• Cartoon and Animation Studies
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• s.35
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• pp.209-226
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• 2014

Chinese cartoon industry lately was able to see a rapid development which changed cartoon creative personnel associated with increased production technology development, new technologies, government support policy and a variety of environments. It was likely to have high expectations for changes in the policy environment of the country supported the comic creators and authors to develop its own comic industry. The State Administration of Press, Publication, Radio, Film and Television of China promoted the production for the development of Chinese animation with "domestic little video about the development of the animation industry's opinion", and "documents Documents". Animation industrial base and animation education was established in institutions such as the organization one after another. In the meantime, the spread of Japanese comics picture on the creative activation admitted but their comic creation and activation was slump. It would produce that the creation of its traditional culture based activation strategy to built comics. Since 2004, It was well represented for the creators of the cartoon creation of the tradition and uniqueness of Chinese history. In the prior to 2004, comics and strategies was to be differentiated. Today, China is an important source of comic marked the fact that the tradition was recognized and it was further developed with combining creativity of the past and the present production system. Comic creators comic story of traditional culture were excavated in order to have a sense of awareness and modern. The difference between China Cartoon and comics in other Asian countries is true that cartoon story came out naturally in a traditional culture. In this study, It would lead in the future to allow directional presented for the digital cartoon making development policy awareness through the comic creation and production of new media content industry enabled to China. Now, in the new media industry for the development of China's neighboring countries coped with climate change for the active exchange of information. It poured out ceaseless technical development and a range of policies to support business expansion. New China Cartoon was leaped to re-fit the industry.

• Korean Association of Arts Management
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• no.56
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• pp.243-274
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• 2020

Maker culture in Korea began to receive public attention after the 2012 Maker Fair Seoul. Central and local governments took note of this trend and subsumed makers' culture into its policy domains such as Creative Industry, Creative Cities, 4th Industrial Revolution, and the all-encompassing Creative Economy. Creative Economy was a public policy discourse formed in the public sector for the purpose of overcoming economic depression and revitalizing the economy. Under Creative Industry and Creative Economy, creativity and culture/arts are deemed indispensable but at the same time objectified and alienated as their ultimate value are recognized only as the basis for economic production. In this article, makers' culture itself goes through the same process of objectification and alienation that creativity and culture/arts suffered as the relevant policies were pursued under Creative Economy. The authors attempted to corroborate this through the case of Makercity Sewoon, and found that the Seoul City's urban development plan surrounding Sewoon Plaza proceeded in a direction destructive to the local technological ecosystem and therefore conflicts with the pronounced goal of leading 4th Industrial Revolution by encouraging and nurturing makers' culture. Makercity Sewoon, although packaged in a discourse of Creative Economy and Creative City, betrayed the same problem of alienating arts/culture and labor that the previous discourse showed.

• Journal of Contemporary Eastern Asia
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• v.13 no.1
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• pp.19-37
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• 2014

In an attempt to develop comprehensive evidence-based methods for evaluation of the R&D performance of cross-disciplinary projects, a joint bibliometric analysis of patents and publications was performed for two industry-university-government collaborative projects aimed at commercialization: Hokkaido University Research & Business Park Project (2003-2007; 63 inventors; 176 patents; 853 papers), and Matching Program for Innovations in Future Drug Discovery and Medical Care - phase I (2006-2010; 46 inventors; 235 patents; 733 papers). Besides the simple output indicators (for five years period), and citations (from the publication date to the end of 2012), science maps based on the network analysis of words and co-authorship relations were generated to identify the prominent research themes and teams. Our joint analysis of publications and patents yields objective and mutually complementing information, which provides better insights on research and commercialization performance of the large-scale projects. Hence, such analysis has potential for use in the industry-university project's performance evaluation.

