• The Korean Publising Journal, Monthly
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• s.237
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• pp.10-11
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• 1998

프랑스는 '만화이 나라'이기도 하다. 그만큼 만화에 대한 프랑스인의 사랑은 각별하다. 파리 라탱지역에 있는 만화전문서점 '앨범'은 겉에서 보면 그리 화려하지도 않지만 매장에 들어서면 그야말로 만화천국이다. 만화광에서부터 노인과 점잖은 신사까지 고객도 다양하다.

• Venture DIGEST
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• s.39
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• pp.18-19
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• 2003

무릇 작품의 깊이는 작가가 살아온 삶의 깊이에 비례한다. 박시백 화백은 국내 만화계에서는 보기 드물게 사회과학적 식견이 높은 만화가로 손꼽힌다. 그는 머리만으로 세상을 배운 게 아니라 온몸으로 세상을 깨우쳤다. 그의 만화에 이 땅의 낮은 곳에 있는 사람들을 향한 따뜻한 시선이 담겨 있는 것도 이 때문이다.

• Cartoon and Animation Studies
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• s.2
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• pp.94-118
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• 1998

• Cartoon and Animation Studies
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• s.16
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• pp.179-198
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• 2009

This study analyzed the chronology of children's cartoon through character while the children's cartoon section is planned at the Memorial Exhibition of 100th year of Korean Cartoon which will be held at the Contemporary Art Gallery in celebration of the 100th year after birth of Korean Cartoon. The approaching method based on character is regarded as the most proper and feasible in the identification of character and meaning of children's cartoon because the character in cartoon contains the bigger role and meaning than the descriptive structure of narration. The Committee of 100th Year of Korean Cartoon, Aicheorum which is a study association for children's cartoon and Cartoon My Love $Cafe^{42)}$ in Naver jointly selected the 70 cartoon characters. A brief history is established based on these characters through chronological classification in seven sectors of around 10 year session such as before 1950s of quickening period and liberation, 1950s, 1960s, 1970s, 1000s, 1900s and after 2000. It examined the historical meaning, its reflection and characteristics focused on the cartoon character and the cartoonist which were well-known to everybody not only the display according to chronological order. The study intented the stereoscopic illumination on the children's cartoon and character which were favored beyond the generations. In addition, the similarity and human relation among cartoonist to cartoonist and character to character were analyzed and traced to identity the fact that children cartoon character is not individualistic being but it lies on the extension of tradition and trend of eternal cartoon history Finally, hopefully it will make a contribution to activate the pure creative children's cartoon in Korea through reminding the importance of character in cartoon, affirming the industrial value and reflecting the direction and perspective of pure creative children's cartoon.

• 한국만화애니메이션학회:학술대회논문집
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• 2011.05a
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• pp.4-11
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• 2011

<2010 만화산업백서>에서는 2009년과 2010년 상반기 주요 이슈 중 하나로 학습만화의 강세를 꼽았다. 시리즈(예림당)는 3천만 부를 돌파했고, <만화로 보는 그리스로마신화>(가나출판사)는 2천 3백만 부를, <먼나라 이웃나라>(김영사)는 1천 5백만 부, <마법천자문>(아울북)은 1천3백만 부, <코믹 메이플 스토리>(서울문화사)는 1천 1백만 부, <서바이벌 만화 과학상식>시리즈(아이세움)는 1천 만부를 각각 돌파했다고 한다. 초판 발행 부수가 2,000부도 넘지 못하고 있는 현 만화 단행본 시장에서 이러한 학습만화의 강세는 단순한 유행이나 교육열을 넘어, 학습만화가 한국 만화 산업에 중요한 위치로 자리매김 했음을 보여주고 있다. 실제로 2009년 출판만화 시장의 현황을 보면, 어린이만화는 총 927종이 발행되어 시장 규모가 2,362억 원에 달해, 출판만화 전체 시장의 67%를 차지하고 있을 정도로, 한국 만화 산업에서 중요한 위치를 점하고 있다.1) 1970년대 '만화전집' 형태로 출판되어 영업사원들에 의해 판매되던 한국 학습만화는 1987년 고려원에서 출간된 이원복의 <먼나라 이웃나라>에 이르러 대중들에게 주목받기 시작했다. 그러던 것이 2000년 초반 <만화로 보는 그리스로마신화>와 <서바이벌 만화 과학상식>시리즈와 <마법 천자문> 등이 참신한 기획력과 적극적인 마케팅 전략으로 천만 부 시대를 열었고, 시리즈에 이르러 3천 만부를 돌파하면서, 명실상부 학습만화 시대를 열었다. 물론 2000년대 중반 인기작의 아류작들이 쏟아져 나오고, 만화 출판 경험이 없는 출판사들이 학습만화 시장에 뛰어 들면서 학습만화 시장의 거품에 대한 우려의 목소리가 아주 없었던 것은 아니다. 실제로 학습만화 시장에 뛰어 들었던 많은 출판사들이 서점 가판대에 제대로 진열조차 못해본 체 사라져 가고 있다. 그럼에도 불구하고, 학습만화 시장은 꾸준한 성장세를 보이고 있다. 그렇다면, 천만 부 이상을 판매하고 있는 학습만화의 성공요인은 무엇일까? 본고에서는 성공한 학습만화의 스토리텔링을 유형별로 분류하여 분석해 보고, 변화한 스토리텔링 방식이 마케팅과 기획력과 결합해 어떻게 시너지 효과를 내고 있는지 사례별로 분석해 보고자 한다.

