• Journal of Digital Convergence
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• v.14 no.11
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• pp.489-494
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• 2016

Stop-Motion Animation is the work that gives lives to the objects. In order to give lives to objects and to form story line to persuade the audience, it is important that the reason of choice of color, material, and texture has something to do with the narratives. For this study, among the Garri Bardin's animation, the ones with good representation of the objects have been chosen: Conflict (1983), Fioritures (1987), and Adagio (2000). With these animations, I would like to look for the meaning of existence of the objects, and to consider the importance of the relationship between the types of objects that are represented and the narratives.

• Cartoon and Animation Studies
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• s.15
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• pp.29-47
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• 2009

The changes in the field of high tech media promote the development of animation films, which was considered once as a decaying industry. A large success of Disney animation films in 1980's and the possibilities of animation as an economically profitable mass products allowed this art form to play a leading role in mass culture. But, the cultural and philosophical aspects of animation works are not studied enough up to this time, despite its importance. This article is focused on the study of animation as a serious cultural and philosophical text. The object of research is the Russian animation in the period of 1960-1980 years. In this time, new trends are noticed in the history of Russian animation : aesthetical experiments in style and subjects became possible since the society freed from totalitarian atmosphere after the political destalinization by Khrushchev. In addition to, it was the time when the system of state subsidies still functioned, that animation was not the object of cultural industry yet, as it happened in the period of Perestroika. In this condition, lots of short animation films, which were remarkable not only in the context of Soviet art culture, but also in the history of world animation films, were produced. This article proposes to analyze the characteristics of realities and fantasy, portrayed in the films of this period, and examine the role and status of animation films in the social-cultural context.

• Cartoon and Animation Studies
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• s.44
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• pp.1-31
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• 2016

In this thesis, the movie with mise-en-scene established was compared with the peculiarity of the play that is the etymological source of the term to identify the peculiarity of mise-en-scene which was substituted into animation to find the peculiarity of mise-en-scene in animation. To emphasize the direct connection between the frame's visual peculiarity and the director's opinions, the mise-en-scene of director centered animation created under a restricted environment was reviewed. Mise-en-scene which started from movie critics theory does not simply mean the arrangement of images in a frame. Mise-en-scene emphasizes the exposure of the work's motive by the visual components. The animation's assuming the middle point of environmental share possessed by play and movie when schematizing the genre peculiarity of animation, play and movie was a noteworthy result. It can be said that the cause is that the animation's peculiarity yield different results depending on the making methods; we verified that this is a key factor in the analysis of animation's mise-en-scene. I emphasized that the peculiarity of animation mise-en-scene is in its making method and material and suggested identifying the work's making methods and analyzing the work's aesthetic results derived in this way. The russian animation which was perceived as peripheral arts was relatively free from the burden of censorship while receiving support from the Soviet as a media for propaganda. The russian animation's mise-en-scene which found the material for its works in the country's folklore was metaphorical, focused on new expression forms and achieved experimental elements. Russian animation pursues a unique aesthetic world through space expression based on the forms of opera or ballet and heavy motions formed static inbetweens.

• Cartoon and Animation Studies
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• s.20
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• pp.87-104
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• 2010

Animation creates meaning and affection by combinig image and sound like film. directed by Yuri Norstein is a good text for analyzing animation sound in that it combines image and various music and sound effects well. This study focuses on analyzing the way that sound function to make meaning in this text. Generally sound is categorized into dialogue, music, and sound effect. And animation has its own characteristic in each category. The voice for dialogue is created corresponding to the image of the character and the rhythm is very important in Animation. Plus Sound effect in animation can be said to mimic not just sound but also movement. This study analyzes sound based on three sound factors and the concepts of the point of listening, subjective sound, and sound bridge. Subjective sound using the point of listening of the wolf and the baby bestows a special position on the main characters in the text. It is the overall characteristic of the sound use of this text that the repetitive combination of sound and image, the linguistic and annotative function of sound effect, and comparatively conventional use of music and sound effect enhance the affection and readability.

• The Journal of the Korea Contents Association
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• v.9 no.12
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• pp.121-129
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• 2009

This research tries to interpret Montage der Assoziation shown in animations. Eisenstein's 'Montage' is "Montage der Assoziation" where a variety of Montage pieces are combined, symbolizing one aggregate image. Though influenced by Russian Formalist Film Theory and Kuleshov, Pudivkin and Rudolf Amheim, by contraries, he recognized Montage as an issue between an artist and the audience and an anti-representation apparatus. Especially, he developed the mind action issue previously advocated by Eikhenbaum and deemed the audience's role an essential part in completing a film. Montage expression implied in Eisenstein's theory can be regarded as attraction, collision, and dynamic and intellectual Montage. However, with an in-depth approach, Montage der Assoziation can be interpreted by repetitive, relative and juxtaposed analysis. The reason is that animation Montage is a visual action which takes place in a row among scenes and in the frame. This research addresses communications with the audience which are attained by Montage der Assoziation. In other words, this research makes an in-depth access to how Montage der Assoziation appears and communicates with the audience in an animation work.

