• Cartoon and Animation Studies
• /
• s.39
• /
• pp.1-25
• /
• 2015

"Magical girl" is one of many popular genres that are watched in Japanese animation. The characteristics of "Magical girl" genre shows that most main heroine as the girl in young age, and this young girl play her role as a character with supernatural power. The majority in population of Japanese animation consumers were men. However, women began to become this population of Japanese animation consumers with the beginning of "Magical girl" genre, which also became a cause for the birth of "Shojo anime". The first "Shojo anime", as well as the first animation of "Magical girl" genre in Japan was , and this piece made a great hit when it was broadcasted. Since the great hit of , new pieces of animation in "Magical girl" genre has broadcasted through television continually, making other great hits also with in 1982 and< Sailor Moon> in 1992. Discussing of which, made not only a great hit in Japan, but worldwide as well, that its new season of TV series, , is broadcasted in 2014. "Magical girl" genre was loved by viewers of Japanese animation for a long time, and it is still broadcasted regularly today. In observation of pieces in "Magical girl" genre, magical girls who appear as a main character either fight for the world they live in, or take on an adventure, or take an action according to their idealistic purpose. However, the magical girls who appear in take an action not for the peace of their world, but rather for their own benefits and purposes. In , magical girls fight against the witches and their familiar spirits, which end up in a horrible conclusion. The witches who magical girls fought against were not already the witches in the beginning, but in fact were the other magical girls who took their action in the past. It Magical girls in present time were having witch hunt against the witches, who were once another magical girls in the past. Unlike traditional "Magical girl" genre, where witches and magical girls were used to be an that magical girls end up turning into witches. Witches did not exist in the beginning, but rather someone had to be one, to be hunted down in witch hunt. The cause of witch hunt did not exist in the beginning, but rather the ones had to be tagged as witches to be hunted down. Therefore, this paper is written to discuss an existence of witch in research of its historic origin of witch hunt, and on the witches appear in .

• 발명특허
• /
• v.37 no.1
• /
• pp.36-39
• /
• 2012

'소녀시대' 상표를 의류 식품 미용 통신판매업 등의 9개 분야에 대해 A씨가 2007년 출원하여 현재 상표권을 보유한 상태로 알려졌다. A씨는 자신의 상표권을 기초로 하여 무단으로 온라인 쇼핑몰에 '소녀시대' 상표권 침해 금지 경고장을 보냈으며, 이 사실이 SM측에 알려지면서 '소녀시대' 상표권을 둘러싼 문제가 야기되었다. 소녀시대가 데뷔할 즈음에 '소녀시대'를 출원한 A씨의 상표권은 그대로 유효할까? 아니면 무효화시킬 수 있을까? 끊임없이 문제가 되고 있는 타인의 상표 선점 문제를 어떻게 해결할 것인지에 대해 다시 한번 살펴보고자 한다.

• Cartoon and Animation Studies
• /
• s.27
• /
• pp.99-125
• /
• 2012

Shojo manga, one of Japan's comic genres, is well-known around the world. There is an equivalent manga genre in Korea and it is called Sunjeong Manhwa. What distinguishes shojo manga from other comic genres is its unique visual representation of the inner world of comic characters. In this study, shojo manga depicted in various shojo magazines in the early 1960s are analyzed. The magazines reviewed include Shojo, Shojo Club and Shojo Book. Among the visual representations, flower expression, panel composition and title page design are selected for analysis. Based on the results of the analysis, the basic elements of shojo manga are portrayed well in manga published in the early 1960s, during which several female cartoonists actively led the creation of the said genre. These findings confirm that the representations adopted in shojo manga for the purpose of expressing the inner world and psychological aspects of the main characters were already evident in the early 1960s. According to earlier studies, shojo manga reached its golden age in the 1970s, when the genre's format and representation method were developed to its full extent. Therefore, studies investigating shojo manga often focused on this golden era, during which a variety of comics emerged and stories and presentation skills further improved. An increasing number of readers began reading shojo manga. Popular cartoonists also emerged, further accelerating the genre's burgeoning popularity. However, there has been no investigation on the unique representations found in shojo manga. This means that the shojo manga published between the late 1950s and the early 1960s were underestimated compared with those published in the 1970s. The aim of this study, therefore, is to reassess the comic works and cartoonists that led to the establishment of shojo manga by analyzing visual representations of shojo manga published from 1958 to 1963. This study proposes new ideas on when the unique representations of shojo manga first emerged and how those representations were described.

• Proceedings of the Korea Contents Association Conference
• /
• 2010.05a
• /
• pp.149-151
• /
• 2010

본 연구에서는 고맥락 문화의 대표국인 일본과 저맥락 문화의 대표국인 미국에서 제작되고 있는 소녀 대상 만화의 표현 발달과 성립에 대한 비교분석을 하였다. 동서양 문화권에 따른 비교연구는 소녀만화 표현 매커니즘에 대한 정서적 차이를 구명할 수 있으며, 그 표현영역 확장에도 근거를 제시할 수 있다고 사료된다. 특히, 소녀만화의 표현 매커니즘의 가장 기본이 되는 <칸의 구조>를 살펴보는 것은 소녀 대상 만화를 보다 자생력있는 문화콘텐츠로 육성하기 위한 이론적 토대가 될 것으로 사료된다.

