• Cartoon and Animation Studies
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• s.15
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• pp.109-122
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• 2009

Cultural policy, a part of ideological policy has affected remarkable changes in movie and animation. Korean animation was called cartoon movie and popular only among children, but works dealing with anti-communism ideology have been introduced in Korea since before/after 1970s. Animation focusing on ideology is not unique in Korea, but division of two Koreas after Korean War made great influence on social, cultural and educational aspects of the nation. Moreover, modification in movie-related laws and regulations made in 1960s - 1970s affected movie and animation significantly and is a means of strengthening anti-communism. In particular, Director Cheong-gi Kim's released in 1978 is meaningful in that it is the first long piece of animation movie. In this study, I clarify anticommunistic ideology reflected on the anticommunistic animations and the imageable expression of ideology reflected on . Most of all, I emphasize on clarifying how the cultural policies and social & cultural background influence on the advent of anticommunistic animation in 1960${\sim}$1970. Also, to communicate anticommunistic ideology reflected on produced under the social & cultural background, I clarify the expressive characteristic which the image of animation has.

• Cartoon and Animation Studies
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• s.47
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• pp.149-170
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• 2017

which was first shown as TV series in 1995 has been highly praised until now successful animation that reflected human psychology and ideology. first gained popularity in Japan and spreaded into global animation market. Characteristics of can be summarized as mechanical design, realistic military mise-en-scene, and philosophical view of the world based on the bible. All works reflect the philosophy and ideology of the writer/creator, but reflects various form of ideology. Furthermore, 's ambiguous and vague plot made the fans to discuss and analyze about the work, which brought secondary marketing effect. In this report, the ideology reflected in will be analyzed and understand how these ideologies were reflected in the work. By analyzing religious, psychological and philosophy ideologies in , ideology can be proved as success factor of animation films.

• Cartoon and Animation Studies
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• s.18
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• pp.37-56
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• 2010

This paper focalizes on the 'evolution' of monster animation and . Actually, Many characters' 'Evolution' is a very powerful convention of Japanese genre animation. Lots of young people feel a huge pleasure about character's evolution. It is a fantastic spectacle to boys and girls. The first characteristic point of characters' evolution is growing-up body to an adult. For example, magical girls genre shows a woman's sexy body. This scene gives a sexual fantasy to young girl spectators, a voyeuristic visual pleasure to young boy spectators. The second point is that a transforming-body gains some super power or magical power. The third point is that a great many characters is in one text. In , characters' numbers go on increasing through 6 ways-hybrid type, mutant-reiteration type, metamorphosis type, simple-grownup type, narrative type, multiple evolution type. The evolution of has to pay attention to only one transforming way. Most Digimon characters are becoming to a human-weapons cyborg. In my opinion, this is very dangerous phenomenon with a political ideology.

• Cartoon and Animation Studies
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• s.2
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• pp.32-59
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• 1998

• The Journal of the Convergence on Culture Technology
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• v.10 no.6
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• pp.553-560
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• 2024

In the 1970s, South Korea under Park Chung-hee's regime emphasized economic development along with anti-communism and nationalism. At the same time, North Korea, under Kim Il-sung, reinforced its ideology centered on Juche (self-reliance) and anti-foreign sentiment. This study aims to identify the characteristics of how state ideologies were visually represented and functioned through animation during this period. The research follows a three-part approach: First, it examines the socio-cultural context of South and North Korean animation. Second, it explores John B. Thompson's five modes of ideological operation-legitimation, dissimulation, unification, fragmentation, and reification. Third, it conducts a comparative analysis of South Korea's General Ttoli - The Third Tunnel (1978) and North Korea's Squirrel and Hedgehog (16 episodes), both produced in the 1970s. The analysis reveals that while there are similarities in the five modes of ideological operation-legitimation, dissimulation, unification, fragmentation, and reification-distinct characteristics emerge in each animation. General Ttoli portrays South Korea as a defender of democracy and freedom, demonizes the enemy, features a superhero grounded in entertainment, highlights the inequalities and human rights abuses in North Korean society. On the other hand, Squirrel and Hedgehog presents an advanced form of socialism, denigrates its enemies, emphasizes collectivism, features a growth-oriented hero character supported by allies, depicts an ideal society of equality, and prioritizes educational purposes.

