• Journal of Korea Multimedia Society
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• v.23 no.7
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• pp.840-849
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• 2020

Walt Disney Feature Animation released high quality films such as 'Frozen', 'Big Hero 6', 'Wreck-it Ralph', 'Zootopia', 'Moana', 'Frozen 2' and not only got high score in box office but showed great CG and visuals. However, making feature animation requires a lot of time, money, and efforts so it is very important to support studios' artists to finish each show within limited budget and time. This paper shows artists' training program such as 'Short Circuit' and 'Bootcamp' that walt disney feature animation provides their artists to improve their creativity and do their jobs artistically and efficiently. Disney's training program not only provides artists various training classes but gives them chances to work on short animation which enhances artistic skills and enable them to work in different departments and experience different tasks. This paper also explains some training cases of CG studios in South Korea and Disney Animations' in-house tools.

• Proceedings of the Costume Culture Conference
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• 1996.10a
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• pp.12-12
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• 1996

• Journal of the Korean Society of Costume
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• v.65 no.2
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• pp.1-16
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• 2015

This study aims to provide a new perspective on Disney's animations, by examining how Disney systematized and transformed his own ways of cognitive systems of producing meaning through the costumes of his characters. For this purpose, 10 Disney animations of which the main characters were costume-wearing humans were selected and analyzed. First, the characters' costumes of the passive female heroines were much different from those of the active female heroines while the costumes of male heroes did not have any common characteristics. Second, the characters' costumes according to the settings of the animations had different aspects: the Western-Europe-based animations exhibited the appropriate costumes of the set times, but the non-Western-Europe-based animations exhibited the imaginative costumes of Disney rather than the appropriate costumes of the actual countries. Third, the costumes played the role of expressing the situations of the animations, and had their own repetitive conventions in each animation. Changes in the situations or the upward mobility of the status could be found easily through the costumes, but such distinctiveness became less visible in the later animations. Disney displayed his own distinctive formula of visual aesthetics through the characters' costumes. But it is recommended that we should have the critical views on the cultural messages of Disney's to prevent fixed ideas or cultural prejudices.

• Cartoon and Animation Studies
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• s.46
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• pp.1-22
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• 2017

The practical learning requires the new paradigm in its content of education and environment along with the rapid development of information communication technology and the expansion of digital content industry. Especially, the animation education, core area of digital content industry, has attempted to improve the content and method of education by focusing on creativity, convergence and practical education. However, education environment in the previous form of computer laboratory has not been reflected the characteristics of animation education. In the light of this, this research would suggests the effective education environment implemented animation job competency and the characteristics of animation production. Firstly, the problem of previous educational environment will be explored through looking at computer rooms of domestic Universities. The characteristics of animation production consisted of Pre-production, Main-production, Post-production and elements of animation job competency will be reviewed by focusing on three phases of production, Pre-production, Main-production and Post-production, and six particular jobs, concept art, modeling & texturing, animating, lighting, VFX and compositing. Secondly, 6 types of space adapted from space syntax, possibly explored the embedded meaning of the structure of space and environment, will be reviewed by focusing on integration, separation and interaction. Thirdly, based on the characteristics of animation production, the element of animation job competency, 6 types of space, analytical tools about animation project education will be deducted, and the case study regarding animation studio, Walt Disney studio, will be processed by focusing on its production environment and spatial composition by focusing on Pre-production, Main-production, Post-production. Fifthly, the effective spatial composition for animation project education will be explored based on the interpretation of literature reviews and case study. In regard to this, the research addresses the spatial composition reflected the characteristics of practical learning and job competency in animation education, which differs from the previous form of standardized education spaces.

• Journal of Convergence for Information Technology
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• v.10 no.1
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• pp.28-34
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• 2020

This paper intends to examine the recent acquisition of 21st Century Fox by Walt Disney Co. in terms of how information communication technology, especially the internet, has been reshaping the media industry. In particular, it looks at the deal as Disney's attempt to adapt to the rapidly shifting media environment and strike back at the challenges from online streaming services. After looking at the overview of the deal and some of the major changes and challenges the rise of streaming services has brought to film and media landscape, the paper looks at Disney responded to them by launching its own streaming services and how its acquisition of Fox assets factors in this. It also examines the implications of Disney's move as well as the opportunity and challenges it faces.

