• Cartoon and Animation Studies
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• 통권40호
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• pp.139-155
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• 2015

Animation is completed in accordance with the original planning of visual direction in the process of post-production. Especially, a variety of visualization skills to meet the planning idea are directed in editing and compositing processes such as rendering and shading in the production of 3D animation. Therefore, the studies how to implement these visual effects have been conducted since the emergence of the animation. The rendering method which appears in the recent animations so often is the effect of 2D animation style although it is applied by 3D technique. 3D animation can be classified as two types including photo realistic and non-photo realistic renderings. The former is to render the images realistically while the latter is to highlight the formative effect with analogue style free from the realism of the photographs. Visual effect of 2D animation is non-realistic, that is, non-photo realistic rendering. The animations produced by this method have the depth of 3D animation expression in terms of space and animating, and can direct the viewer-friendly analogue style visuals, which are widely used as a post-production effect. Hence in this study, we selected a short animation, 'Paperman,' one of Disney's animations, produced by cartoon rendering method which belongs to the class of non-photo rendering technique in 3D graphics, as our subject. We analyzed their techniques and visual effects of the scenes expressed by cartoon rendering method so as to understand whether they meet the original direction idea with the composition work. In addition, we expect further developments of post-production methods, exceeding the limit of graphic expression in alignment with the trend that has become more various in the types and genres of non-photo rendering.

• Cartoon and Animation Studies
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• 통권45호
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• pp.435-450
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• 2016

Animation is an artificial image created by artist's imagination. Animation is defined as "the art of the animated image" in the sense that immobile images can be seed as a living creature. In other words, the term "diegesis" in modern arts genre is generally considered as something that indicates fictional world in which narration develops. Therefore, when we say that animation world is formed based on diegesis, it represents the fictionality of animation world. The problem occurs at this point. Even thought the animation world is recognized as a fictional world, we contradictorily believe that the event occurring in the screen world are real and accept them as a true message. This condition is called "quasi-emotion". Quasi-emotion is not fake bit not real either, and it is the third emotional state. It happens when we "make believe" that we believe a fictitious figure or a situation. However, in order to actively operate this "make-believe" state, an appropriate environment and props are required, specially metaphorical imagination and storytelling in short animated film. So that this article will draw a conclusion from the method that make-believe the fictional world and communicate the message through analysing the short animate film, form Disney.

• The Research Journal of the Costume Culture
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• 제28권2호
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• pp.265-284
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• 2020

This study aimed to analyze the performance of Disney-collaborated fashion lines based on online consumer reviews. To do so, the researchers employed text mining and network analysis to identify key words in the reviews of these products. Blogs, internet cafes, and web documents provided by Naver, Daum, and YoutTube were selected as subjects for the analysis. The analysis period was limited to one year after for the 2019. Data collection and analysis were conducted using Python 3.7, Textom, and NodeXL. The research terms in question were as follows: 'Disney fashion collaboration' and 'Frozen fashion collaboration'. Preliminary survey results indicated that 'Elsa's dress' was the most frequently mentioned term and that the domestic fashion brand Eland Retail was the most active in selling Disney branded clothing through its own brand. The writers of reviews for Disney-collaborated fashion products were primarily mothers with daughters. Their decision to purchase these products was based upon the following factors; price, size, stability of decoration, shipping, laundry, and retailer. The motives for purchasing the product were the positive response of the consumer's child and the satisfaction of the parents due to the child's response. The problems to be solved included insufficient quantity of supply, delay in delivery, expensive price considering the number of times children's clothes are worn, poor glitter decoration, faded color, contamination from laundry, and undesirable smells immediately after the purchase.

• The Journal of the Korea Contents Association
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• 제14권7호
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• pp.103-114
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• 2014

This study intends to make a proposal the direction classification to develop the independent study of e-book's visualization. For this, we research into the e-book of Disney animation which achieved recognition in the literary value and amusement First of all, We grasp the meaning of the concept of e-book's aerial-image and perceptual principle. Next, We found the subject that starts the movement, and then observed the factor of the presentation to be possible to experience the actual spatial experience by the motion-produced cues. Through analysis process, We can classify the appearance elements, media, camera, and the readers' motion-produced cues into 13 parts and define as the codes. As we analysis the frequency of use of the analysis object, We separated it into the 46 combination exercises. According to the combination with the independent exercise, We separated them into 4 groups. There are the actual spatial experience, narrative spatial experience, the experience of characters. The basis for these, we can analyze the characteristics of the motion-produced cues. This study has the meaning of the expansion of e-book into the film language system by separating the e-book's narrative visualization type.

