• Cartoon and Animation Studies
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• s.49
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• pp.611-631
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• 2017

At first there was practice, then festivals and theory followed. Compared to the animation production, which is older then the medium film itself, festivals and theory in this area started with a delay. While animation programs where shown in film festivals like Cannes since the mid 1940s, the first animation festival in Annecy, France was founded in 1960, followed by several short-lived events in Romania, Italy and Tokyo and finally in 1972 by the second oldest festival up to date, Animafest Zagreb. Animation theory evolved in the late 1980s in the Anglo-American area with associations like the Society for Animation Studies, following its 'big sister' film studies. Expanding ever since as a research area, European animation studies in e.g. France, German speaking countries, Poland or Croatia have been catching up in recent years by organizing theoretical conferences and publications. A vivid synergy between practice, festivals and theory has always been a key factor for establishing a platform for the art form and culture of animation. However, in the past few years a trend could be observed towards a more intense interaction between animation festivals and theory. Animation festivals are hosting theoretical and scientific symposia or conferences, which are open for artist positions and insights into the industry. At the beginning of the lecture a short reflection of the concept of Animafest Scanner itself is followed by an introduction of the Symposium Expanded Animation at the media festival Ars Electronica Linz. The talk will subsequently focus on the multilayered academic symposia at the Festival of Animated Film ITFS and the International Conference on Animation, Effects, VR, Games and Transmedia in Stuttgart. These case studies will reveal the blurring boundaries between art, science, theory and industry as well as the specificities of the interplay between artists, practitioners, scholars, curators and festival visitors in different formats.

• The Journal of the Korea Contents Association
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• v.5 no.5
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• pp.115-123
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• 2005

Game industry will be one of the fastest developed industries in the 21st century. It is the outcome derived from the development of hardware such as the accumulated technology and computer in the 20th century. The development of computer graphics and hardware technique has let games have more realistic expression. The reality shown in games has influences over the movement of 3-dimensional game character as well as its background. The animation of character has been influenced by animator's level of skill, but it was problematic to have unnatural movement and long-term production time. In this regard, this study will compare the most widely used animation techniques such as Key-Frame method and Motion-Capture method each other and try to figure out which one is the most appropriate and effective method in 3 dimensional game character animation.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.255-266
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• 2019

This paper examines the ink on paper technique that is being used in the animation works by the Canadian filmmaker Michēle Cournoyner from the National Film Board of Canada. It also discusses how in her animated film "Soif"(2013) this technique has been applied to compose the narrative significance and symbols through the use of metamorphosis as a form of artistic expression. Cournoyner had used the ink of paper technique as a means to abandon realistic representations of movement, and in "Soif" through expressive use of metamorphosis, portrayed changes of images in character and object not through chronological order of narrative flow, but through the body of the female character, which had been represented by the improvisation of the ink on paper technique in order to express the surrealistic and unconscious state of mind in animation. Also, the use of Surrealist automatism had been incorporated to evoke the film towards a form of abstract and metaphysical expression, which in terms of expression and technique connects with the character in the animation to give emphasis to its relevancy with the subject matter of the work.

• Journal of Information Technology Applications and Management
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• v.27 no.1
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• pp.187-198
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• 2020

With the development of technology and the creation of an entertainment environment for leisure, various marketing strategies are being used in the film industry. Among them, the use of the credit cookie of ending credits was very effective in producing the series. The ending credit is the time it takes to show the names of the people who made the movie, which is meaningless to the audience. There is a cost to produce a ending credit but It wasn't made because no revenue was generated. The credit cookie was inserted into this ending credit area, which brought new pleasure to the audience. Most of them were epilogue images showing the story behind the movie, NG images showing the NG situation during film production, and In videos mentioned in the movie but not shown in the movie itself. As various ideas about credit cookie were connected with marketing, a series movie and a spin-off foretelling the derivative works after the screening work were produced and have a new meaning. As a result, the time of ending credits, which had no commercial value, became the methodology of the most powerful promotional strategy. Looking at the difference between live-action film and animation in producing such credit cookie, unlike live-action films that edit the remaining parts after shooting, the NG video of the animation has a lot of time and money to produce. So, it hasn't try very well, and it seems to have been actively produced when moving from 2D animation to 3D animation. This is because 3D animation, which has already been modeled, can create new NG scenes by simply adding animating based on the layout of the created scene. Since it is possible to produce an episode movie at a low cost and time, and to use the scenes of the movie after the production, it will be necessary to strategically produce credit cookie for promotion in animation.

