• Cartoon and Animation Studies
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• s.38
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• pp.145-176
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• 2015

In animation, 'laughter' is an important factor for the fun. Dreamworks' animation is a successful popular animation. It has four series and spin-off animations, and settled as a successful case that created fun with strategic use of parody throughout the productions. Most preceding studies on this animation have focused on its humor, parody, and satire. However, not many studies have discussed its independent comedy as a piece of animation that satisfies the needs of public. This study considered that viewers' desire to watch an animation comes from their fantasies to discuss the comedy of based on its animated characters. Animated characters communicate with the public with wits that ignore the rules of reality. The characters that do not exist in reality are created and animated to turn the world of reality upside down. The comedy in comes from the entertaining deformation of the society's fixed ideas and prejudices. It is a fun variation of the ideology behind fairy tales created by the Disney animations to challenge Disney in the animation market in reality, and twisted the world of fairy tales in the story to quench the thirst of the public. 'Shrek', a monstrous character, stands in the center of the story. A monstrous character that always played an anti-role has become the main character to break the rule of fairy tales. This is the subjectivation of anti-character. Second, it is a new anti-character with an exaggerated and distorted body. Lord Farquad, who looks abject compared to the monstrous character for a person with so much power and ambition, brings laughter. Third, it is the variation of various characters from fairy tales. The conventional fairy tale characters, both animals and non-living things, come out of the box and appear as humorous characters that bring life to the story. uses comedy characters in the process of reinterpreting the fixed ideas, prejudices, and ideologies of the real world created by fairy tales. I hope that it helps Korean animations establish a successful format for creating characters that bring life to the stories.

• Cartoon and Animation Studies
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• s.42
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• pp.125-150
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• 2016

In the 2000s, Korean cinema maintained the industrial growth on the strength of 10 million audiences and the successful Korean blockbuster. A variety of film materials such as history, politics, social issues, and the division between North and South Korea ideology were addressed in the movies, and one of the movies based on a true story was popular. Accordingly, external size of the film industry has been gradually expanding. Korean public movies have a firm position in the film market, and a diversity of discussion is made as the movies spontaneously get attention. Also, the influence of social media and media which recognized far-reaching powers of public films causes a political and social change, but it also provokes ideology controversy. Objectivity of this study is first to discuss factors and initiating causes that Korean movies have firmly settled as public movies since late 1990s. Secondly, this study considers relation among media, social media. and Korean public film that aroused more arguments on politics, society, and history in 2000s. The powerful influence of films on society not only leads political change but also affects awareness change of audience and the role of social media.

• Cartoon and Animation Studies
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• s.39
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• pp.215-231
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• 2015

The Cultural Revolution in the history of Chinese animation hinder the development of the initial animation, and after a negative assessment instrument provided the cause is to become sluggish growth of the Chinese animation. So this time animation are things that are the subject of academic research studies or analysis has been depreciating almost uniformly without evaluation. However, of all the cultural and artistic creation it is developing in its own specific historical conditions and has the aesthetic results. This paper puts the primary purpose is to hold in consideration the aesthetic principles that led to cultural and artistic creativity and objective perspective the achievements the Chinese animation of the time period of the Cultural Revolution. Cultural Revolution is avoided to the previous period in accordance with the socialist ideology of Mao Ze-dong(毛澤東) sikindaneun highlight the culture of the proletariat and placed our goal to create a new class culture. Therefore, cultural and artistic creation of this period is often inconsistent with this part of our aesthetic principles generally accepted character has a non- elitist and anti properties. Best drama is a creative one hand as a model to implement the principles of aesthetics, art and culture Cultural Revolution period kkophimyeo reference for understanding the aesthetic principles that animated the Chinese Cultural Revolution period of orientation. This paper has San Tu Chu(三突出), Hong Guang Liang(紅光亮), and Gao Da Quan(高大全) at the time of the Cultural Revolution aesthetic principles are reflected in how the concrete work, the Cultural Revolution when the animation is how to accommodate these aesthetic principles and placed emphasis on comparative studies on best pole and correlation of the Cultural Revolution when the Chinese animation to ensure that adaptation in own way. First, after analyzing whether the aesthetic principles of focusing on the similarities of the best pole time of the Cultural Revolution and China, and how to implement animation in the works, these aesthetic principles according to the analysis of positive and negative influence on the creation of Chinese animation It was described as neutral. The detailed analysis and comparative study courses were trying to access in two significant aspects of the characters and scenes directing. In terms of character animation of the Cultural Revolution in China when a young boy or girl, emphasis should emphasize the health tinged with red lips and cheek blush to highlight the desired Gong Nong Bing(工農兵) shape as the main character and smooth texture and sophisticated highlights the glittering feeling to the touch, it was confirmed focused hayeoteum to implement the principle of 'Hong Guang Liang', highlighting the brilliant colors with a clean, bright colors. Highlighting a number of protagoniste compared to the antagonist in the animated scene of the Cultural Revolution a few times in terms of production and, among a number of protagoniste also emphasizes the outstanding hero figure, "yet three outstanding heroes heroic figures also emphasize the leading figures among the the director of the extrusion step-by-step approach "('San Tu Chu')was used. In addition, the hero figure is generally high and low angle by directing a large and perfect aesthetic appearance was to faithfully implement the principle of 'high-charged'('Gao Da Quan').

