic animation film which was released in 2010 and has been seen as the best successful 3D stereoscopic animation, is worthwhile. Thus this thesis conducted theoretical consideration and case analysis focusing on the visual direction that creates the pictures to deliver abundant three dimensional effect so that it can be used as a basic data when producing high quality-domestic 3D animation and training professional labor forces. In the result, it was found that the 3D animation was not a new area, but the area which has been expanded and changed by applying the characteristics of 3D image based on the principles of the existing media aesthetics. This study might be helpful to establish the foundation of the theoretical studies necessary for producing 3D animation contents for realizing the sense of reality.