• The Journal of the Korea Contents Association
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• v.16 no.6
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• pp.19-39
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• 2016

Hallyu in East Europe has been spread since the end of the 2000s and contributed to boost the familiarity and favorability of Korea. Hallyu in East Europe started from Romania and Hungary, Korean dramas and K-Pops spread to Bulgaria. Korea and Bulgaria established a diplomatic relations in 1990; however, people of both countries do not share enough information or knowledge on each other. This study aims to understand the meaning of Hallyu and the ways of building cultural relations through Hallyu based on the cognitions and attitudes toward Korea and Korean culture in Bulgaria. It conducted the Focus Group Discussions(FGD) for 24 Sofia residents in their 20s and 30s. The FGD questions were mainly on the level of familiarity and of impacts of Hallyu in Bulgaria. The Hallyu in Bulgaria is still not so popular although Hallyu has been promoted through the diverse activities of Korean Embassy, Sofia University, Korean language institutions, and the Hallyu fans. The economic and cultural impact of the Hallyu is not yet viable in Bulgaria. In order to be recognized as one of the foreign popular culture in Bulgaria, Hallyu should be promoted with various endeavors for Bulgarian people to experience Korean culture beyond Korean drama and K-Pops based on the understanding of socio-cultural characteristics of Bulgaria. Then, Hallyu will be spread by producing Korean dramas, films, and K-pops reflected by local cultural characteristics in Bulgaria and hybridity of Korean popular culture.

• Cartoon and Animation Studies
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• s.23
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• pp.67-79
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• 2011

As an increasing amount of Korean animation is being produced for Hollywood films, and/or winning prizes at international animation festivals, Korean animation is proving its growth potential and competitive power. In order for such domestic cartoons and animation to stably develop and maintain firm competitive power in international markets, cartoonists and animators need programs to support their creations, and locations where they can create their works. They also keenly demand the development of various programs and support policies that fit Korea's situation. In addition, if independently produced cartoons and animations have stable locations where they can be shown and commercialized, they can receive public benefits, beyond short-term commercial effects. Based on these views, this study sheds light on the concept, formation, and vitalization of a creation space and resident program, through the intentions of a studio where young and would-be artists create their works. In addition, this study has a significant meaning in that it offers a more effective and positive policy direction, as well as more opportunities to re-educate artists. As a result, it is expected that this study will contribute toward recovering the identity of cartoons and animation, which have been recognized as commercial genres, and to firm up their competitive power in international markets. It also demonstrates that these creation spaces, beyond the simple logic in which a creation space only motivates an artist's desire to create, will help in developing Korean cartoons and animation through cultural and personal exchanges with artists of foreign countries, and through an understanding of other cultures, offer communication programs to connect Seoul and other local communities, and establish the cultural identity of local communities where such creation facilities are located. In this way, the public can more easily understand and access cartoons and animation in their daily lives through these creation spaces.

• Cartoon and Animation Studies
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• s.40
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• pp.83-107
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• 2015

Propaganda is often accepted as the political promotion that had used mostly by the socialist states during the First and the Second World Wars and the Cold War and by Hitler who governed Germany. Therefore, cases of the study on the image and picture propaganda were mostly posters or films of the socialism period when the propaganda was active. However, today it is not easy any more to find propaganda of the clear promotion characteristic as the past. In these modern times, it has changed into metaphorical propaganda based on 'persuasion', rather than publicity like past. Therefore, it has been changing from the direct promotion of the past into the indirect persuasion; and from the raw, direct and powerful publicity and claim into the soft and metaphorical persuasion and appeal. Thus, investigating again the contemporary propaganda will be an important element in analyzing contemporary images. The animation, selected as a target of the analysis of propaganda, exists in various ways in various images of the modern times, which is not too much to say that today's society is the television society. Besides, the animation is the image that can cover all ages as men and women of all ages can watch, so it is proper for analysis of the contemporary propaganda of metaphorical, indirect and various forms.