• Cartoon and Animation Studies
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• s.17
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• pp.117-132
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• 2009

The purpose of this study is to analyze the way of representing women in and which producted and released in 1972, the year of Revitalizing Reform System starts. Each films intended to construct some conventional popular codes for persuading the public. Considering this contexts, it is true there was a little difference between these two films and the national cinema which undertaken on a full scale after Revitalizing Reform System started. But we can also find that each films revealed the intention of ruling ideology suturing the opposite values resulted by the specificities of Modernizing project during the Park Chung-Hee reign using a strategy which represents women officially. These women who were wholly integrated with the official discourses would proposed a ideal stereotype which supports the Developmental mobilization regime and through this strategy the Park Chung-Hee reign wanted to construct a new group identity of women as the very proper elements of Nation.

• Cartoon and Animation Studies
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• s.43
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• pp.255-284
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• 2016

This article aims at a discourse analysis on the selected 1970s Myungrang Manwhas, in the cases of Ggubungi, Doggaebi Gamtu, Yochul Balmyungwang. For the analysis, the history, pre-censorship, and distribution structure of Myungrang Manwha are referenced, as well as the considerable changes and developments on the definition of 'myungrang' since the 1920s. In employing Foucauldian discourse analysis to the texts, the selected Myungrang Manwhas are analyzed as discursive formation, which emerged within the social relations of the era; the characters' dialogues are analyzed as statement. The analysis examines the discourses that the texts disseminated, and the social context of the utterance. It is demonstrated that the Myungrang Manwhas are forms of representation, which implies 'the contested acquisition on capital and power', 'the emphasis on nationalist aspects', and 'the interpellation and discipline of subject active' of the time. Moreover, it is revealed that the forms of control, such as pre-censorship, were the articulation of the will to power, which drove the discoursive formation to function as an apparatus that meticulously constituted the ruling ideology. In conclusion, the Myungrang Manwhas are rather texts that encompasses political and social context of the era than a mere comic relief.

• Cartoon and Animation Studies
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• s.44
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• pp.183-209
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• 2016

Hayao Miyazaki's product, , is evaluated that his work until present that product point of view and commercial point of view are highly filled at the same time. Miyazaki's showed new public entertainment possibility in genre that is animation inventing highest-grossing domestic film in Japan's history until it was taken over by another Miyazaki work. Also, it can high evaluate that not that see for interest simply beam about environment and human who writer has to spectator deep self-examination and way of problem pulling comprehension without burden through resected reflex which is not exigent delivery sympathy form. Analyzing his product, , ,, , , , this research allowed purpose to recognize that he present the alternative after arranges intent subject how and institute problem. And do to study whether his though and ideology met with viewpoints of ecologism and environment(environmentalism) in work how. There are his countenance have theme that is certain in Miyazaki director's works. If summarize had handled subject meantime, it is , , , etc. This subjects are that go first at importance order among problems which we face, it is that human desires essentially. If balance of society system that regulate various economical, moral value system and desire to our society is set, our society is that can become little more near in nature mode of life.

