• Journal of the Korean Society of Clothing and Textiles
• /
• v.25 no.1
• /
• pp.132-143
• /
• 2001

The purpose of this study was to observe cospla subculture in 1990s new generation of Korean youth, focused on activity that was reproducing the appearance of individual characters in animation, comic books and computer games, and to understand the representing process and meaning of appearance. The ethnographic methods including in-depth interviews and observation were used to approach such cultural form more closely from the youth generations perspective and their language. The results were as follows: 1. Although the cospla is originated from Japan, the local experience of Koreans make it the special youth subculture of Korea. 2. There are homological features and hierachical structure among group members of cospla subculture. The core values of Korean cospla are that they are realizing their ideal and elevating their own self-esteem. 3. Their appearance has connotation as symbolic resistance. The cultural activity of cospla is non-realistic, non-productive, but cosplayers conform to the social norm, too.

• Journal of Korea Multimedia Society
• /
• v.20 no.7
• /
• pp.1148-1155
• /
• 2017

This study examined the storytelling characteristics of the super-compressed web drama "72 seconds". By analyzing all seasonal episodes of "72 seconds" and applying the various storytelling methodologies and related theories, this paper derived the main storytelling characteristics of "72 seconds" as follows. First, through the composition of the microscopic non-plot, the story value of empathy and fun is maximized, even though there is no dramatic composition compared to the general movie or drama. Second, by the specialization of everyday life, it leads to the transition from everyday experience to the new context. In other words, it provides a consensus through the cognitive expansion and interest by unfamiliarity of the ordinary experience to the audience. Third, based on the characteristics of super-compression and short theme, it utilizes fully stylistic narration like rapping. This makes the audience feel novel and further enhances the branding effect of content. And finally, based on various hybridity and variation, it uses remediation actively in all respects, especially comedy genre and comic factor.

• Proceedings of the Korean Information Science Society Conference
• /
• 2005.11b
• /
• pp.640-642
• /
• 2005

모바일 기술의 발전으로 인쇄 매체가 아닌 온라인 매체로 만화 콘텐츠를 제공받는 수요층이 늘어나고 있고, 모바일 단말기의 작은 화면 위에 기존 오프라인 만화를 브라우징하기 위한 새로운 기술에 대한 연구가 많이 진행되고 있다. 본 논문에서는 큰 만화 콘텐츠를 영상의 의미 정보(배경이 아닌 모든 부분: 사람, 중요한 오브젝트, 문자)의 손실을 최소화하여, 기존의 오프라인 만화 콘텐츠를 모바일 단말기에 맞게 자동 변환 시스템 (Automatic Comics Conversion System: ACCS)을 제안한다. ACCS는 기존 만화 콘텐츠 영상의 각 페이지를 프레임 단위로 자르고 잘라진 프레임을 분할, 확대, 축소 등을 통해 모바일 단말기 화면 크기에 맞게 자동으로 변환한다.

• English Language & Literature Teaching
• /
• v.15 no.2
• /
• pp.169-184
• /
• 2009

The purpose of this study is to identify the most important factor(s) that contribute(s) to the overall oral proficiency and to examine whether the factor(s) play(s) a different role depending on the proficiency level of learners. Learners were divided into novice group and advanced group and were asked to produce an oral recording of a story based on a comic strip. The recordings were transcribed and graded by three raters. According to the results, the raters attained high inter-rater reliability when assessing advanced learners. However, the reliability level became considerably lower in the assessment of novice learners. The best predictor of oral proficiency among novice learners was sociolinguistic competence and fluency, while grammatical competence and fluency were the strongest predictors for advanced learners. The results suggest the need for a separate assessment tool for different proficiency levels and the need for a different focus in the classroom depending on the learners' proficiency level.

• Proceedings of the IEEK Conference
• /
• 2000.07b
• /
• pp.831-834
• /
• 2000

The sign-language tan be used a9 an auxiliary communication means between avatars of different languages. At that time an intelligent communication method can be also utilized to achieve real-time communication, where intelligently coded data (joint angles for arm gestures and action units for facial emotions) are transmitted instead of real pictures. In this paper we design a gesture-emotion keyframe editor to provide the means to get easily the parameter values. To calculate both joint angles of the arms and the hands and to goner-ate the in keyframes realistically, a transformation matrix of inverse kinematics and some kinds of constraints are applied. Also, to edit emotional expressions efficiently, a comic-style facial model having only eyebrows, eyes nose, and mouth is employed. Experimental results show a possibility that the editor could be used for intelligent sign-language image communications between different lan-guages.

