• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.763-766
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• 2006

It's a seldom case that someone denies comics are one of art forms. On the other hand, Comics are usually skipped in discussions about arts, because it seems the attempts to find out the artistic worth of comics are not successful. The very work which figures out the worth of the works of arts belongs to criticism. However the standards of comics criticism are not prepared yet, though criticism should have standards to make a decision. Therefore, this thesis intends to suggest the standards of comics criticism to figure out the worth of comics. In order to reach the end, the discussions on this thesis go on the classical aesthetic theories, because the classical aesthetic theories had attempted to find out the universal worth of arts. After that, with the standards supplied by the aesthetic theories, I will suggest the specific standards of comics criticism finally.

• Cartoon and Animation Studies
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• s.26
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• pp.79-108
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• 2012

This thesis is on the purpose of seeking for the possibility of a mechanism in interpreting, analyzing and criticizing cartoons which are applied to the concept of "the gaze" based on "the otherness of vision", which states a pluralistic visual world. It proves that cartoons are in line with other art works that are the subject to "lack and desire"; the gaze, greets reality and acts as an important criterion of analyzing and criticizing the trend in contemporary art, in which the cartoon expresses the gaze in harmony within its work of art. In this thesis, the artist, Kang Doh-ha structuralized ambiguous and difficult forms of art as he has cumulated experimental minds by working in an indie cartoon plane for a long period of time. Among his works of art, he identified the "invisible world" through his piece "Kubrik". Therefore, he represented: a metaphor and a metonymy, an ambiguously situational expression, an intentional and emotional error, the structure of individuality and integration, and finally tension beyond its meaning through use of 'the gaze' that is both the cause and the subject of a desire in the visible world which Lacan academized when he interpreted and analyzed "Kubrik". The concept of the gaze can be used in a variety of ways to display one another's presence in relation each character, revealing a spot of lack by staring back at readers or audiences and furthermore, to analyze and criticize the hidden side of the art piece by critics. The most important details are the artist's gaze, which is seen in the eyes of the analysis and also his or her criticism of the cartoon, which functions as a metaphoric screen in which the subject himself or herself betrays the law of desires thus enabling the violent and cruel reality to be masked and indulged in plays. This will serve as an element that will lead into an art as well as control the degradation to just a piece of enjoyment with the cartoon remaining only within the visual world.

• Proceedings of the Korea Society of Design Studies Conference
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• 2003.11a
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• pp.22-23
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• 2003

• Cartoon and Animation Studies
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• s.16
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• pp.211-221
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• 2009

are cartoon-expressions called cartoon itself to show the characteristic and limit of the presentation system, cartoon, by constitution. These followings are typical examples. First, a character regarded as a cartoonist shows up in the cartoon and constitutes the readers' recognition of the cartoon by himself or herself. Second, the line dividing two cuts is transformed or destroyed and likened to another thing so that can help the readers understand the cuts are physical existence. Most of the approaches to cartoon criticism studies which have been done before are external analyses focused on how to use cuts, balloons, and the two-dimensional expression meaning the relationship between script and picture. The purpose of this research is understanding meta-expressions in online and offline cartoons based on these outcomes. The research on meta-expressions of cartoon is considered to help understanding about the structure of Webcomics and the expansion of expression field in media by examining the expressions of the genre called cartoon.

• Cartoon and Animation Studies
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• s.22
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• pp.99-112
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• 2011

Korea cartoon animation industry is recognized as a cultural content that the spread of popular culture, value-added industries. Yet in spite of external growth and support policies tend it sluggish. This aspect of the cartoon animation market status and government policy that best reveals the cultural industry held the status of Seoul International Cartoon & Animation Festival also not irrelevant. This study retrospect Seoul International Cartoon & Animation Festival that started in 1995 and enhances the scale of the cultural industry and popular culture has grown around, and tried to find a solution for establish the identity and the development plan.

• Cartoon and Animation Studies
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• s.34
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• pp.167-195
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• 2014

A handwritten poster named "How are you, really?" appeared on December 10, 2013. And other handwritten posters sympathizing with it followed in places and are on everyone's lips hotly through internet and SNS. Such a social phenomenon is delivered to readers as a form of article in different meanings according to the viewpoint of each press. It is also delivered to readers as a material for delivering a meaning of a specific case in four panel comics strips and satirical cartoon of newspaper. This is because that comic strips of the press are now having a power to enlighten readers on the key point of a case easily and intuitively together with catharsis from the position of meditating the world. Notwithstanding differences depending on the viewpoints of the press or cartoonist, four panel comics strips and satirical cartoon on the newspaper are fulfilling their social role having their own voice. Of the genres of comic strips, social role of the comics of the press can be divided largely into two things. First, they actively intervene in social phenomena. In other words, comics of the press make their position and insistence on social phenomena clearly by exaggeration and emphasis. Second, they persuade or enlighten readers by concrete directions, which means that comics of the press make reader with similar viewpoint emphasize by delivering a clear message. This study aims to assert that comic strips are the most important medium with social role and responsibility. As part of studies on the social role of comics, this study wish that comic strips can be able to deviate from vicious circle of being socially condemned for reason of negative portion.

• Cartoon and Animation Studies
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• s.29
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• pp.209-241
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• 2012

Is a failed blockbuster film? Is there no room for reconsideration of the value of the film in terms of its contents and forms? The purpose of this study is to answer these questions. In 2007, SHIM Hyung-rae's was in the limelight due to the nationalist discourse around the film rather than evaluation of the film itself. In terms of its narrative and formal properties, the film showed the difference from the Korean nationalist blockbuster films. It led to the disaccord and hard-to-understand results of having somewhat disappointed box-office success of 8,500,000 audiences in comparison to the input, of receiving well by a generous part of the audiences absorbed by nationalism, and of getting the critics' cynic criticism of the film's cinematic value. Eventually only provided the cultural battlefield of nationalism, was left as an unnoticed film in the realm of industry and criticism. However, it was interesting that there was a common ground between the film's supporters and the cynic critics. Both sides were being acknowledged that the spectacle of was way out of proportion to the degree that the spectacle was unbalanced with the story unfolding, achieved more than expected. Its spectacle overwhelming the narrative enfever a few audiences, and at the same time, it provided some reasons making critics face away from the film. In this context, the purpose of this study is to examine 's aesthetics that 'the spectacle dominating narrative' or 'the narrative as a pretext for showing spectacle,' leading to discussion of artistic/theoretical/critical value and to find out cinematic value of the film being regarded as a failure. In addition, this study is significant in that it suggests that is a new kind of moving image that it cannot be analyzed with existed critical methods of narrative film criticism; as a result, this study provides the chance to be evaluated through a new conceptual frame of the film. In order to grasp the narratological aesthetics, this study focuses on the concept of trickality that Andre Gaudreault suggests, and Tom Gunning's 'the cinema of attractions,' referring to the spectacle-oriented narrativity or the mode of production displaying the spectacle more than the narrative.