• Journal of Digital Contents Society
• /
• v.15 no.5
• /
• pp.613-620
• /
• 2014

Gender Representation of animation character that is discussed in this essay is a semantic discourse that is related to communication with contemporary audience. For gender Representation of animation character, as it can be thought that linguistic elements for signification with audience are materialized, it has a significant value when it comes to communication with audience. Commercial success of Disney's feature length animation Frozen is from excellent aesthetic principles and techniques and global marketing capabilities of Disney studio. However, independent and active gender representation of Elsa and Anna in Frozen are more important commercial successful elements. Especially, Gender representation of these two characters reflects myth of women who live in this modern society so their linguistic meaning can appear affluently. That also means that those two characters have advantages, in terms of communication, that can have effective signification with contemporary audience as linguistic sign. And those advantages are signification foundation that Frozen can be commercially successful by communicating with audience all around the world.

• Archives of design research
• /
• v.17 no.4
• /
• pp.327-336
• /
• 2004

The cultural production of meanings is becoming more and laden with the intricacies of signs and symbols in our times. The idea of 'character' is important as an intermediation for information and an essential characteristic of "the object" experienced through the sence of sight. Character is symbolicin its form but also in its iconic markings. Motion Picture Animation makes Character not just an expression of an image but visual communication that expands the action of meaning piled up, sign upon sign. The analysis of 'character' suggests that motion picture animated characters could play an important role as a cultural mode leading to new styles not merely as an aesthetic mechanism. The study there with analyzed animated character systematically to discem where the sign phenomena shows up in social conventions under the semiotic rigor of Peirce's concepts of icon, index, and symbol.

• Cartoon and Animation Studies
• /
• s.43
• /
• pp.123-150
• /
• 2016

There has been discussed very little about animation authorship studies, especially the themes of authors and their original animation texts since 1990s. This study is to explore the academic discourse of animation authorship studies understanding the media aesthetics of animation and the scholarly approach of animation studies about authorship. This article examines 55 articles via meta analysis about animation authorship studies drawn from the 1,516 articles on the general animation studies. The results were as follows. First, the domestic animation studies on the authorship were made about animators of Japan, US, and european countries. Second, It was dominant that scholarly interest on the screen direction and visual expression of animation texts. This shows the authorship approaches were mainly about visual aspects of animations. The domestic animation authorship studies did not trace the authorship issues on author's world view and visual style revealed in the corpus of texts. Instead, they discussed authorship issues on the characteristics of individual animation text. It has been evident that animation studies were not enthusiastic about building the independent theory on animation. Therefore, animation studies have tried theorizing the animation issues borrowing the literature and film theories. This study can contribute to increase phase of animation studies by drawing the intensive discussion of animation authors and their authorship.

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

• Archives of design research
• /
• v.17 no.3
• /
• pp.51-60
• /
• 2004

The esthetics of 'grotesque' and its entertaining values have many things in common with the characteristics and properties of animation as a medium of expression. The ways to express grotesque images in animation have expanded its realm of expression with the development of modern image digitalization technologies. The grotesque images that were expressed by the combination of photographs and animations and objet animations have been developing its disharmony in a more realistic manner with full 3D animation technology and realistic motions of virtual characters with motion capture. The subject matter also has become more diverse with the advance of modern scientific civilization. An example is the appearance of Cyborg(cybernetic+organism) characters and the grotesque images in the modern times mainly start to appear in animations dealing with the isolation of human beings among its characteristics. Also, the changes of the expression methods of grotesque images along with the development of visual technology development in the future will transform its methodological forms by changing its expression methods to VR forms and interactive visuals. Thus it is expected that the grotesque images and characteristics will change into a visual genre which emphasizes dehumanization.

• Journal of Popular Narrative
• /
• v.26 no.4
• /
• pp.215-237
• /
• 2020

This paper is written to introduce and review Shinji Matsunaga's The Aesthetics of Video Games which published in Japan in 2018. Shinji Matsunaga has studied video games from a philosophical and aesthetic perspective. In The Aesthetics of Video Games, he took video games as a hybrid form of traditional games. Shinji Matsunaga particularly notes that video games can design human behaviors and experiences. From this point of view, he tries to construct a theoretical framework that will be able to describe the ways of signification in games and fiction respectively. In previous studies, video games have been mainly discussed in the context of cultural studies and entertainment culture in Japan. The Aesthetics of Video Games is distinguished from the previous studies in the following points. First, The Aesthetics of Video Games pioneered the method of studying video games in art theory. Second, it established various types of relationships with video games and traditional aesthetic concepts. Third, this book connects new concepts that emerged in the age of artificial intelligence to video games as an aesthetic action. Through this work, not only video games were discussed academically, but also the fields of aesthetics and art were expanded. The Aesthetics of Video Game is like a collection of philosophical concepts for video games. Through this book, it can be said that the path for artificial intelligence to approach human secrets is closer than before.

