• The Journal of the Korea Contents Association
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• v.11 no.10
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• pp.156-164
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• 2011

The world history of modern comics is not too long. So is the domestic history of modern comics. Besides, there is a tendency that the domestic history of comics has developed with introduction of foreign materials. Even though a few argue that the domestic history of modern comics had a sheer background with our tradition, this argument is considered as a kind of minority. Obviously, it is not easy to argue something with valid grounds in the field of comics history. It is needed to provide valid grounds of comics history from our history. Several symbols of comics were found in 'Three Bonds and the Morals in Human Relations' and 'The Sequel to Three Bonds and the Morals in Human Relations', Joseon. Particularly, comics frames were used to explain the contents in two books. This supports the fact that Korean comics history has its own base in the tradition. This study is on the analysis of 'comics frames' among symbols of comics in 'The Sequel to Three Bonds and the morals in Human Relations.' It is said that another objective of this study helps get a real idea of comics history of Joseon by studying the symbolic meaning of comics frames used in this period. On top of that, the result of the study that focuses on the symbolic meaning of comics frames in Joseon is expected to be used as a kind of comics history for the people who have a passion for comics.

• The Journal of the Korea Contents Association
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• v.11 no.12
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• pp.674-681
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• 2011

'The Three Bonds And The Morals in Human Relations' was published in Joseon Dynasty period in 1434, relatively early days of comic history in the world. The gaps between comics frames have symbolic meaning as comics frames have in the area of symbols of comics. After comics frames appeared, it was likely that the advent of the gaps between frames had its own value in the aspect of comics history. Historical backgrounds of domestic comics would be built on firm base led by studying on the symbolic meaning of the gaps between comics frames. Two forms of the gaps between frames were shown in 'The Three Bonds And The Morals in Human Relations.' The first form is the gap between cloud frames. The second is the gap between cloud frame and background frame. Although a little difference is found in the shape and display, two forms of the gaps between frames in 'The Three Bonds And The Morals in Human Relations' have a similarity to modern comics. This study is to demonstrate valid background for the domestic history of comics by means of analyzing the shapes of the gap between comics frames in 'The Three Bonds And The Morals in Human Relations.' The objective of this study is to prove the meaning of the shapes of the gaps between comics frames 'The Three Bonds And The Morals in Human Relations', focusing the gaps between frames among symbols of comics.

• The Journal of the Korea Contents Association
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• v.10 no.10
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• pp.152-160
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• 2010

Modern comics find their roots in caricatures, which have a basic element of comics as a combination of wrings and drawings. In three East Asian countries, new media, comics have been developed by joining modern arts and cartoons which is a news form of western comics. As modern comics have evolved according to situations of the three countries, they expand from the satire on the system, foreign invasions, and internal corruption to the enlightenment of the people. However, the criticism on the system lead to the oppression, and the imperialism in East Asian countries enforce the agitation, war engagement, propaganda of the colonialism on the comics. Current East Asian comics have been occupying the largest part in the world comics, and have their roots in the modern comics. So it is meaningful to investigate the characteristic of modern East Asian comics.

• Cartoon and Animation Studies
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• s.32
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• pp.159-187
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• 2013

The purpose of this study is to verify the status of current digital comics research trends and the characteristics in Korea. For this purpose, 87 articles and dissertations published between 19900 to 2012 were analysed by a meta-analysis methods. Digital comics platforms, topics, methods were examined to understand the landscape of the digital comics in Korean context. The main results of this study are as follow. First of all, the number of researches on the digital comics has been in the rise, and the various academic journals have published articles to understand the digital comics on the basis of their own academic background. Despite of the short history of digital comics researches, the range of research subjects has been broaden, and more integrated approaches have been taken from the various research fields. The content of articles, however, was skewed to a certain platform, topic and the method such as the website based comics, the text analysis, and the qualitative methodology. Thus, the more systematic and integrated approaches are needed to understand the digital comics issues and to build up the digital comics studies.

• Cartoon and Animation Studies
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• s.36
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• pp.417-436
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• 2014

Stories have existed with the history of mankind along with drawings. Any genre of art that discusses the flow of time, such as literature, film, and play, cannot be free from narratives. The comics are not an exception. The comics tell the narratives with drawings from the cartoons in single blocks to the full-length series in tens of volumes. Nevertheless, there are not many studies that discuss the narratives in the comics. They may have been overlooked because they have been studied in the field of literature. However, I am envious of the field of film, which unravels the narratives with the same visual images, profoundly explores its own narratives and experimentally modifies and expands them into various levels. Therefore, I would like to make a narrative approach to the comics in this study. This study will discuss the non-narratives. It may sound ironic that the study of narratives will discuss the non-narratives, but the narratives cannot exist without the non-narratives. The non-narratives in the narratives compose the narratives in various ways. Therefore, Chapter II will discuss how the theory of narratives in literature classifies the narratives and the non-narratives as a theoretical background. Then, Chapter III will analyze the forms of non-narratives in Han Jo Kim's "The Texture of Memory" to discuss how the non-narratives of comics are composed, while Chapter IV will summarize the preceding studies. Finally, the narratives should be actively studied as it is an essential component of comics. I hope that this study can lay the foundation for more in-depth discussions of the narratives in the comics.

