• Cartoon and Animation Studies
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• s.9
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• pp.353-379
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• 2005

• Cartoon and Animation Studies
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• s.48
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• pp.333-358
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• 2017

Mainland China is under different conditions both socially and politically than other countries, so there is a lack of practical researches on cartoon characters. With a profound interest, the researcher has selected a character that is realistic and loved by many Chinese. The subject of the study is "Shan Mao Series." Out of 16 seasons, the most famous one is the Chronicle of Shan Mao's Wander. I analyzed the character thoroughly, dealing with the beginning of the character, the process of character development, and a reality shown in the chronicle, etc. on chapter II, and the character's image component on chapter III. Chinese modern cartoons were affected by a situational anxiety because of foreign powers and war. Thus satire cartoons went in fads among the public. The epitome of a typical cartoon was the Shan Mao Series. From 1935, when the character was first created, to now it has eaten into Chinese people's hearts. It's because the story happens during a war period and it deals with a playful, humorous main character's life and these facts show the hidden side of the unfair social system. Most of readers prefer a smart, playful, righteous, and brave character. Shan means three and mao, hair in Chinese, so Shan Mao is a child who has three hair. The character is not just a simple cartoon character; it has developed into a national figure among many Chinese. The reason why the researcher has chosen the series created by Zhang Leping, the author of the cartoon, is because a good cartoon, good animation, and even good movie stimulate the feelings that we get from our surroundings. The character which is created in China seems very unique and bizarre but there is a sense of friendliness. Also its character image and scenes make people laugh and it has become a typical symbol of a modern cartoon in China.

• Proceedings of the Korea Contents Association Conference
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• 2004.11a
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• pp.110-115
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• 2004

The cartoon communicates its messages by cartoon semiotics as a vehicle of emotion, face expression, act, glance, and texts along the story. this style of communication showed in the cartoon can be defined as "Cartoon communication style". Since, the cartoon is cultural and social product, an understanding of "Cartoon communication style" plays a major role in understanding culture and society as well as its production and interchange. To understand what is the "Cartoon communication style", systemic and objective research method through "Cartoon Analysis" is required. The study review cognitive tendency of cartoon expression through semiotic analysis of total 35,225 cuts of Korea, Japanese and Chinese published cartoons and consequently, classifies the cartoons by 3 forms - One-Root, One-Idea and One-Style to encode.

• Cartoon and Animation Studies
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• s.29
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• pp.61-75
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• 2012

The essay explores the narrative structure of the classical Chinese feature animation, (a.k.a. Da Nao Tian Gong, 1964). The film is presented with a modular structure which is quite unique compared with the storytelling in feature animated films from other cultures, but could be connected with the tradition narrative structure in Chinese Zhanghui style novels in Ming and Qing Dynasty. By relating the original text of the story, the 16th century novel Journey to the West (a.k.a. Xi You Ji), with the film , the essay addresses the question of how the narrative tradition in Chinese classical literature influenced the Uproar in Heave for its segment narrative structure, character driven storytelling strategy and mirrored repetitive 2 plot lines. The subject of this essay is even more significant after the restored 3D version of was re-released in the spring of 2012 and became one of the best-selling animated feature film in the history of the country.

• Cartoon and Animation Studies
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• s.11
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• pp.87-104
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• 2007

This paper proposes to analyze artistic characteristic based on the line expression of , Te Wei's Chinese water-ink animation. We considered the transitions of Chinese water-ink animation through Shang-hai Animation Film Studio's works which induced the dominant improvement in Chinese animations and other major animation industries internationally with the theoretical explanations about particular understanding of line concept and formative characteristics. We not only considered line expression of , aesthetic and idea etc. which are the central point of this paper but also researched the artistic possibilities through the effects of Chinese water ink and line and the relationship of animation.