• Cartoon and Animation Studies
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• s.34
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• pp.23-43
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• 2014

The development of the Internet in the 21st century had made a variety of cross-cultural environment so that animations also have evolved with new features to Web-Animation. In Korea, the web-based flash animation leap forward to the animation Utopia in the early 2000's, but did not last long. The web-based animations should attract audience's attention not only with it's minimum streaming capacity but also with showing it's best qualities as well, Therefore, the stimulating narrative strategies were mandatories for web-animation in 2000's. The absence of in-depth research on media, poor revenue structure, and the emergence of mobile games and e-learning industries made the web-animation become just a one-time/one-consumable content. There were no subsequent generation of korean web-animation ever since. In this study, I want to introduce and analyze the american web animation series, (2005) as a new type of web-animation in current digital culture, In particular, I want to discuss how this web animation appeal to the audience with its narrative strategies through using some aspect of the internet culture which's differentiated from traditional media based cultures. This research could suggest diverse narrative strategies for the future web-animation with new vision. Moreover, This also allows to look at latest web-animation trends and its new experiments.

• Cartoon and Animation Studies
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• s.44
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• pp.33-56
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• 2016

As the rapid extension of the game and film industry, studies on developing natural movements on a 3D characters are increasing. Rigging a character with joints is essential to create realistic movements on a 3D character. The rapid development of the CG industry, rigging technologies and workflow is becoming more sophisticated. Despite the progress and the growth of rigging operations, has shown the limitations of such repetitive tasks. For this study, analyzes the issues and inefficiency of the old method of skin weights and propose a better approach. First, need to understand the general process of an animation pipeline and learn the technology term of skin weights. Second, comparing the traditional ways of skinning a character and applying other deformers to work properly. Third, testing out new ways of weighting a character by applying deformers such as lattice and finally converting lattice weights back to skin weights. Forth, verifying effectiveness of the new method of skin weights by comparing with the traditional skin weighting process. The study shows that the new method of skin weights, reduced working hours and a better final weighting outcome. Expecting this study to enhance the method of skin weights and able to utilize this new skinning technology.

• The Journal of the Korea Contents Association
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• v.7 no.8
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• pp.102-108
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• 2007

Among culture industry that greet digital generation and is observed 21th century the most representative game industry latest is caught what and more interest degree is rising. 2D and 3D animation accomplish continuous growth and development depending action expression along with development of computer technology, and 2D and 3D animation practical use extent are trend that is widening the area in TV, movie, GAME industry etc. through computer hardware and fast change of software technology. The trend of latest game graphic is trend that the weight is changing from 2D to 3D by 3D game and activation of 3D game character that raise player's immersion stuff and Control in 2D's simplicity manufacturing game balance for one side. This treatise that is reality of 3D game character to classify kind of (Motion Capture) and 3D character animation, form model the sense put. Recognize that is overview and reality of 3D game character first for this about example, and is considered to efficiency is high game industry and digital contents industry hereafter by proposing kind model classification of 3D game character animation, form model classification data and character animation manufacture process that application is possible at fast time and effect in 3D character animation application are big.

• Cartoon and Animation Studies
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• s.42
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• pp.53-79
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• 2016

The public interest and popularity of animation has already forecasted the value of animation as the leader of pop culture and cultural industry. The trend in animation changed from 2D to 3D animation, a new genre that appeared in the 1990s with the development of computer technology and innovative changes in media, and 3D animation secured its position in the 2000s. Researches on 3D animation are conducted in various ways. Integrating the area it shares with film and the area it shares with design, it is produced and consumed. This study focused on 'formativeness(design)', the basis of character design, and tried to find out how it is recognized by the audience, who actually watch and feel it. Also, it approached basic theory and tried to deduce logic that is easy to understand and can analyze design or formativeness which keeps changing. Lastly, this study regards the parts that viewers are not satisfied with as problems, and tries to find out a developmental direction. Among the animations for theaters that were big hits in 2015, this study focused on the characters of and . It reviewed errors and what was lacking in the previous studies, collected experts' opinions and made adjustment. Using the frame prepared through this process, it conducted a survey on study participants, the viewers, to see how it is perceived by them. Finally, it tried to find out the reasons why the audience felt that way through theoretical reviews and applications.

