• Journal of Digital Contents Society
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• v.18 no.4
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• pp.649-657
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• 2017

Hayao Miyazaki provides pleasure which go beyond the barrier of culture and language through realizing pan-cultural and mythical space which can communicate with the audience through unique, aesthetic expression. In his animation storytelling, diverse tangible and intangible symbolic elements based on the traditional culture inherent to Japan are actively utilized, and he provides the audience with the aesthetic pleasure of arbitrary interpretation and contemplation by composing the system of connotative signification through such symbols. In this process, he creates the value of the system of meaning which clearly conveys the mythical message of connotative meaning of the work through the aesthetic form based on the universal experience of confrontation and coexistence. It can be said that this is the communicative value of animation storytelling pursued by Hayao.

• Journal of Communication Design
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• v.65
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• pp.70-81
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• 2018

From 1949 to 1966, after the new China was established, in order to consolidate newborn regime and erect national image, "proletariat revolutionary education" had become the main way of literary and artistic creation in the new era. In this era, Chinese animation began to produce to form the characteristics of emphasizing the ideological expression and political education from 1949 to1966, but it also made people misunderstand that it was the results of comprehensive containment of Soviet literary thoughts and creative models. In fact, Regardless of the subject matter, narrative, and role, Chinese animations have inherited and developed the ideological characteristics of the "Mun-yi-jae-do" literary view, forming a creative style that is different from the Soviet "dogmatism." The characteristics of "revolutionary hero role", "mythological expression of revolutionary thought" and "unique storytelling narrative mode" in Chinese animation from 1949 to 1966 were the inheritance and development of the "hero role", "mythological story", and "art of storytelling" of the important expression means of traditional art creation after the establishment of the "Mun-yi-jae-do".

• Cartoon and Animation Studies
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• s.27
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• pp.221-247
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• 2012

In this study, we examined the sense of tradition and cultural traditions which make up Japanese ubiquitous society. These include the traditional elements which affect the lives of contemporary Japanese people. In this research we looked for various media (mobile phones, blog, characters goods, cinema) which appeared in the traditional elements. The results of the study are as follows: The traditional elements which affect contemporary Japanese lives include modern devices such as use of anonymous "blogging", mobile phones "youth culture"(especially by males), and "cute" character vocabulary use (especially by females), while traditional values(yakuza, sumo, human relationships) are represented in Japanese cinema. Through this study, we have found the points where traditional Japanese culture and cultural sense have been reinterpreted and affected both directly and indirectly through modern media. This study contributes to cultural research by delineating the various stimuli to consider for successful content service adoption in a global setting, which can account for differential impacts across regions. The results not only help develop a sophisticated understanding of customer behavior theories for researchers, but they also offer useful knowledge to those involved in promoting culture content to potential purchasers.

• Cartoon and Animation Studies
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• s.27
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• pp.153-176
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• 2012

In the midst of the fusion era in digital contents, securing a variety of traditional cultural sources is important. Out of its long history, Korea has extensive spectrum of cultural contents in combination with conventional religions. Buddhist art has been a pillar of the traditional culture for a long time in Korea, by which we could secure new sources for cultural contents and classify them. This is aimed that we could bring the future brands into reality based on the traditional culture through Buddhist cultural contents. This study hired the original cultural forms in the viewpoints of traditional culture. Study on the implication through the symbols of Avalokitesvara (觀音菩薩) and Buddhist child (童子) in Buddhist art might allow to secure a foothold to create own characters. Thus, focusing on Avalokitesvara (觀音菩薩) and Buddhist child (童子) in the Buddhist sacred images as registered in Cultural Heritage Administration for national treasures, those traditional characters were reviewed through their own system of symbol. During the course, Buddhist characters were available to be classified into DB by their roles and materials지물. This study could help to exploit the complicated Buddhist culture of its symbolic meanings and to shape them into original forms of the culture. Also, through the meanings of the Buddhist sacred images, it could provide the digital contents pool with Korean traditional characters.

• Cartoon and Animation Studies
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• s.46
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• pp.85-106
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• 2017

With the media's shift into the digital era in the 2000s, comic book publishers attempted a transition into the new medium by establishing a distribution structure using internet networks. But that effort shied from escaping the parallel-page reading structure of traditional comics. On the other hand, webtoons are showing divers changes by redesigning the structure of traditional sequential art media; they tend to separate and allot spaces according to the vertical scroll reading method of the internet browser and include animations, sound effects and background music. This trend is also in accordance with the preferences of modern readers. Modern society has complicated social structures with the development of various media; the public is therefore exposed to different stimuli and shows characteristics of differentiated perceptions. In other words, webtoons display more relevant and entertaining characteristics by inserting sounds and using moving texts and characters in specific frames, while traditional comics require an appreciation of withdrawal and immersion like other published media. Motions in webtoons are partially applied for dramatic tension or to create an effective expression of action. For example, hand-drawn animation is adopted to express motions by dividing motion images into many layers. Sounds are also utilized, such as background music with episode-related lyrics, melodies, ambient sounds and motion-related sound effects. In addition, webtoons provide readers with new amusement by giving tactile stimuli via the vibration of a smart phone. As stated above, the vertical direction, time-based nature of animation motions and tactile stimuli used in webtoons are differentiated from published comics. However, webtoons' utilization of innovative techniques hasn't yet reached its full potential. In addition to the fact that the software used for webtoon effects is operationally complex, this is a transitional phenomenon since there is still a lack of technical understanding of animation and sound application amongst the general public. For example, a sound might be programmed to play when a specific frame scrolls into view on the monitor, but the frame may be scrolled faster or slower than the author intended; in this case, sound can end before or after a reader sees the whole image. The motion of each frame is also programmed to start in a similar fashion. Therefore, a reader's scroll speed is related to the motion's speed. For this reason, motions might miss the intended timing and be unnatural because they are played out of context. Also, finished sound effects can disturb the concentration of readers. These problems come from a shortage of continuity; to solve these, naturally activated consecutive sounds or animations, like the simple rotation of joints when a character moves, is required.

