• Cartoon and Animation Studies
• /
• s.9
• /
• pp.199-219
• /
• 2005

This paper is studying about how things are showed the montage theory and mis-en-scene effect in the screen media, what the concrete project's cases and how those theories have been supported to the animation's effects and its development. Besides, 1 tried to describe the shown things in the animation area, what the montage theory and mis-en-scene effect had been imported and expressed based on the screen studies of representative genre in the visual media. The purpose of this thesis suggests to help the creative animation scenes by liberal understanding and acceptance about the montage theory and mis-en-scene effect for the future animation's progressive aspect. With the improvement, there this thesis's suggestions could help the creative and special effects of animation asa part of Screen Arts, and would be the part of the progressive factors in the animation area.

• Cartoon and Animation Studies
• /
• s.5
• /
• pp.485-489
• /
• 2001

본 작품은 사실적 표현, 즉 실사에 근거한 분위기의 애니메이션에 관한 관점에서 시작한다. 물론 애니메이션에서는 생략과 과장이 자유로우며 풍자적이고 은유적인 분위기를 연출하는 것이 특징이다. 즉 사실성보다는 허구적이며 과장된 표현으로 왜곡을 가함으로써 관객들에게 극적 효과를 유발한다. 하지만 관객은 사실적이지 않은 허구인 것을 알면서도 자유로운 상상력의 오락적 분위기에 흥미를 갖는다. 아울러 본 작품은 애니메이션의 동인(動因)과 감성과의 관계를 전제로 한 애니메이션의 분석모형 작품이다. 이러한 모델 설계를 통해 대상물의 본질적인 면, 즉 사실성에 근거한 표현정도에 따라 인간의 감성이 달라질 수 있다는 가정 하에 애니메이션에 있어서 프레임 수와 대상물의 단순화 정도에 따라 감성이 어떻게 반응하고 변화하는가를 웹사이트 상에서 조사할 수 있도록 분석모형을 제작하였다. 연구작품을 위해 애니메이션의 동인이라고 할 수 있는 시간, 운동, 공간 중에서 움직임 지각에 영향을 줄 수 있는 타이밍, 즉 속도문제에 대해 프레임 수와 단순화 단계를 애니메이션의 Movement 동인에 대한 조작적 정의에 독립변수로 보았다. 분석모형의 설계는 객관적인 시각에서 대상물의 움직임을 파악할 수 있는 Duration이 짧은 유형의 대상물(말)과 중간정도의 대상물(사람), 그리고 긴 유형의 대상물(거북이)을 표본으로 선정하여 각 대상물마다 4단계의 프레임으로 나누어 좌표상의 Y축에 제작 배열하였다. 한편 단순화 단계는 대상물의 사실성에 선 드로잉에 이르기까지 4단계로 구분${\cdot}$제작하여 X축에 배열하여 각 클립별 감성언어 조사를 인터넷상에서 할 수 있도록 디자인하였다. 한편 각 클립에서 보여지는 표현향식에 대해 느끼는 감성조사는 디자인 관련 감성 형용사 중에서 본 연구에 적합한 감성언어들을 골라 조사 실시하고자 한다.

• Digital Contents
• /
• no.8 s.123
• /
• pp.72-75
• /
• 2003

과거 어린이들만의 전유물이자, 하층의 대중문화 장르로 인식되어 왔던 만화는 이제 더 이상 문화의 변두리 영역이 아니다. 현재 애니메이션은 문화 콘텐츠 산업의 허브이며, 진정한 고부가가치 산업으로 평가받고 있다.그러나 한국 창작 애니메이션의 갈 길은 아직도 미지수이다. 자체 매니아층이 생겨 재개봉에 들어가기도 했지만 기대를 불러왔던 '오세암'이 흥행에 실패해 조기 종영했고, 애니메이션의 블록버스터로 불리는 '원더풀데이즈'는 개봉 첫주 20만명의 관객을 동원하며, 바람을 일으켰지만 성공여부는 아직 더 두고봐야 할 것 같다.제 2의 부흥기를 맞이할 것이라는 기대와 달리 오세암과 원더풀데이즈 이후 다시 한번 과도기를 맞고 있는 한국 애니메이션 업계. 영화계의 '쉬리'와 같은 작품이 되겠다는 원더풀데이즈 제작사의 기대처럼 되살아날 수 있을지 점쳐본다.