• Cartoon and Animation Studies
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• s.43
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• pp.47-75
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• 2016

This study has analyzed the history of the subcontract animation in Korea that began with Golden Bat of TBC Animation Division in 1966 to 1980s and shed the light on the history of subcontract animation that has been processed over 30 years in Korean animation. For this purpose, through the outlined status of subcontract animation, such as, production company, production status, scale of industry and so forth, the status of the OEM industry then has been checked and it links the solidified background of animation into subcontract production industry with the situation in time for analysis. In addition, on the basis of the foregoing, it is intended to broaden the horizon of the history of animation through the analysis on new search for facilitating the creative animation by overcoming the issues and limits generated by the subcontract animation industry. 1970s was the time that the national objective is to advance heavy-chemical industry and export-led economic growth. From the late 1970s, the animation has been spot lighted as the main-stream export industry through the overseas subcontract orders for animation. Expansion of the subcontract animation production has been influenced from the national policies on public culture, dispersion of color TV, facilitation of video production market and other media changes of the time that led the decline of animation audiences in theaters, and another cause would be in lack of platform of broadcasting companies that avoided the independent animation production for its economic theory. The subcontract animation industry may have the positive evaluation in the aspect of expanding the animation environment, such as, structuring of animation infra, development of new human resources and etc. However, the technology-incentive 'production'-oriented advancement has created distorted structure in advancing the professional human resources due to the absence of 'pre-production' of planning and others as well as the insufficient perception on 'post production (post work)', and it was unable to formulate domestic market by re-investing the capital accumulated for OEM industry into the production of creative animation and it has been assessed as negative aspect. Animation is a cultural and spiritual product of a country. Therefore, the systematic support policy for the facilitation of the creative animation, such as, development of professional human resources, creation of outstanding work, formation of market to make the pre-circulation structure and so forth has to be sought. However, animation is an industry, but there is no perception that it is a cultural industry based on the creativeness, not hardware-oriented manufacturing business. Such a lack of recognition, there was no policies to make the market and facilitate the creative animation by the animation of Korea for this period through the long-term plan and investment for independent work production. Such an attempt is newly begun through diverse searches for protection and advancement of creative animation in Korea after 1990s.

• Journal of The Korean Association of Information Education
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• v.19 no.2
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• pp.167-174
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• 2015

A recent increase of interests on the influence of 3D printing and low prices of 3D printers makes a high possibility of 3D printer adoption as a educational equipment in public education settings. The Ministry of Science, ICT and Future Planning and Ministry of Trade, Industry and Energy proposed '3D printing industry development strategies', and had pilot schools to include understanding of 3D printing concepts and practices in the primary, secondary and high schools' curriculum. However, even if 3D printers were provided in educational settings, the research on educational content and methods to properly react to this change is very limited. Therefore, this study reviewed various 3D modeling software because a modeling skill is a prerequisite skill to use 3D printers, and proposed a creative design spiral based teaching content that can be incorporated in elementary school contexts.

• The Journal of the Korea Contents Association
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• v.14 no.1
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• pp.40-47
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• 2014

Animation in Taiwan has been profoundly influenced by the production of labor intensity for American and Japanese in the early days of its development. This phenomenon of the labor intensity reached peak in the 1980s. Information Bureau of Taiwan began to establish a system of supportive funding for its animation industry in the 1990s. During this period, the animation industry in Taiwan gave special emphasis to the theme of the local culture and to the creative works of the animation. By the 2010s, the elements of Chinese culture were introduced in the animation production in Taiwan. Through cross-national cooperation in production with other advanced countries, the Taiwan-made animation was successfully expended to the international market. However, the animation industry in Taiwan is facing the following problematical challenges: Firstly, the Taiwan government gives special attention to the financial support of animation industry rather than training university students to become professional experts in animation production. Secondly, there is no professional higher institution established to train specialized professional animation film-makers. Thirdly, Due to the lack of the cultural inspiration and the original mind, the form of its creative animated production is primarily imitated from other advanced countries. And fourthly, despite the fact that there is a cooperation and exchange programs between Taiwan and other foreign animation industries.