• Journal of Digital Convergence
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• v.17 no.6
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• pp.373-380
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• 2019

In this study, I examined the visual elements for narrative structure and the symbols, scene components and visual styles in the images through analyze the flat staging in Tomm Moore's animated feature film, . As a research method, I figure out the general theories about staging and analyze extracted scenes which revealed flat staging in the , then summarize and clarify the flat staging production elements and features of Tomm Moore. As a result, in , the composition of the screen using the basic shapes, the screen composition containing the spiral which is symbol of the Celtic traditional pattern, the stable and flat frame expression through the balanced screen composition, expression of spatial sensation using perspective, appearance of the period by using the inverted perspective, and composition that can emphasize the flat formability are appeared as a characteristic. Through this, the two-dimensional planarity was maximized to convey the feeling of appreciating the illustrations of fairy tales. Tomm Moore, who produced animation based on folk tales in order to inherit the traditional culture of Ireland, has been attracting worldwide attention because of its flat staging to help narrative, enhancing the original expression and performance of animation. I hope that this study will be used as basic data for industry workers and researchers who make unique and excellent animated feature film.

• Cartoon and Animation Studies
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• s.49
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• pp.697-712
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• 2017

In recent years, film and animation for cinematic release have embraced stereoscopic vision and the three-dimensional depth it creates for the viewer. The maturation of consumer-level virtual reality (VR) technology simultaneously spurred a wave of media productions set within 3D space, ranging from computer games to pornographic videos, to Academy Award-nominated animated VR short film Pearl. All of these works rely on stereoscopic fusion through stereopsis, that is, the perception of depth produced by the brain from left and right images with the amount of binocular parallax that corresponds to our eyes. They aim to emulate normal human vision. Within more experimental practices however, a fully rendered 3D space might not always be desirable. In my own abstract animation work, I tend to favour 2D flatness and the relative obfuscation of spatial relations it affords, as this underlines the visual abstraction I am pursuing. Not being able to immediately understand what is in front and what is behind can strengthen the desired effects. In 2015, Jeffrey Shaw challenged me to create a stereoscopic work for Animamix Biennale 2015-16, which he co-curated. This prompted me to question how stereoscopy, rather than hyper-defining space within three dimensions, might itself be used to achieve a confusion of spatial perception. And in turn, how abstract and experimental moving image practices can benefit from stereoscopy to open up new visual and narrative opportunities, if used in ways that break with, or go beyond stereoscopic fusion. Noteworthy works which exemplify a range of non-traditional, expanded approaches to binocular vision will be discussed below, followed by a brief introduction of the stereoscopic animation loop III=III which I created for Animamix Biennale. The techniques employed in these works might serve as a toolkit for artists interested in exploring a more experimental, expanded engagement with stereoscopy.

• The Journal of the Korea Contents Association
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• v.17 no.5
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• pp.262-272
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• 2017

This study will analyze a case that utilizes not just the characters, which are a primary licensing component in traditional animation licensing, however secondary images such as animation backgrounds, and one that has visually extended their brand. Secondary image plays an important role in developing the narration of the animation, and provides the space where the narrative takes place. It also gives important clues for the characters to be able to develop a narrative, through its chronological and geographical dimensions. This study distinguishes the components that can be used in the licensing process of an original animation into primary usage and secondary usage, and defines the scope of each. Focused on two collaboration cases, Disney's The Jungle Book & KENZO, and Disney's Alice in Wonderland & Marc by Marc Jacobs, It investigates the relationship of visual utilization between the expressive components related to secondary usage in the collaborative case of licensing, and the actual product. This study found the possibility of secondary images as a vehicle to deliver brand identity. As the spectrum of licensing elements is extended, it is necessary to develop an alternative licensing system for the new process of collaboration.

• Journal of Industrial Convergence
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• v.21 no.9
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• pp.11-21
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• 2023

There have been many studies to improve the efficiency of the CG production process, but it was not easy to overcome the problem that it was difficult to check the result in the middle of work and it took a lot of time for rendering. However, as the possibility of using Unreal Live Link, which can check the result in real-time, is increasing, expectations for improving the efficiency of the production process are rising. This study analyzed the efficiency of the 3D animation production process using Unreal Live Link. To this end, modeling, rigging, animation, and layout work were done in Maya, and the final output image sequence was rendered in Unreal Engine through Unreal Live Link. And the difference between this production process and the existing production process in which the final output image sequence is rendered in the 3D software itself was compared and analyzed. As a result of the analysis, unlike the traditional 3D animation production process, it was possible to check the final work result in real-time by proceeding with the work through a high-quality viewport screen, and it was found that the efficiency of work was maximized by deriving the final result through real-time screen capture. Recently, the use of game engines in the 3D animation and film industry is gradually increasing, and the efficiency of work is expected to be maximized if Unreal Live Link is used.

• Proceedings of the Korean Operations and Management Science Society Conference
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• 1994.04a
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• pp.611-616
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• 1994

Developing the safety training program has been a major research topic in CBT as well as in traditional teaching and learning. With regard to determining learning control in CBT, it is important to consider not only the characteristics of learning tasks but also student's individual difference. In this regard, the purposes of this study are to develop the CBT program as well as animation program in order to increase the student's performance.