• The Journal of the Korea Contents Association
• /
• v.15 no.8
• /
• pp.109-118
• /
• 2015

Korean Shunjung Manhwa and Shojo Manga have a unique characteristics. These genres have a close relationship each other. This study is story form of Shunjung Manhwa and Shojo Manga. In this article, a subject of study for Shunjung Manhwa is the works between 1950s and 1960s. I set limits to the works from "Shojo Club" the case of Shojo Manga. "Shojo Club" is the only girl's magazine without suspend publication. Furthermore, that magazine is the one that Japan's first Shojo Manga, Tezuka Osamu's 'Princess Knight' was published serially. The results of my research work is that Shunjung Manwha has a remarkable difference on a spatio-temporal background, a genre of story, a length of story as compared with Shojo Manga. In addition, this difference is based on the social background, history of comics, authors, media published serially at that time.

• Cartoon and Animation Studies
• /
• s.18
• /
• pp.1-16
• /
• 2010

As manga is a genre characterized by combined use of letters and pictures, visual expression, that is style, is one of the most important representative elements, even beyond the structuring of the story. Shojo Manga (lit. Young girl's Manga) in particular is distinguished by visual style clearly differentiated from other manga genres. Shojo Manga uses a variety of unique techniques that cannot be found in other manga genres. The use of starry eyes in the depiction of the characters, taller than life characters, and the creative use of frames which disregard the traditional square shape are some examples. Therefore, the question arises of by whom and when such visual characteristics in Shojo Manga were created. This paper will analyze the figure of Nakahara Junichi (1913-1983), illustrator of Shojo magazines active between the 1930's and 1950's, and who as it has been stated in previous research, influenced the splendorous illustrations of Shojo Manga. Therefore, I will look for the commonalities and differences between Shojo Manga and Nakahara's oeuvre, shedding light on the origins of Shojo Manga and attempting to theorize the relationship existing between them.

• Proceedings of the Korea Contents Association Conference
• /
• 2014.11a
• /
• pp.339-340
• /
• 2014

본 연구는 청소년소설을 중심으로 소녀들의 자살 심리를 연구하였다. 청소년소설에 나타난 소녀들의 자살 심리는 십대들이 자살하는 다양한 심리와 크게 다르지 않다. 예컨대 도피 심리, 논의된 결과는 다음과 같다. 자기처벌심리, 보상심리, 보복심리 등이 나타난다. 때론 청소년들은 자신이 원하는 것을 얻기 위해 자살소동을 벌이기도 한다.

• Proceedings of the Korea Information Processing Society Conference
• /
• 2019.05a
• /
• pp.666-667
• /
• 2019

우리 주위에는 많은 '평화의 소녀상'이 있지만, 소녀상의 위치나 역사적 의미 같은, 보다 자세한 정보를 얻기는 직접 찾아보지 않으면 얻기 어려운 것이 현실이다. 이에 본 연구에서는 증강현실(Augmented Reality)을 이용하여, 주변 소녀상의 위치 및 시각적 경로 안내뿐 아니라 웹을 이용한 각 소녀상 별 피드(Feed)를 통해 다양한 역사적 정보를 제공 및 공유하고자 한다.

• The Journal of the Korea Contents Association
• /
• v.10 no.7
• /
• pp.149-158
• /
• 2010

This study is a comparative analysis of the creation and development of visual techniques used in girls' comics in the paradigmatic low and high-context cultures of American and Japan. As previous analyses have shown, there are qualitative differences in the expressive mechanisms employed in girls' comics in Eastern and Western cultures, and it is an investigation of this realm of expression that is the basis of this study. Particular emphasis is placed on an analysis of the structure of frames, one of the most fundamental expressive mechanisms in girls' comics. A close examination of this underlying structural component reveals that both cultures demonstrate autonomous growth, providing a theoretical framework for future studies.

• Journal of Science and Technology Studies
• /
• v.14 no.2
• /
• pp.281-318
• /
• 2014

This paper aims to examine women's understanding of technoscience by analyzing girls' comics(少女漫畵, Sonyeo Manhwa). The idea that women were not interested in science was a socially accepted. But this paper reveals that women are interested in science in a different way by analyzing Korean SF girls' comics. By examining an image of science in SF girls' comics in comparison to SF boys' comics(少年漫畵, Sonyeon Manhwa), this paper shows that women look technoscience through 'reflexivity' focused on 'human' and that this special character is derived from the feature of women's culture. SF girls comics have two features. First, girls comics reflect on power made by technoscience rather than describe it elaborately. And the reflexivity is expressed through a mental state, an emotion, and relations between human beings focused on a human nature, an ego, and an identity. It is different from boys comics that give weight to the mechanics and that show simple plot such as utopia or distopia, or a battle of good versus evil. Second, girls comics express technoscience as daily practices. In girls comics, some technosciences are linked to our daily lives and cartoonists and readers consider an 'essence of knowledge' together. It is different from men's view that regards knowledge as power or means.