• Journal of Korea Multimedia Society
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• v.18 no.8
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• pp.988-995
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• 2015

In 2013, Academy Award for Best Animated Short Film was granted to Walt Disney's short animation, (2012). With various aspects of its excellence, I focus on the very effective use of digital lightings and underscores for storytelling as its success factors. In this respect, this paper aims at analyzing the roles of the visual factors, especially tone, contrast, etc. created by lightings, and audio factors, especially underscores, in the film's story development. I find that can be characterized by the well-built story structure with distinct three acts. The main stream of the story is expressed with the overall mood that is created by the fine adjustments of brightness of the main light, and contrast. And the direction and the intensity of the lighting successfully describe the emotions of the characters in each scene. In addition, I find that properly chosen and positioned underscores make the development of the story more dynamic and more harmonized.

• Cartoon and Animation Studies
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• s.25
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• pp.1-39
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• 2011

It is important to create animation storytelling because it is the most critical factor to make animation successful at the box-office. As such, lots of researchers have paid attention to Disney's animations because the Walt Disney company has produced the largest number of interesting animations. One of Disney's strategies to make story interesting is the application of original works that were already open to public. On this point, this article explores how Disney deals with characters in its animation that is based on an original work. Drawing a comparison between characters of and those of "Hua Mulan", which is its original work, this article focuses on how characters are created and used for the purpose of managing animation storytelling. Significant differences between two works exist. That is to say, actively makes the use of characters. First, it creates several new characters that are not seen in "Hua Mulan." Those characters can be divided into three groups by their roles; realistic characters, unrealistic characters, and realistic characters of unrealistic personalities. Second, Mulan in has both masculine initiative and feminine adaptability, and each one is used as necessary through the whole narrative. Last, it sets up a relationship between characters either in a blood-based family category or in a social category. Through these results, it is possible to confirm that this modification of characters is solely to manage the narrative with more flexibility.

• The Research Journal of the Costume Culture
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• v.12 no.1
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• pp.104-120
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• 2004

Animation character market in Korea has been dominated by licensed characters (e.g., Walt Disney′s) of which market share is 80%. While market share for Korean characters such as "Mashimaro" and "Little Dinosaur Dooly" is increasing, the application of such characters to fashion products is still limited. For the development of the Korean character market, application of original animation characters should be applied to various fashion products. The main purpose of this study was to design toddler apparel line using "Little Dinosaur Dooly," one of the most popular domestic animation characters. The design focus is the green color of Dooly because the color is the distinctive concept of the brand. Results of the study indicated that developing toddler apparel line with a Korean animation character was a meaningful attempt, as imported licensed characters were dominant in domestic fashion market. The key differentiating factor was the use of green color. In addition, use of various supporting characters, namely Dooly′s friends, demonstrated potential line extension forming animation character groups similar to Warner Brothers′"Looney Tunes."

• Journal of Digital Contents Society
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• v.17 no.6
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• pp.613-621
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• 2016

This paper has the first aim to analyze Elsa's magic power of why and how she, as a heroine in the animation of Frozen, is in the emotion of fear and anger. This paper will explain why these two emotions are twisted compound to identify Elsa's iced emotion in the ice kingdom. And secondly, this paper attempts to connect Elsa's fear emotion in her real life is the other flip with that of anger throughout the characters' network in Frozen, which symbolically reflect the feminine pattern of real society that Walt Disney prospects for the dream society. Through the cognitive process for Elsa's ice kingdom between emotion status and social network, we can assume the pattern of social network with emotional chart and the archetype of human emotion through the cognitive-emotional storytelling on the emotion of Elsa in Frozen.

• The Journal of the Korea Contents Association
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• v.7 no.1
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• pp.199-206
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• 2007

Animation becomes combination of narrative together visual(image) and hearing(sound) information rather than transmits only visual information. The image and sound of such animation are adjusted and controlled in the structure of narrative, and com to receive a meaning by its context. Even if animation begun by equal motive, the meaning which is different in each other with a director is generated. Although Snow White of the Walt Disney Co. and Fleischer's studio was manufactured by motive in fairy tale Snow White, it can look for a large difference in semantic generation of narrative. While Disney's Snow White re-interpreted the original meaning for a director's view of the world and re-made it by animation, Snow White of Fleischer constitutes a work from a meaning of the Snow White original newly completely, is not only weakening the union power of narrative, and but also reflecting the situation at that time.