• Cartoon and Animation Studies
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• s.38
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• pp.115-132
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• 2015

An animation is a tool to represent the consciousness of an author. It is a medium that converts his/her consciousness to time by the means of spaces. Image is the most inherent element among the elements of an animation. Character is the element that has the very core function among the elements of an image because a character is a shape that can deliver a story through various actions and facial expressions. In this context, is a representative satire animation that describes a ranked and unequal human society and selfishness and absurdity of human beings existed in the human society, based on the original work of George Orwell. Therefore, this study aims to study what the work tries to satirize through the meanings and symbols that the characters, animals, and spaces in the work. As a result of the study, it was found that the characters appeared in the work are metaphoric symbols that imply the meanings of each character, not just simple characters or spaces. In the work, the farm is a symbolic space that symbolizes a human world. John, a human being, is described as a dictator in an absolute Russian monarchy who suppresses people. Old Major, a pig, is described as an old pioneer that preaches the appropriation of a revolution while Snow Ball, a pig that follows the Major is described as a naive leader that dreams to establish a real socialist state where everybody lives equal, through successful revolution. Another pig, Napoleon is described as the more greedy dictator than human being. He killed Snow Ball for his private ambition and suppresses and exploits the same race, animals. That is, setting man and various animals in the relation of dominant class and subordinated class, the author generates conflicts among characters. Although the characters pursue an ideal society through revolution, it requires another revolution in the process, which expresses repetitive contradiction of human history in a symbolic and strong way.

• The Journal of the Korea Contents Association
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• v.5 no.1
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• pp.117-126
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• 2005

In the present, animations of auteurism and aestheticism became a unique genre of art that expresses directors' idea. 'Tale of Tales' by Yuri Norstein, a Russian animator, is a paper animation that emphasizes the cut out technique and picturesque feeling as well as complicated structure of sequence in expressing metaphysical themes in the author's historical realism. It is evaluated as unique and creative. The present study analyzed the montage technique applied through the development of several symbolic images, the diachronic expression of contradictory worlds, the unique foreshadow of revealing the causes of results later, rapid repetition of urgent and serious situations, the movement of the camera to express the psychological distance between two characters in different situations and the process of editing. The derived results of this study are expected to be helpful in the works of animators of auteurism and aestheticism.

• Cartoon and Animation Studies
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• s.38
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• pp.93-114
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• 2015

In the history of animation, which created by Yuri Norstein is one of the best animations in the world. Out of all animations that Yuri Norstein created, is one animation that most people have hard time to understand because unexpected images and complicated structure of this animation get us confused. And also since this animation is based on Yuri Norstein's childhood memories and his own experiences, people who doesn't understand Russian culture and history will be lost. The purpose of this study is to analyze created by Yuri Norstein through the crystal-image in of Deleuze. According to Deleuze, we can see and understand unorganized time through the crystal-image which is the door way understanding and recognizing the time-image. In the there are some of the crystal-image appears. Eternity episode is one of the Crystal-images. In eternity episode we can see a peaceful life as simply continue endlessly. This is also the part that shows subject of animation and time itself accoding to Deleuze. By Yuri Norstein reflects Deleuze's claims that time-image we think and realize through crystal-image is eventually human life and universe.

• Cartoon and Animation Studies
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• s.45
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• pp.177-195
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• 2016

This article analyzes Sergei Eisenstein's acting theory, which is famous for his Russian montage. According to the existing discussions, he avoids the psychological realism through the concept of cut acting. It is a method like montage from the viewpoint that the practice of the cut action is segmented into shots. While Vsevolod Pudovkin, who asserts a connection montage, is looking for performance to portray a gradual change of emotion adopted by Konstantin Stanislavsky's psychological realism, Eisenstein prefers the acting of Vsevolod Meyerhold's masks in the same manner as the collision montage. This article traces the viewpoints on acting and actor that Eisenstein posed throughout his montage theory. It focuses on Film Sense(1942) and Film Form(1949), which are a collection of articles written by Eisenstein. As a result of examining the domestic and foreign literatures centering on Korean and English, it is hard to find the discussions on the analysis of Eisenstein's acting theory. Almost all of them are concentrated in his montage, among which the mention of acting is extremely limited. The cut acting, the typage, the inner techniques and processes of actor that express and induce the living emotions, and the acting of the integrating into diversity as one of the inner language are useful concepts in the creation and case analysis of contemporary films. Especially, his acting theory can be applied in the creation process of cartoons, webtoons, and animations which can meet the most decisive and impressive montage technique of Eisenstein. It is also possible to find many related cases for the analysis. This is why I look back on Eisenstein's film acting theory, and the results of the discussion will be a sufficient foundation for the derivation of related research.

• Cartoon and Animation Studies
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• s.36
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• pp.19-44
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• 2014

is an animation by John Halas and Joy Batchelor, based on Animal Farm by George Orwell, screened in England, 1954. by John Halas and Joy Batchelor showed true occasions in history, such begins with Bolshevik Revolution which broke out in October of 1917, through new economic policy called NEP, monopolization of power by Stalin, and Moscow Justice as a fable. in positioned real people from Bolshevik revolution as characters as in allegory, due to its fable-nature. However, descriptions in by John Halas and Joy Batchelor differs with by George Orwell from the middle of its story. In by John Halas and John Batchelor, Snowball is killed by Napoleon, unlike in by George Orwell, which Snowball is thrown out by Napoleon. showed Stalin as Napoleon, and Trotsky as Snowball in its characters. Satire description on Stalin's reign of terrorism after Bolshevik Revolution was same in both by George Orwell and by John Halas and Joy Batchelor; however, the view on Trotsky was different with each other. Therefore, this paper is written to describe allegorical factors of Bolshevik Revolution in by John Halas and Joy Batchelor, as well as to reinterpret the value of Trotsky and Russian Revolution by researching Snowball in .