• Korean Architects
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• no.2 s.167
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• pp.82-87
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• 1983

• Korean Architects
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• no.5 s.361
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• pp.113-117
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• 1999

• Korean Architects
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• no.1 s.441
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• pp.80-81
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• 2006

• Cartoon and Animation Studies
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• s.30
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• pp.139-168
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• 2013

This article aims to explain the significance and value of cartoons in the 1910s which were largely passed unnoticed in the preceding cartoon studies by scrutinizing cartoons published in Maeilsinbo in the 1910s. Until now, Korean cartoons in the 1910s has been neglected just because it were published in Maeilsinbo. However, this writing analyzed cartoons in this period on the base of the fact that the cartoons in the 1910s printed in Maeilsinbo diversified the horizon of the Korean cartoon. Cartoons in Maeilsinbo functioned as a bridge connecting cartoons published in Daehanminbo in 1909 reputed as a root of Korean cartoon and 1920s, the time when satirical cartoons and comics started being printed in newspapers. The characteristics of Maeilsinbo as a bulletin of government general and periodical characteristics that the agent of popular culture begun to move reside as multi layers in the cartoons in the 1910s. In this article, the process and the development of how cartoons published in Maeilsinbo. As pleasure became important in everyday life in Korea, cartoons were able to earn a portion in the newspaper. In the beginning, modern cartoon style seemed vague, but as time goes by, its own style gradually settled. Cartoons in this period were not fixed in specific section but various kinds of cartoons were developed during the time since works of Korean as well as Japanese cartoonists and illustrators were published. Among them, representative cartoons in Maeilsinbo were analyzed in this article under three categories: first, cartoons represented 'Choseon-ness' through scenes of daily life and customs concurrently contained a view of anti-civilization/enlightenment; second, cartoons represented the accumulation of wealth as valid from the view point of public interest; last, cartoons divided Koreans who suffered from hardships of life in Kyungsung and Japanese in Jingogae in order to divide space. In conclusion, Maeilsinbo disciplined the colonized, Koreans, and exposed the discourse of the colonial power via cartoon.

• The Journal of the Korea Contents Association
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• v.10 no.10
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• pp.152-160
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• 2010

Modern comics find their roots in caricatures, which have a basic element of comics as a combination of wrings and drawings. In three East Asian countries, new media, comics have been developed by joining modern arts and cartoons which is a news form of western comics. As modern comics have evolved according to situations of the three countries, they expand from the satire on the system, foreign invasions, and internal corruption to the enlightenment of the people. However, the criticism on the system lead to the oppression, and the imperialism in East Asian countries enforce the agitation, war engagement, propaganda of the colonialism on the comics. Current East Asian comics have been occupying the largest part in the world comics, and have their roots in the modern comics. So it is meaningful to investigate the characteristic of modern East Asian comics.