• The Research Journal of the Costume Culture
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• v.18 no.6
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• pp.1318-1330
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• 2010

The 21st century is the age when a sensational image has more explanatory power and can deliver a more powerful message than a message consisting of logical thinking. Powerful visual images create a big impact on many people throughout the world, overcoming linguistic barriers and even replacing language as a means of communication. In the fashion field, the concept and power of visual images within the new multimedia of the 21st century are becoming increasingly important. In recent years, other than the above methods, videos, movies and animation features have been produced directly to enhance visual effects and attempts are increasing to use these new tools as communication methods. This study focuses on animation contents that have been used in the fashion industry to overcome prejudice of luxury international brands that feature images that emphasize value, quality and heritage. The purpose of this study is to focus on the specific character of fashion animation in order to overview the concept of 21st video fashion communication and to show how the collection concept that includes color and detail places an emphasis on visual images. Analysis of previous research, theoretical research through literature and case study on Prada fashion animation led to the following conclusion. The common features of two different Prada fashion animation show that both animation have the following features in common : realism, dramatic impact and convergence for expression methods, and creativeness, hybrid and a happy ending for contents. Beginning with this study, I believe that various angles of interest and concern about communication in the fashion world, which is a social and cultural phenomenon that changes rapidly, can be will be looked at and learned from.

• Journal of Digital Convergence
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• v.18 no.8
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• pp.391-399
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• 2020

Even though the animation industry has been growth since 2011, there is still imitation by public stereotype which insists that animation is only able to cover the young age group and is not the proper genre of art to convey a social or a philosophical agenda. However, describes the philosophical agenda of 'social class' and 'life and death' in the limited space by expressing characteristics and background of fish through its own way. Thus, it shows how animation goes beyond aforementioned limits. Straying from traditional happy-ending, it criticizes present social problems by telling despite fishes' effort they cannot escape from structural contradictions. The drawing technique in musical expresses the character's ideology and attitude to make people think about how we will behave in the face of life and death. Therefore the purpose of this paper is analyzing director Lee Dae-hee's animation and present the genre expandability of animation.

• Cartoon and Animation Studies
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• s.24
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• pp.223-246
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• 2011

Today, cultural content industry could be defined to service business rather than manufacturing business because of its own trait. Also, it has the realistic restriction that it can't hold the dominant position in the market competition when it can't provide consumers satisfaction regardless of its quality or degree of completion. In other word, it can only expect great success when the business plan and the activities get the perfect balance with its best quality and perfect of completion. As the result, it emphasizes the importance of business competition in the global market. In briefly, there is no doubt that the creativeness of content is very important in the cultural content industry but in the future, making system to maintain the distribution process and share the profits fairly will be taken more important role. Especially, animation genre has the feature, which compares to other genres, such as film or TV drama, would be free from cultural barriers, and it is a great advantage. So to speak, animation can get little influence from cultural discount. However, Korean animation can't use the advantage properly for the foreign distribution because of its poor infrastructure and short of professional human resources. For those reasons, it has been needed to set up the realistic and specific action plan to overcome the situation. Therefore, considering those needs and the situations of Korean animation facing, making B2B online marketplace could be a great solution. The online marketplace stands for taking more efficient and broad distribution channel instead of the passive way, which we have now. If we have the B2B online marketplace, we can share all the information about the Korean animation with the potential customers whom live outside of Korea at real time. It also could be use to the windows of multiple distribution, which can make additional profits and activate the optional markets for the Korean animation. Through the method, Korean animation would be expected to get the higher international competitiveness, and it would be developed in quality and quantity of the business. Finally, it would be a great chance to Korean animation, which can get the unique brand power by improving the backward distribution circumstances.

• Cartoon and Animation Studies
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• s.9
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• pp.184-198
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• 2005

Characters are composed of universal value system that can be applied to the oriental and western world, while there are based on the differences in general and cultural values distinguished by the said two worlds. In modern society expressed as the age of moving image, the products concerning the characters have played a role as a forerunner of the spread of culture in the formation of new markets, regardless of considering the relationship between animation industry in Korea and the counterparts in the USA and Japan. Furthermore, as a successful role model, eastern and western character industries have penetrated deeply into our daily lives, in terms of our cultural values. Based on the assumption that characters reflect the cultural values, This study investigates the meanings of bodily & linguistic expressions appeared in animation characters and reviews the method of enhancing their values and effectiveness as cultural assets.

• Journal of Digital Contents Society
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• v.9 no.4
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• pp.669-677
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• 2008

Since the great success of the Disney animations like , the classification of audience target in animation according to an age group started a possibility of edutainment in the industry. Especially, a few animations for preschool children made by Korea have been largely successful in domestic and foreign markets. The study analyzed a distinguished structure of a story stressed by character by Greimas's theories in the educational animation. The animation for kids as this study target is one of successful contents in edutainment. It also analyzed as one of parallel contents in abroad. It is a meaningful study which considers a story structure of the animation as aspects of edutainment contents for preschool children.

• Journal of Korea Multimedia Society
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• v.18 no.2
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• pp.260-267
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• 2015

The Ministry of Culture, Sports and Tourism has been implementing the 'Local Government 3D Contents Production Support Project' since 2010 to foster the 3D contents industry and secure high-quality 3D contents of local governments. This is part of national support for securing 3D media contents of local governments. In particular, stereo-scopic 3D animation is in the spotlight as media contents appropriate for simultaneous implementation of pleasure of narrative and high-level of presence to promote tourism resources of local governments. But existing stereo-scopic 3D animation-related studies are mostly concentrated in three dimensional effect expression for particular scenes or theater. Therefore, this study extracted elements required for storytelling planning by analyzing production cases of stereo-scopic 3D animation using tourism resources of local governments which have been recognized for a high quality of work.