• The Journal of the Korea Contents Association
• /
• v.7 no.6
• /
• pp.31-43
• /
• 2007

Recently, the animation market requires a new consumption form of animation contents that can meet the trend and environment of a new era. Therefore, the main purpose of this study is to seek new changes in paradigm by analyzing the animation examples from media to media in order to confirm in which form animation genres are changed in the ers of media convergence. The finding shows that the paradigm changes in animation are essentially caused by the development of internet communication technology, the interactiveness, and the emergence of new media by media characteristics. As a result, the environment of consumption involves the introduction of active marketing centered on personal media and the new insight into the genre of animation, and the industry of animation has a high possibility of developing into a leading industry in the future based on the development of creation technology and on the paradigm of empirical economy and requires the animation education based on new media. This study will find its significance in that it may provide the basis of study in terms of theory and practice of the creation animation research focused on new media.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
• /
• 2016.10a
• /
• pp.185-186
• /
• 2016

Animations are filled with emotional expressions of childlike innocence and fun, their dramatic plots and boundless imaginations have made them the focal points in a global context featuring industrialization and marketization, and people around the world like watching these animations. Animated adaptations are very common artistic phenomenons and cultural practices, and they have been one of central topics of theoretical discussions since the creation of animation films. Currently, the research on animated adaptations is mainly about case analysis, but from the perspective of methodology, there lacks a theoretical and systematic study on the adaptation and recreation of narrative text. This paper takes western narratology as the theoretical tool to do a systematic research analysis on the narrative adaptation of animation films, and it will involve the method and values of animated adaptation. This paper used to the method of 'Greimas' and to study the procedure of adaption from an origin to an animation. The paper found the success factors in animation through it.

• The Journal of The Korea Institute of Intelligent Transport Systems
• /
• v.11 no.5
• /
• pp.136-146
• /
• 2012

As information technology used for simulation and virtual reality developed, there is a growing interest in animation technologies which will effectively deliver simulation results to users. Various efforts have been made to improve animation performance, like playback quality and speed, input-output speed and storage space reduction. However, earlier studies generally focused on image compression frame by frame. To significantly improve storage space and playback speed, animation data should be vectorized. Also, spatial and temporal duplication have to be removed. In this study, animation data structure was improved fundamentally through establishment of hierarchy and vectorization. Also Spatial and temporal duplication of animation data was removed through vectorization based on train route. As a result, storage space was reduced, input-output speed and playback speed were considerably improved. According to the test, additional Patternization which followed vectorization brought reduction of over 80% in storage space and input-output speed was quadrupled. Patternization technology can be used as a proper storage method of animation data, and can provide user-specific animation by small data transmission.

• Journal of the Korea Computer Industry Society
• /
• v.7 no.5
• /
• pp.555-562
• /
• 2006

Computer animation is tile most advanced composite art to apply image, sound to the theme, Domestic technique is improved but still lacks creativity and content in theinternational market. In this paper, I'll notify the importance of planning and introduce narrative animation to produce their own style of animation. A successful career in the digital animation industry requires more than just technical expertise. It also demands creative mastery, a sense of wonder and boundless imagination. This unique hands-on program combines traditional, creative and technical skills and develops digital artists, not software technicians. Especially, people involved in the industry shouldrecognize a special quality of narrative animation in today's 3D animation and game- saturated climate. Therefore, they are able to create a new form of high-quality animation. It will be expected to promote digital animation education with a new index.

• The Journal of the Korea Contents Association
• /
• v.11 no.7
• /
• pp.131-141
• /
• 2011

Expression of color in national animation often delivered vaguely. This study will make up for vaguely meaning in terms of expression in color. And this study is intend to look the strategy and error of color in regional animation. This study is intend to arrange the situation of synesthesia effect of color which is applied as a keyword 'light' of Gwang-ju's image. Moreover, There is a bit difficulty in using synesthesia of color, but the use possibility is full of suggestions. Therefore, For regional animation, this study intend that in order to establish a new regional specialized animation, appropriateness of synesthesia effect of color in based animation is inspected and then the potential is emphasized.

• Journal of the Korea Computer Graphics Society
• /
• v.5 no.2
• /
• pp.43-52
• /
• 1999

In this paper, we present an animation toolkit based on motion mapping technique in a graphics user interface that can represent data structures necessary for generating character motions. The motion mapping means that an animation sequence generated once can be mapped to another object directly according a data structure in the graphics user interface. Users can generate animation sequences interactively using a mouse. These are obtained automatically by modifying motion data structures interactively. Compared with other conventional tools, the toolkit has different features that two hierarchical structures necessary for representing modeling and animation data are managed independently each other, and that animations generated can be applied to any other characters by connecting the two hierarchical structures in the user interface.

• The Journal of the Korea Contents Association
• /
• v.14 no.1
• /
• pp.48-55
• /
• 2014

A new relation between technological changes and arts is begins to create by the modernization of the West. Because the arts in the past that were enjoyed by specific individuals and small number of people are now massively produced via technological development, public acceptance of such arts is now possible. In this study, movement between each frame, which can be the core in animation, is investigated. We can see that the animation's cinematic movement cannot be identified with motions reproduced in live action films, let alone the motions in real world, no matter how the reproduced motions in animation are faithfully made. In the end, while crating the detailed expressions of movement of animation, along with cinema factors, and the continuity of such expressions, we can gradually exert the power of animation art form with enlivened reality that only animation has.