• Cartoon and Animation Studies
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• s.15
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• pp.139-150
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• 2009

Today, China can reestablish its previously prosperous Chinese animation tradition and can make a great plan of recreating earlier characteristic Chinese animation style. In China, TV culture was already here to stay and a large number of foreign countries' animations were entering the Chinese market. Presently, Chinese animation was recognized as time order of 4points: Animation policy, Animation industry, Animation market, and culture. My studies about these issues show the Chinese animation industry has entered an advancing country. I have especially researched into solving these issues with the Korean and Chinese animation & market. As result, I have concluded that the Chinese animation industry must engage itself in foreign animation styles and global market in order to further advance its industry. To help raise its production quality & technique status, I recommend the Chinese government actually give the donations promised to the Chinese animation and culture industries as well as the education system now.

• Cartoon and Animation Studies
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• s.36
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• pp.75-89
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• 2014

Since the first animated Chinese commercial titled directed by Wan Three Brothers in 1926, Chinese animation commercials are steadily increasing every year. The proportion of animation commercials in Advertisement industry increases gradually, animation becomes one of the direct means of rising commodity value. In this premise, this paper researches the history and characteristics of animated commercials, compare and analyze commercial samples from two world advertisement festivals and four Chinese advertisement festivals. Compared the world animation-advertisement market, Chinese animation-advertisement market is relatively limited under its particular status. Under the condition, this paper will analyze the current situation of Chinese animation advertisement through the samples from advertising festivals. Finally, the paper concludes finding out ways of development and effective marketing of animation commercial industry in China by checking out animation advertisement in industrial classification between Chinese and world's advertisement market.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2010.05a
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• pp.324-327
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• 2010

This article has briefed some important roles Scene Design plays in cartoon games (CG). Then it analyzes some fundamental principles of Scene Design in CG. It also discusses how to produce a suitable scene by centering on the theme and images in CG, and how to create appropriate ambience by making good use of Scene Design. Finally it introduces some frequently-used software for digital scene design.

• Cartoon and Animation Studies
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• s.35
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• pp.209-226
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• 2014

Chinese cartoon industry lately was able to see a rapid development which changed cartoon creative personnel associated with increased production technology development, new technologies, government support policy and a variety of environments. It was likely to have high expectations for changes in the policy environment of the country supported the comic creators and authors to develop its own comic industry. The State Administration of Press, Publication, Radio, Film and Television of China promoted the production for the development of Chinese animation with "domestic little video about the development of the animation industry's opinion", and "documents Documents". Animation industrial base and animation education was established in institutions such as the organization one after another. In the meantime, the spread of Japanese comics picture on the creative activation admitted but their comic creation and activation was slump. It would produce that the creation of its traditional culture based activation strategy to built comics. Since 2004, It was well represented for the creators of the cartoon creation of the tradition and uniqueness of Chinese history. In the prior to 2004, comics and strategies was to be differentiated. Today, China is an important source of comic marked the fact that the tradition was recognized and it was further developed with combining creativity of the past and the present production system. Comic creators comic story of traditional culture were excavated in order to have a sense of awareness and modern. The difference between China Cartoon and comics in other Asian countries is true that cartoon story came out naturally in a traditional culture. In this study, It would lead in the future to allow directional presented for the digital cartoon making development policy awareness through the comic creation and production of new media content industry enabled to China. Now, in the new media industry for the development of China's neighboring countries coped with climate change for the active exchange of information. It poured out ceaseless technical development and a range of policies to support business expansion. New China Cartoon was leaped to re-fit the industry.

• Cartoon and Animation Studies
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• s.37
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• pp.25-44
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• 2014

In the past 5 years, Chinese film market has witnessed a great development, with the film and animation box hitting records highs. At the same time, TV contents become more and more diverse, and the widespread use of smart phones makes Internet the new popular media today. On this occasion, domestic animation production is growing year by year because of people's growing demand for animation. And the volume of introduced foreign animations is growing as well. But under the same conditions, domestic animation shows obvious lack of competiveness. Chinese traditional stories have rich contents, providing a large amount of animation material. But most animations based on theses contents cannot arouse audiences' interests. This paper mainly analyzes the development situation of traditional story-based Chinese animation whose content is single and low-aged, and then put forward a new solution for Chinese animation development, which is, adding horror elements to traditional stories. And finally, through analyzing four horror animations , this paper further discusses the implementation possibility of this idea.