• Journal of Fashion Business
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• v.23 no.5
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• pp.124-136
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• 2019

Capstone design is a creative and comprehensive educational program requiring practical adaptation skills for the industry. The purpose of this study was to analyze the results of design development, lectures and curriculum satisfaction for textile fashion products based on four years of capstone design curriculum from 2015 to 2018. The curriculum consists of 26 groups of 72 students and a total of 26 final results were obtained via industry-university cooperation. The materials for product design development included differentiated clothing, leisure goods, bags, dog goods, smart goods, interior goods and recycled products based on textiles. The degree of satisfaction with lectures involving the capstone design class was very high, with 4.2 out of 5.0 when the number of students was less than 10. However, when the number of students was 20 or higher and the number of students was large, the level of satisfaction was below 3.88. Therefore, the capstone design class comprising less than 10 students was better at individual teaching and teamwork. In terms of satisfaction with capstone design curriculum, the respondents indicated that the teaching method addressing the needs of industry and academia facilitated practical learning. It was very helpful in improving competency related to the design and development majors and future employment. The capstone design curriculum was effective in the training for practical design development and planning.

• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.214-225
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• 2013

Current production systems have been recognized as having contributed a dramatic growth in the Korean film industry. However, industry voices feel that the role of these production systems should be reorganized as the industry faces further needs for development process. Film development process involves item selection, scenario completion process, and packaging process, which include choosing the right director and actors in order to increase the chances of completion of the film as well as increasing probability of investment funds. Thus, film development is a very creative and practical businesslike activity at the same time. The purpose of this report is to study the producers' role and problems by comparing Korean film development processes to 'Produced By' of the PGA(Producers Guild of America) and suggest a solution for the improvement.

• Fashion & Textile Research Journal
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• v.10 no.6
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• pp.848-856
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• 2008

In today's world where a preference for prestigious brands prevails, it's essential to have creative design conceptions rather than try simple mimicking or following in order to be recognized for creative and objective design works. In that sense, the development of clothes design using construction lines offers a great approach towards the ideas of reinterpreting and creating new designs since it creates new forms by understanding lines as signs of conception and transforming them. That approach allows a designer to improve his or her imagination, creativity and expression in a freer and richer manner, think of many original ideas through diverse changing processes, and develop the skill to visualize the ideas by incorporating geometric forms of abstract lines into clothes. When approaching the conception of clothes design from the standpoint of construction lines, you need to adopt more specific and systematic design methods instead of vague imagination to introduce simple facts or theories to a new design process. That's one of the ways you can approach clothes design easily and enhance your conception skills. The process of clothes design according to the conception of construction lines is composed of the following stages; the preparation stage involves an understanding of the principles and the entire process of clothes design conception based on construction lines; the idea stage requires a designer to make free alterations of the given basic construction lines by moving and replacing the lines and sides in diverse ways; in the creation and expression stage, the designer uses the newly reconstructed construction lines to create clothes design; and in the evaluation stage, the designer makes a presentation of his or her subjective design works and has his or her works assessed and tested in an objective fashion. In today's modern society that demands new and original globalized design, the results of the study will help to invigorate the development of new fashion design in a more systematic and practical manner by suggesting a feasible and gradual educational program for the development of design based on the technique of construction lines.

• Journal of Korea Society of Digital Industry and Information Management
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• v.14 no.1
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• pp.57-75
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• 2018

The growth of the Exhibition Design Industry has been exponential both internationally and domestically since the composition and fusion of Artistic Culture and information. Since the introduction of various Display Techniques, such as, augmented reality, Virtual Reality, and 3D interactive applications, the Exhibition Display Industry has seen innovative development. Furthermore, this has transpired a new wave of change and globalization in social network and thru creative Exhibition Design this has become a turning point in the Exhibition Design Industry. The aim of this research is to find Influencing factors of domestic Exhibition Design Industry members. These factors thru self-efficacy and job satisfaction will study objectively to find what influences duty result and help members of Exhibition Design Industries to work comfortably and to increase productivity we are proposing effective and efficient development methods. To do this, we are suggesting a research model applied on variables of the mindfulness theory which is based on the emphasized unconsciousness which represents the existence of the mind. To objectively verify this research model, we have conducted surveys on Exhibition Design Industry workers and a Material Designer in Seoul.