• Cartoon and Animation Studies
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• s.16
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• pp.223-243
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• 2009

Computer graphic where the most useful and effective production methods are used for animation or films has expanded into actors' performance beyond object expression, background expression and special effect. Unlike 2D drawing software focusing on user's sense, 3D mainly depends on hardware performance and software functions. Therefore, for 3D users, learning 3D functions is directly related to new expression, and quick learning and effective representation are keys to productivity growth in animation industry. In line with industrial needs, basic 3D animation software training is provided in school. Unfortunately, however, many problems such as lack of professional instructors, time allocation and education environment prevent various 3D animation software from being taught. Moreover, functional use does not live up to industrial rapid trends. In order to improve effects of software functional education in restricted education fields, this research aims to find out what functions of 3D animation software are used in industries, what are those function used for, and how schools provide 3D animation software training.

• Journal of KIISE:Software and Applications
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• v.35 no.11
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• pp.671-680
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• 2008

Motion capture devices have been utilized in producing several contents, such as movies and video games. However, since motion capture devices are expensive and inconvenient to use, motions segmented from captured data was recycled and synthesized to utilize it in another contents, but the motions were generally segmented by contents producers in manual. Therefore, automatic motion segmentation is recently getting a lot of attentions. Previous approaches are divided into on-line and off-line, where ow line approaches segment motions based on similarities between neighboring frames and off-line approaches segment motions by capturing the global characteristics in feature space. In this paper, we propose a graph-based high-level motion segmentation method. Since high-level motions consist of repeated frames within temporal distances, we consider similarities between neighboring frames as well as all similarities among all frames within the temporal distance. This is achieved by constructing a graph, where each vertex represents a frame and the edges between the frames are weighted by their similarity. Then, normalized cuts algorithm is used to partition the constructed graph into several sub-graphs by globally finding minimum cuts. In the experiments, the results using the proposed method showed better performance than PCA-based method in on-line and GMM-based method in off-line, as the proposed method globally segment motions from the graph constructed based similarities between neighboring frames as well as similarities among all frames within temporal distances.

• Korean Journal of Materials Research
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• v.11 no.8
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• pp.671-678
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• 2001

All solid-state thin film micro supercapacitor, which consists of $RuO_2$/LiPON/$RuO_2$ multi layer structure, was fabricated on Pt/Ti/Si substrate using a $RuO_2$ electrode. Bottom $RuO_2$ electrode was grown by dc reactive sputtering system with increasing $O_2/[Ar+O_2]$ ratio at room temperature, and a LiPON electrolyte film was subsequently deposited on the bottom $RuO_2$ electrode at pure nitrogen ambient by rf reactive sputtering system. Room temperature charge-discharge measurements based on a symmetric $RuO_2$/LiPON/$RuO_2$ structure clearly demonstrates the cyclibility dependence on the microstructure of the $RuO_2$ electrode. Using both glancing angle x-ray diffraction (GXRD) and transmission electron microscopy (TEM) analysis, it was found that the microstructure of the $RuO_2$ electrode was dependent on the oxygen flow ratio. In addition, x- ray photoelectron spectroscopy(XPS) examination shows that the Ru-O binding energy is affected by increasing oxygen flow ratio. Furthermore, TEM and AES depth profile analysis after cycling demonstrates that the interface layer formed by interfacial reaction between LiPON and $RuO_2$ act as a main factor in the degradation of the cyclibility of the thin film micro-supercapacitor.