• Journal of Popular Narrative
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• v.27 no.3
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• pp.13-51
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• 2021

The aim of this essay is to illustrate Sunjung Manhwa in the 1970s which has been alienated in comics studies. This essay analyses the articles and the serial comics in Schoolgirl, the magazine in the 1970s, and examines the ideal representations of the girls at that time. Sunjung Manhwa is really different between the 1960s and 1970s. It cannot be explained on this gap just by analyzing Sunjung Manhwa in book form alone. Even though the censorship on comics was the element that has hampered the development of comics as a whole, the slumps of Sunjung Manhwa in the 1970s were very excessive compared to other comics genres. This article can gain the answers to the reason of the changes of Sunjung Manhwa by studying the magazines which was the main mass media aimed at girls with Sunjung Manhwa. While the articles in magazines show the editing direction and its characteristics, they reflect the values and ideologies at that time. The same is true for the comics in the magazines. Especially, the comics in the magazines was relatively free from the censorship. This essay examined how the articles and the comics in the girls' magazine in the 1970s represented the images of girls at the time by focusing on feature articles and comics in the magazine, Schoolgirl. This article explored Um, Hee-Ja's Blue Zone and Bang, Young-Jin's Mini March among a full-length serial comics in the magazine, Schoolgirl. Both Blue Zone and Mini March reveal the images of an ideal girl that has been emphasized by the articles in Schoolgirl. Blue Zone draws the appearances of an earnest and obedient daughter, and Mini March represents the figures of a cheerful and bright girl. Through this study, it can be recognized that the magazines in the 1970s highly appraised girls who are obedient to a given society and serve to a harmonious family as ideal ones, and it might be guessed that the ideal images of girls that was characterized ceaselessly by the magazines were the standard of the censorship on comics and its creativity and had also a huge impact on the contents and the expressions of a great deal of works. The 1970s was the times when its importance has been lost in the history of the comics studies by the censorship on the comics and the monopoly of "Hapdong(합동) publisher." The limits of expression in terms of censorship were awfully distinct, so its result was few of good works in quality, and there are still many blanks in the study on 1970s' comics. This study has a meaning which fills up a blank in the comics studies.

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

• The Journal of the Korea Contents Association
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• v.14 no.2
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• pp.84-93
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• 2014

Comics uses words to convey its content and meaning, while the comic image conveys the content as a narrative function to represent how language is combined with the text. This paper makes a comparison and analysis of the comics of Japan and South Korea, in terms of words and image expression, narrative techniques, and the way of communication, to study the characteristics of image narrative. The comic image of Jing ke is the other as a flow of narrative and getting rid of the current screen, to resonate with the readers. Go U-yeong's comics and Sumeragi Natsuki's set up a virtual narrative time and space through the line, surface, space and shade, to realize the reproduction of unhistorical facts and the significance of narrative with the artist's imagination. Sumeragi Natsuki's comics uses historical facts to represent exquisite narrative like still-life paintings. She focuses on the description of the objective facts of history, to seek the sensitive comic image beyond reality. The image narration of Go U-yeong's comics is a clash between his historical narrative among the subjective romantic image and the readers' awareness narrative flow that they insist inside. Therefore, he tries to keep balance. The instant image in his comics is not a reproduction of the historical real moment, but a reproduction image of the reality reconstructed by his own pursuit of narrative.

• Cartoon and Animation Studies
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• s.34
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• pp.263-292
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• 2014

This research explores websites of comics museum provided by the Korean Manhwa Museum and the Kyoto International Manga Museum and is supposed to analyze the type of content and finding out features. Since both museums specialize in comics and provide diverse information related to comics and their museums, this research analyze them on the basis of three types of categories, which are public relations content, professional content, and exhibition/education content The result shows that both museums generally provide similar type of information and content even though there are small differences. Especially, they have common points in the way that both offer detailed information of museum facilities and about exhibition schedules and education programs. However, the goal they are aiming at shows a difference. Korea Manhwa Museum tries to have interactive communication with its site visitors using the bulletin board system and to update newly published comics and events frequently managing separate websites. Kyoto International Manga Museum seems to focus on promoting itself in order to have more museum visitors. It provides detailed information such as history of the museum building, the object of setting up the museum and so on. Also, it provides four different foreign language websites.

• (The) Research of the performance art and culture
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• no.18
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• pp.283-314
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• 2009

This paper is an attempt to examine historical drama which change rapidly in the manner of seeing history. Historical records are treated differently unlike in the field of modern history. Now the distinction between historical facts and fictions becomes no longer important. This change is affected by micro history, new cultural history, or post-modern history. History and narrative become interactive each other. In this respect they are no more historical drama. by Han Areum (director Suh Jae-hyung) represents this new trends. Of course, it doesn't suddenly pop up in 2005. It began in by Lee Yoon-Taek, was reinforced in by Kim Tae-Woong, and bloomed in . I intended to search important features of by following three. First is the interest about unimportant persons such as a maid of honor, an eunuch. In , they are the main characters. The author described much about those trivial people revealing the truth in different way of the existence. Second is the way of calling a past. In this piece, the past is not continuous. The past always appears at the stage by the present in the form of split which is imagination, recollection, revival. Third is a mixing genre. Comics, melodrama, and thrillers are all together in . This is a similar phenomenon to historical novel and movie of new trend. Strictly speaking, this piece isn't a history thriller. The accident of lost prince doesn't be treated importantly and the result isn't clear either. In this piece, detective genre is used for a symbol showing that writer pursuits the history, not the event. This represents well the characters of new historical drama because how historical facts are carefully recreated and constructed are important. It's enough to show the possibility to mix genre through comics and melodrama.