• Cartoon and Animation Studies
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• s.49
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• pp.25-52
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• 2017

As the expansion of the cultural industry expands, various competitive structures are formed and the methodologies for producing commercial success are being discussed. Among them, Hollywood studios use political relationships and apply ideologies that can produce the best interests. Also, they use a structure that can convey this ideology, which is a mythology. The myth has satisfied the public for a ling time. Campbell suggested that strategies come from the myth, and the ideology emerged as a result of what mythology has to do with existing powers. Disney and Dream Works use the mythology and combine their own values into ideology. Disney and Dream Works choose conflicting ideologies in a different growth background. If Disney is recognized as an educational animation by the ruling class, Dream Works are supported by the public for their actions against Disney. Disney has conservative and patriotic personality, Dream Works is more liberal and progressive. Disney's structure came out first, and Dream Works parodied it. So we can compare Disney and Dream Works with similar myths to create a storytelling structure that embodies ideology. As a result, Disney and Dream Works have been choosing the 9 stages the key of Ideology form the 17 stages of the mythology and reduced them to the introduction, growth and completion. In the first units of the introduction, Disney dealt with the subject of social leaders who sacrificed to the ruling class and Dream Works hinted at the overthrow of the ruling class through the irony. If Disney had deployed colored races in the main characters, Dream Works used a variety of races from the main characters to others. In the second units of growth, Disney organized the process of accepting the value of the ruling class, and Dream Works showed the individual values, not the values of society. In the third units completion, Disney showed the main character who live in the world of the ruling class rebuilded, and Dream Works removed the ruling class and went back to the Individual life. Through the structure of Disney and DreamWorks, we learned how to utilize the mythical structures that transform according to ideologies. The right way to organize works will require the strategic approach to storytelling.

• The Journal of the Korea Contents Association
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• v.7 no.12
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• pp.55-65
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• 2007

The commercial value of the Korean animation was developed by the government's policies of revitalizing reform and national harmony from 1960 to the middle of 1980. Especially, the character of the anti communistic animation was organized by the structure of confrontation between South (good) and North (evil). The confrontation was viewed by communism and liberal democracy by red and white (or blue) and a pig or a boy. Such ideology and the policy of Korean culture gave some impact on its culture, for example, movie and animation. The animation became the tool of educating the idea of anti-communism and the policy of Korean culture by firming the policy of anti communism. But that animation of anti communism must not be blamed because it is a general animation of Korea which describes the reality. We have to take a hard view of the time and reconsider it by the new point of view.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.373-374
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• 2019

애니메이션 영웅 캐릭터는 캐릭터의 한 카테고리로서 캐릭터 특유의 특징과 함께 전통적 이데올로기를 암묵적으로 전달하고 있다. 이들 애니메이션 영웅이 전달하는 전통적 메시지는 문화적 개성에 대한 심벌을 재해석하여 관객들에게 전통문화가 거부감없이 쉽게 받아들여지도록 하는 것이다. 애니메이션 <백사(White Snake, 2019)>는 중국에서 잘 알려진 백소정과 허선의 사랑이야기를 소재로 한것으로서 전통사상과 전통의상을 살리면서도 스토리텔링과 이미지 컨셉, 애니메이팅등의 시각적 요소들을 글로벌한 공감대를 얻을 수 있도록 노력한 흔적들을 보여주고 있다. 본문에서는 동양 애니메이션에서의 히어로 캐릭터와 디즈니 캐릭터 간의 차이점과 그 가치를 애니메이션<백사>를 통해 분석해보고 이를 통해 애니메이션 창작에 미치는 영향과 역할을 도출해보려 하였다.

• The Journal of the Korea Contents Association
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• v.16 no.8
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• pp.681-692
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• 2016

What is the socio-cultural meaning of the 1980s' Korean robot animations? What is the periodical backgrounds making this meaning? This study has attempted to lay the foundation stone of the answer for the questions. To do that, this study selected Roboteu King(Yeong-rang Bae, 1980) and Super Titan 15(Seung-cheol Park, 1983) as the objects of the textual analysis. To grasp the periodical identity, it has examined the cold war ideology that has been the basis of the political and economic environments of Korea. Findings are as follows. Korea was vulnerable to general environments after the Korean War; accordingly, Korea took the-dependence-on-the-US strategy in terms of various aspects including national security, scientific technology, and industry economy. This kind of socio-cutural condition was represented through the narratives of the early 1980s' Korean robot animations. Their narratives including the advance of plots, the roles of Korean protagonists, the technological gap between the planets and earth, and so forth were quite dependent on extraterrestrials and contained anticommunist ideology.

• The Journal of the Korea Contents Association
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• v.9 no.6
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• pp.72-81
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• 2009

This article deals with the relation of korean animation and film policy from the late 1960s to early 1980s. The korean film policy was based on ideology of modernization. Animation industry was under the this policy. The result of effect of this film policy on animation was following. Firstly, there was the boom up of making of animation. Secondly was increasing of subcontract. The encouragement of exportation of government drove many companies to this trend. Lastly, many animations conspired to exercise the ideology of regime. Example was anti-communist animation. In that period the historical specificity of Korean animation had been built in these process.