• Broadcasting and Media Magazine
• /
• v.10 no.1
• /
• pp.85-98
• /
• 2005

About the phenomenon of being imaged of everything, the scholars of the humanities who had studied on the simple reason structure in a text have been in a big agony how accept it. Especially, semiologists have studied about this for a long time and the points at issues of Saussure, Peirce as well as Umbeto Eco are more outstanding. Being based upon his philosophic interesting from medieval esthetics to modern semiotics, Eco was very concerned about the field of general esthetics and poputar arts like television and cartoons. He connected the mutual open-relations between 'signifier' and 'signified' debated in Semiotics with the open and vague modern arts and regarding it as a deviation from the custom, intensively studied the film-media. Saussure is a representative figure of semiotics and explained Sign and the character of semiotics as the division into two parts such as signifier/ signified, form/ substance, langue/ parole, synchrony/ diachrony. The triadic semiotics (the theory that Sign is composed of the triadic structure like sign, referent and interpretant) of Peirce put the new item- 'interpretant' in sign and referent to connect them and open the possibility to introduce time in to the Sign. In this paper, I try to analyze a cartoon film in the semiotic structure with the systemic, reasonable and logical approach and analysis as as possible. While the images shown through a film were depended on the romantic and impressional judge in the past, due to semiotics, it' s quite possible to correlate the procedure of symbolization to social coherence so that we analyze the incredible power of images to suck audiences with the systemetic Sign. I accept all ot film-images including a cartoon film as not the simple esthetic arts but a social custom and system, want to serve as a aid to properly understand world and humanbeings and prevent the film-image from being mystic. A cartoon and a cartoon film which were begun with the link of a text and an illustration give shape to all of images such as materials, places and even thoughts with a cartoon icon existed in only a cartoon. A cartoon and a cartoon film simply and exquistely conceptualize the complex and vague attribute of an organic creature and extend them infinetly beyond language. However, it can be exploited as a mysticism to temptate the general public and a faking material. In addition to that, it can distort our world-knowledge engaging a political power and the massive power of mass media. In this paper, being based on semiotics to approach a cartoon film in a scientific and organic system, I conclude that a non-linguistic cartoon expression is entangled with the manifold signs and implies the supplementary meanings just like a regular linguistic expression. It remarks that the iconic images of a cartoon film are composed of the social codes and can be analyzed on grounds of a linguistic system.

• Cartoon and Animation Studies
• /
• s.38
• /
• pp.53-70
• /
• 2015

In industrialized societies throughout the 19th and 20th centuries, Over Produced and Mass consumption images were constantly shown to people via Mass-Media as means to provoke one's desire. Frank Mouris, the American independent animator, captured and showed the infinite nesting of industrialized image with his autobiographical story through his work (1973) and made it as an intense visual flow. This innovative art animation has broke the traditional form of narrative animation and won the Annecy Animation Festival Grand Prix and the Academy Awards in 1974. This was also selected for preservation in the United States National Film Registry by the Library of Congress as being culturally, historically, or aesthetically significant in 1996. This study explores and shows that how these a-half million images to express Franks Mouris's autobiographical story in could be analyzed by the concept of Walter Benjamin's 'dialectical images'. Typically, the term 'dialectic' need to be formed by contradiction or opposite concept in the basic principles, but a dialectical image of Benjamin could be formed without any opposite concept while maintaining the uniqueness of each new relationship of the past. Benjamin's dialectical images are no longer stay in the historical past, It always meets with the present when someone realizes the past in the present moment. I suggest three different aspect according to Benjamin's point of view to analyse this animated film such as 'Historical-dialectical imaging of private/collective memory', 'Reconfiguring of present through analysing the relationship between the image flows and its own time/space', and 'Old future over the existing fragment and the presence of fragment. has the great value not only to present the experimental and innovative aesthetics of animated film, but also to show an analysis of contemporary culture and social aspect in mid-20th century. This study is to explore the diversity of animation representation, aesthetics, and also to suggest a new aspect of animation studies.

• Cartoon and Animation Studies
• /
• s.46
• /
• pp.151-179
• /
• 2017

The purpose of this study is to analyse the characteristics of the 1920s and 1930s to analyze the emotions of laughter in the popular culture, This period, such as the style of comic books, tools, and textures, has been influenced by the influence of the eodi, and it is in its way to establish the aesthetic aesthetics of the colonial Joseon Dynasty. In the pop culture of the 1920-30s, laughter was a new feeling in the gloomy atmosphere of colonial rule. It was the comic media that showed the sensation to the public, owned it, and injured it. Also, the comic book was an important period in which comic books were produced to produce quantitative and qualitative growth. The study explored how the comics interacted with other media in the 1920s and 30s. And the study analyzed what was selected in there. This can quickly explain how the comics gained, or how they obtained them. This shows how the comics gained, in a way, how they obtained laughter.

• Cartoon and Animation Studies
• /
• s.17
• /
• pp.133-146
• /
• 2009

In modern days, the iconic symbolicity of animal characters functions as a sign by the social promise after being made with voluntary intentions. Representing a public organization or corporation, an animal character is put to active use as a symbol. Today illusionary animal characters serve as important icons, and product developers incessantly put out animal contents. This study set out to examine the applications of animal characters in modern times according to media development by integrating animal characters into animation, which was the beginning of animal characters, based on the theoretical background of "symbolicity" in the aesthetics history. It also analyzed the symbolicity of "Haechi," which is Seoul's animal character and one of the good examples of utilization of a promotional animal character by a corporation or public organization.