• Cartoon and Animation Studies
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• s.6
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• pp.221-250
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• 2002

After MIPA of Annecy International Animation Festival in 1997, the North Korean animation has been spot-lighted in the world including the south Korean animation companies. And increasing the economic cooperation between South and North Korea, a few case of intra-Korean cooperation for animation is starting practice now. But in the internal situation there is little short of information and data about North Korean Animation. Therefore this study will be intended to examine the past and present of the North Korean animation, to present the possibility of inter-Korean cooperation project etc.

• Cartoon and Animation Studies
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• s.30
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• pp.87-112
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• 2013

The effort to make the peaceful mood between South and North Korea that had started from so-called 'Sunshine Policy' of the People's Government since 1998, lasted until Rho Mu-hyun government. On the other hand, Lee Myung-bak government changed the policy toward North Korea to more practical and principle-oriented one than the previous two governments. By the shift of the policies, the industry of animation of South and North Korea has been influenced so much. The purpose of his study is to point out the crisis of the status of the animation industry of the Korean Peninsula through the change of the policies, and to propose one method of the new paradigm to the next government in order to build a turning point of South and North Korea animation exchange. First, the paradigms toward North Korea through the past governments are compared. Second, the result and situation of animation industry of South and North Korea are analyzed. Finally, by examining deducted problems, the forward policy toward North Korea and, by extension, the improvement direction and practical tasks of South and North Korea animation exchange policy are considered.

• The Journal of the Convergence on Culture Technology
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• v.10 no.6
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• pp.553-560
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• 2024

In the 1970s, South Korea under Park Chung-hee's regime emphasized economic development along with anti-communism and nationalism. At the same time, North Korea, under Kim Il-sung, reinforced its ideology centered on Juche (self-reliance) and anti-foreign sentiment. This study aims to identify the characteristics of how state ideologies were visually represented and functioned through animation during this period. The research follows a three-part approach: First, it examines the socio-cultural context of South and North Korean animation. Second, it explores John B. Thompson's five modes of ideological operation-legitimation, dissimulation, unification, fragmentation, and reification. Third, it conducts a comparative analysis of South Korea's General Ttoli - The Third Tunnel (1978) and North Korea's Squirrel and Hedgehog (16 episodes), both produced in the 1970s. The analysis reveals that while there are similarities in the five modes of ideological operation-legitimation, dissimulation, unification, fragmentation, and reification-distinct characteristics emerge in each animation. General Ttoli portrays South Korea as a defender of democracy and freedom, demonizes the enemy, features a superhero grounded in entertainment, highlights the inequalities and human rights abuses in North Korean society. On the other hand, Squirrel and Hedgehog presents an advanced form of socialism, denigrates its enemies, emphasizes collectivism, features a growth-oriented hero character supported by allies, depicts an ideal society of equality, and prioritizes educational purposes.

• The Journal of the Korea Contents Association
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• v.10 no.11
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• pp.113-124
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• 2010

This article studies on the character design of North Korea's puppet animation around 1985. At that time North Korea's puppet animation are improved glaringly in quantitative side and qualitative side of modeling. There has been constant support nationalistically to puppet animation from the initial period of animation production in North Korea unlike South Korea, and North Korea communicated lively with European socialist countries where tradition of puppet animation is strong. We can discover structural and figurative change of distinct feature in character design in 1985. Structurally, experimental forms and correct movement of joint were possible, because they used ball and socket armature. Expressively, they established own esthetics of character design in puppet animation applying technique of korean traditional painting to character design: laconism, perspicuity, delicacy.

• Journal of Digital Contents Society
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• v.5 no.4
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• pp.275-282
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• 2004

It analyzes a result and it presents problems which are substantial economic cooperation for current situations through the cultural exchanges of animation Film industry between south and north Korea, and also trades with other countries. It tied to observe recently the developments and trends of animation Film cultures of North Korea in this paper.

• The Journal of the Korea Contents Association
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• v.7 no.12
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• pp.55-65
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• 2007

The commercial value of the Korean animation was developed by the government's policies of revitalizing reform and national harmony from 1960 to the middle of 1980. Especially, the character of the anti communistic animation was organized by the structure of confrontation between South (good) and North (evil). The confrontation was viewed by communism and liberal democracy by red and white (or blue) and a pig or a boy. Such ideology and the policy of Korean culture gave some impact on its culture, for example, movie and animation. The animation became the tool of educating the idea of anti-communism and the policy of Korean culture by firming the policy of anti communism. But that animation of anti communism must not be blamed because it is a general animation of Korea which describes the reality. We have to take a hard view of the time and reconsider it by the new point of view.

• 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.