• Cartoon and Animation Studies
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• 통권51호
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• pp.321-359
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• 2018

A theme park, in general, can be defined as a space that has both 'theme factor' and 'hands-on factor'. But theme parks in Korea are not recognized as having unity even though they provide diverse services, because they lack in a theme factor, which is the essence of a theme park. On the other side of the issue, themes and concepts that a theme park claims to stand for are not consistent, and they fail to provide representative themes as well. For this reason, although a business plan to invite overseas theme parks is pushed ahead, it causes a vicious circle to weaken the competitive edge of domestic theme park industry as well as capital outflow. Consequently, from a theoretical viewpoint, a theme park with no specific theme is in critical situation to be out of the limelight by failing to provide visitors with purposefulness and attract their attention. To overcome the limitations in domestic theme park industry, and to gain profitability and expanded customers lie in heightening their receptiveness through creating unique image of each theme park. With the awareness of the issue, this study aims to propose a theme-centered park which has culture contents in it and to suggest a viable alternative that helps to create hands-on theme parks that reflect customers' receptiveness.

• Cartoon and Animation Studies
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• 통권40호
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• pp.315-336
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• 2015

Since it is imperative to share the values with the spectators to convince the public of the era, the main characters of a story that underwent numerous adaptation through time would change gradually. This paper examined changes of the main characters in various versions of Cinderella. Until the mid-20th century, Cinderella would be portrayed as a meek, passive and obedient girl as in the original fairy tale version of Perrault. As moving to 70s, a heroine who acts with her own feelings and thoughts began to appear. In the 90s, spectators could meet a protagonist who fought fiercely to be the owner of her own fate, and in the recent Disney movie, Cinderella stood up for herself while accepting herself as she was. The prince character also underwent similar transition. In the early versions of Cinderella, the prince would be a vague figure with a title who was desired by all maids in the country. It is in the 70s that the prince began to be portrayed as a person who has his own problems. In the recent years, the spectators could see the process that the prince transformed from a naive aristocrat to a man with responsibilities. In modern society, women have more social opportunities compared to the past, and women's social statuses do not need to be secured by relationship with men any longer. Thus Cinderella story is not as popular nowadays, moreover somebody whose dream is becoming Cinderella would subject to social reproach. However, beside the gender, the story could be the only hope for people who feel a sense of helplessness that there is no chance in their lives. As result variations of Cinderella story will go on as long as people of social deprivation exist.

• Journal of Digital Convergence
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• 제15권12호
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• pp.461-468
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• 2017

'Beauty and the Beast' was generated as a novel in 1740 and descended to date with the musical movie in 2017. This study is to understand what contents has been derived and expanded from one story for 277 years upon analyzing 'Beauty and the Beast' with the background of the times. Due to the limitation to include all the folktales and stories, the subjects of this study are limited with the contents that had been known and recorded as 'Beauty and the Beast.' 'Beauty and the Beast' has been expanded to 7 types of contents including novel, fairytale, movie, drama, animation, musical and film opera. It was created as a novel in the eighteenth century, made as a fairytale, and developed as a movie by Jean Cocteau, a movie director. With Industrial Revolution and the development of science, 'Beauty and the Beast' which derived into animation, drama, and musical contents, has been developed as the film opera thanks to the new trial of Philip Glass and the development of music industry. 'Beauty and the Beast' is still regenerating with a variety of contents continuously upon the development of computer technology and the fad of global remake. With anticipation of further analytical studies on 'Beauty and the Beast,' it is expected that the data of this study can be contributed as a reference in the other studies.

• Cartoon and Animation Studies
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• 통권37호
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• pp.197-219
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• 2014

, one of the Disney's animations, hit the 10 million audience mark for the first time in the history of animations released in Korea. not only raised the fever with its theme song, 'Let it go', as well as Elsa, Anna, and Olaf's character products but caused sensations in many ways. If so, we need to think about what kind of meaning did create in Korea to be so sensational. This study examines the value that Frozen intended to deliver and the meaning it generated by using Greimas actant model and semiotic square. From the actant model analysis on Anna and Elsa from , it was identified that Anna desired to recover her relationship with Elsa and to take summer back in Arendelle. Her desires can be interpreted as her love toward Elsa and people in Arendelle. Meanwhile, Elsa always desired freedom although she confined herself because of her ability to freeze. In other words, Elsa desired to free herself from her freezing ability by finding out how to control her ability. Such desires of Anna and Elsa were achieved by their actions of true love, and the solution of all the conflicts in was an action of true love. From the semiotic square analysis on the meaning of , it was found out that created past-oriented value with which characters tried to change their abnormal lives of the present into their normal lives of the past. The characters tried to change their present lives where freezing winter comes in the middle of summer, communication between the sisters is cut off, and people try to take advantage of the abnormal state deliberately, into the past when the sisters had a good relationship and the natural season of summer in Arendelle. The past-oriented value that tried to tell us is similar to our reality. In our reality with a lot of unbelievable news and unstable circumstances, we desire to go back to the past when we were filled with affection and hope even though our lives were tough and difficult. This sentiment must have contributed to the huge success of in Korea.