• Cartoon and Animation Studies
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• s.43
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• pp.1-22
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• 2016

So far, the Studio Ghibli's major masterpieces, and have been studied extensively from mythical and psychological perspectives due to the films' intrinsic symbolism within their characters and events. However, there have been insufficient in-depth research on the types of love the two works have. Therefore, this study will focus on how the types of love in the two animations mirror the concept of love in Plato's theory of Eros through the analysis of two films' characters. The desire for memory and recovery can be seen in , and glimpses of each phase of aim towards changes in physical appearance can be shown in . These describe the function and the purpose of Eros that Plato states in Socrates' terms in Phaedrus and Symposium. Plato ultimately defined Eros as a spirit that leads to the world of Ideas and suggested the five stages of love that are divided in accordance with the ultimate purpose and attitude of mankind towards Eros. The cognition area, changes in appearance of the characters and spatial ranks in and critically reveal such core concepts of the theory of Eros. It is noteworthy that the two works show the origin of the most universal ideology of the West. These two animation films are particularly significant in terms of that they reflect the western epistemology while covering exclusive and covert ethnic emotions.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.12
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• pp.380-389
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• 2019

Animation is a medium that can be enjoyed by many age groups, and it often reflects the discourse and ideology of the time. Therefore, studying the tendency of gender identity as it is expressed in animations is meaningful as a process to understand current trends. Therefore, I examined how the female characters' performative gender identity has been expressed in Disney animations and how it has changed. Disney animations have stuck to dichotomous gender performance, with men playing active and adventurous roles, while women play submissive and passive roles. Disney began to deviate slightly from the dichotomous gender performance through "Pocahontas" and "Mullan", which emphasized the heroic role of women. However, these animations have been limited in the way that love stories between men and women make up the main theme. In "Frozen", however, women actively explored their lives by overcoming these limitations, and expressed their happiness through sisterhood rather than love between men and women. Therefore, "Frozen," which expresses an active female character who sets up her own kingdom as an independent entity, is meaningful in that it has demonstrated the changed gender performance.

• Cartoon and Animation Studies
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• s.35
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• pp.227-253
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• 2014

The purpose of this article is to prove the fun of cartoon has related in Reality. Ultimately, it will be occurred the expanding result in contact with reader's reality perception. I had pointed out this issue in introduction. Although Fun is our vital power, almost people recognize it as imagination result which is not related in Reality. As the result, we overlooked Fun is contacted in Reality recognition. Creation method of cartoon story emphasize "the Individual character" and "the original nature" also. As this result, it has limitation which neglect "Reality". In main subject, I explained the meaning of Fun and Reality in feeling Korea Cartoon. First, we looked around a theoretical background of fun. With take surveying for various fun characters in several category of cartoon. We can confirm that it was occurred the results contacting "Enlargement of actual recognition" commonly. Second, the main issue of Korea cartoon was "Reality" historically. But, described Reality in cartoon is different from true Reality. Therefore, cartoon is imagined Reality of writer. So he make a heros and make a fun putting a folk tail. Third, described Reality in Korea cartoons make a fun and reader's consensus which is from emotional reality. With limitation of writer's "Reality recognition", almost writers adapted to ideology of ruling classes. Forth, we surveyed Korean cartoons which described "true Reality". Newspaper cartoons during imperialism and Min-joong cartoon in 80' period and 2000th period life documentary cartoon, we participated three sector and surveyed each character. Especially, I am dealing with important inconsistency of true reality. As this result, My cartoon enlarge reader's true reality and make "Fun" of recognizing a true reality.

• Journal of Science and Technology Studies
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• v.13 no.1
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• pp.41-76
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• 2013

Based on an analysis of the Japanese animation director Kamiyama Kenji's Ghost in the Shell: Stand Alone Complex series, this paper discusses two important subjects in modern technoscience-cyborg and old age. In fact, age has been an important social and political category in the modern world, along with gender, race, and class. However, age has not been a significant research topic for STS scholars. Even though many of these investigators have extensively explored the complex relationship between gender and technoscience, especially after the publication of Donna Haraway's "Cyborg Manifesto" (1991), few of them have been interested in how age is reconfigured by modern science and technology. If women, as Haraway has claimed, can have a different political and cultural outlook by becoming cyborgs, then, can we expect a similar socio-cultural transformation with regard to the interaction between cyborg and old age? Do the elderly experience lesser age discrimination through the growth of biomedicine and technoscience? Indeed, it is believed that seniors are increasingly becoming cyborgs with advancing age, since their declining bodily functions are consistently replaced and assisted by various biomedical technologies. Does this enable them to overcome ageism and age discrimination as well as their alleged physiological and mental limitations? As an answer to this question, Mike Featherstone has asserted that becoming a cyborg in old age could make the wrinkled skin a mere mask and create diverse new possibilities that were hitherto unavailable to an aging person. Based on my reading of Ghost in the Shell, however, I analyze a more complex set of problems when the senile cyborg is created through the encounter between the elderly and technoscience. I argue that while the senile cyborg could challenge traditional family ideology and nationalism it would leave ageism intact and define a new individualistic life form through a body controlled within the globalized internet and capitalist economy.