• International journal of advanced smart convergence
• /
• v.13 no.1
• /
• pp.85-91
• /
• 2024

Currently, generative artificial intelligence is a hot topic around the world. Generative artificial intelligence creates various images, art, video clips, advertisements, etc. The problem is that it is very difficult to verify the internal work of artificial intelligence. As a requirements engineer, I attempt to create a toon image by applying linguistic mechanisms to the current issue. This is combined with the UML object model through the semantic role analysis technique of linguists Chomsky and Fillmore. Then, the derived properties are linked to the toon creation template. This is to ensure productivity based on reusability rather than creativity in toon engineering. In the future, we plan to increase toon image productivity by incorporating software development processes and reusability.

• Cartoon and Animation Studies
• /
• s.27
• /
• pp.79-97
• /
• 2012

Comic book readers have respectively different reading speed and this means that time in comics is translated by readers' view. The authors arrange panels and gutters to control time, but time recognition in comics depends on the readers and generally it is the readers' role. On the contrary, the phenomenon having occurred by infinite canvas varied the authority of timing. Infinite canvas can give the comic book authors more authority of controlling timing than the readers by intervening in readers' relative time as an agents and transforming their fictive time into absolute time. Following to the concept of "Agency" in games, agency is the power which satisfies the players by reemergence of their intentions. Since some of digital comics absorbed the properties of other media such as animation and sound, we can see that the reader's timing agency is shifted to the author's timing agency. The purpose of this study is to analyse this phenomenon and to remind that agency motivated by the balance between material constraints and formal constraints becomes a condition of readability of digital comics but excessive timing constraints given to the readers causes a decrease of the readers' timing agency. This also can be a considerable matter when we produce digital comics.

• Cartoon and Animation Studies
• /
• s.24
• /
• pp.1-24
• /
• 2011

This article is concerned with the values of the BICOF in terms of the urban revitalization. The values of the BICOF cover the economic value, social value, cultural value and city image value. The 13 indicators for measuring the values of the BICOF are developed. The article examined how the related stakeholders identified the BICOF's values on the Bucheon City by using AHP method. In addition, the objectives and programmes of the BICOF are analyzed in the perspective of the urban revitalization. As a result, the recognition of the BICOF's values varied according to the stakeholders. In addition, the result of AHP analysis indicates that the cultural values and image values should have priorities in comparison with the social values and economic values. This recognitions is different from the recent formal statements that BICOF's economic values should be emphasized as a priority. The article concludes that the identity of the BICOF should be established in the base of building the value consensus among the related stakeholders.

• Cartoon and Animation Studies
• /
• s.19
• /
• pp.51-64
• /
• 2010

Although there has been a significant technological and representational achievements in domestic animation industry since the beginning of the 21th century due to the high expectation and boost in production, domestic long and short film animations have been less favored compared to foreign animations because they are less entertaining. For small scale productions including students, it is easier to create short film animations due to small budget and short time frame. In addition, as shown in Pixar animation studios case, production of short film animations can lead to success in production of long film animations from better ideas and technology improvements. This research studies factors that contribute to entertainment and humor of short film animation by examining Pixar's short film animations based on Henri Bergson's comedy factors, which are shape, movement, situation and language, and personality. The most noticeable fact is that the humor by situation is found in all short films. Comedy aspect shown in the form of character's internal characteristic is something that has to be considered from the beginning of character design. Contribution of language is minor compared to movement or gesture, which are more often used to cause humor. Finally, character's personality has to be clear and decided beforehand in order to create comedy situations. After studying various short film animations, I found out that the more successfully humorous an animation is, the more it uses various combinations of the above mentioned comedy factors. By fully analyzing and adopting commercially and artistically successful Pixar's short film animations as the benchmark, planning and production of domestic short film animations can perform entertainment role both domestically and globally.

• Cartoon and Animation Studies
• /
• s.34
• /
• pp.197-217
• /
• 2014

The 1920s and 1930s ushered in "the golden age" of Chinese comics when the comics flourished. Satirical cartoons in modern Chinese comics were popular due to emotional instability and war caused by foreign powers. Among many popular comics, this paper analyzes in the 1920s and in the 1930s which were made into films and dramas. Chapter Two shows that China in the Republican era of China expanded its consumer culture into some sectors like films, novels, magazines and fashion in the 1920s and 1930s. However, more than any other things, this chapter considers from the historical perspective "the golden age" of comics including comic magazine in the 1930s and a history of comic magazines that gained popularity with conventional and common story. Chapter Three explains that social satire cartoons were in vogue since the May Fourth Movement and anti-imperialistic and semi-feudalistic stories in the 1920s were realized in life. It also says that comics that describes the negative sides of its society were popular. Ye QianYu, a cartoonist, portrayed many facets of Shanghai through : the daily life of the middle and lower classes, bureaucratic corruption and sympathy for the working class. drawn by Zhang LePing describes the unfair social system between the bourgeoisie and the proletariat and the gap between the rich and poor through the main character, the powerless and poor orphan. and lampooned the reality of its time in an objective, witty and humorous way in terms of ethics and economy respectively. The researcher chooses to study and which are very familiar to us, because good cartoons, animations and movies stimulate the feelings about our surroundings.