• Journal of Information Technology Applications and Management
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• 제28권6호
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• pp.69-85
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• 2021

In the era of the 4th Industrial Revolution, not only artificial intelligence, big data, robots, and biotechnology, but also cultural industries that require human creativity will lead. Among the cultural industries, the animation industry has high industrial utilization value due to its high connection with other industries. Among them, animation characters play the most important role as the subject leading the story of animation. In particular, the villain character not only serves as a medium for the main character to lead the story, but also captivates the audience with a different presence from the main character, adding to the fun and completeness of the animation. These characters consist of visual elements such as form and color, of which color is a tool that effectively conveys the character's personality and role to the audience, and is the first visual element to be considered in delicately describing the character's emotions and the relationship between characters. Therefore, this study attempts to analyze the color of the villain character. To this end, we will select eight Disney animations to derive the characteristics of the villain character's color by analyzing the color, value, chroma, and color association of the colors used in the Disney villain character. As a result of the analysis, the colors mainly used by Disney to convey the villain's image were red (R) and Orange (YR), and there was no difference depending on the times or animation production methods. Second, the brightness of Disney villain characters appeared to be the same medium/famous regardless of the times and production methods, and the frequency of use of high brightness was very low. In terms of saturation, the frequency of use of high and low saturation was high. Third, blackish (Bk), Strong (S), dull (Dl), and deep (Dp) tones were mainly used for tones. In particular, in recent 3D animations than previously produced 2D animations, the use of low chroma and the high black mixing rate increased. Fourth, it can be seen that Disney uses color as a visual method to more clearly express the psychology of the villain character using color association. In conclusion, the color selection of animation characters should be carefully considered as a tool to convey the character's personality, role, and emotion beyond simply using color, and the color selection of characters using color associations and symbols strengthens the narrative structure. It is hoped that this study will help analyze and select the character color of animation.

• Cartoon and Animation Studies
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• 통권37호
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• pp.159-195
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• 2014

An animation film, , is a work that declared a perfect revival of Disney. It is considered that the success was the result of its impressive theme song and characters working influentially. The main characters let audience experience empathy as well as catharsis by building the image of women making their own future without relying on men, and among the characters, Elsa is still popular even if one year has passed since its premiere in Korea. In the narrative genre, the character's degree of completion is regarded to be so important that it can even determine the work's success or failure. Accordingly, to analyze the personality structure among the major components of character rising, this study focuses on the psychodynamics of fear and desire which determines the directions of thought or behavior. Fear is the emotion attributed not to a real threat but to an ominous assumption about the future. Because fear that is originated from the memory of any deficit or suppression distorts our sound needs, escaping from fear means facing the reality. To verify the unique psychodynamics of the characters, the researcher analyzed the hierarchy of their attitudes, psychological dispositions, and psychic functions by using 'MBTI Personality Typology'. According to the results, (1) Elsa and Anna are in a conflicting relationship in terms of psychic functions. Although they are the combination that shows the highest possibility of conflict, the two sisters overcome it basically grounded on fellowship and family love. (2) Although Hans and Kristoff, too, are against each other in terms of psychic functions, the two male characters do not interact with each other in the work. (3) Hans is a person equipped with psychic functions that can complement both Elsa and Anna the most effectively, but he abuses it and turns into the most fatal opponent to them. (4) Olaf is a type of person combining Anna's attitudes with Elsa's psychological dispositions. And according to the results of analyzing the frequency of expressing fear and desire, (1) Elsa employs overwhelming fear and Anna and others characters use desire as the major drive of their behavior. (2) Fear is the underlying deficit internalized in every character and is attributed to 'the deficit of family love', and as a result, they all share the pain of 'loneliness and isolation'. It is thought that analyzing psychodynamics will help us understand the character's growth tale, that is, the narration that they distort their desire for the first motive to avoid fear and end up being ruled by it, and also, they realize the underlying reason for the distorted desire in the process of getting rid of their own fear and reach self-healing. Lastly, regarding character rising in the animation, it is expected that the directions and analysis results of this research will be referred to as a database in creating characters and setting up relations among them.