• Cartoon and Animation Studies
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• s.35
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• pp.155-180
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• 2014

The roles of the characters of 3D animation Toystory3, which was released in 2010 and achieved worldwide success, can be classified into typical, simple and easy-to-understand roles such as hero, villain, princess, and assistant. However, the process, in which each character's role is finally recognized by the audience, is embodied in a very colorful and exquisite manner and makes the curiosity of the audience continue effectively. The stream of the diverse role changes of the characters of Toystory3 is represented through "visual rhythm of the lighting design" and such rhythm can be confirmed most clearly in the digital colorscript stage. This researcher analyzed the characters' role changes in the work based on Propp's folktale character analysis theory, and extracted the core scenes that lead to inference, doubt, performance, reinforcement by character in order to grasp how the audience gasps major characters' role changes. The visual differences of the lighting design, which the four core scenes of each character show, were represented in graph and analyzed, and the results showed that the changes that one character has constituted rhythmical, visual contrast gradually and the rhythms of each independent character achieve visual contrast and harmony each other like the voice part of polyphony. This researcher calls this "the visual counterpoint of character's changing" and derives the conclusion that a dual visual counterpoint is hidden in the character production of the full-length animation Toystory3. Along with this, this researcher proposes the production of full-length animation that actively utilizes constructive aesthetics.

• Cartoon and Animation Studies
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• s.44
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• pp.57-84
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• 2016

The image of woman shown in an animation was pretty extraordinary as Disney has kept the conservative tendency so far. The two princesses in were described as independent women getting out of the traditional gender role and dependence on men. For this reason, there is a tendency that interprets as a feminist work. Even though the character showing the image of independent woman could be an essential index to define feminist work, it is not enough to define the tendency of works. Thus, this study reviewed if it would be valid to interpret as a feminist work. First, the 'sisterhood' which is the main theme of contained the feminist concept as 'women's solidarity' on top of friendship between sisters. Therefore, when analyzed focusing on the core concept of women's solidarity like difference, empathy, and solidarity, reflected 'differences' in narration, character, and image, etc. When differences in sisters which became the cause for misunderstanding and conflict were acknowledge based on their true love, the process of forming empathy and solidarity was described. The solidarity between Elsa and Anna not only became the power to defeat the enemy, but also reflected the feminist value of forming the community of coexistence like Adelen which was rebuilt after getting back the spring. Thus, it was verified that is a feminist work.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 1999.11a
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• pp.193-196
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• 1999

컴퓨터 그래픽스에서 인간의 얼굴 표정을 생성하는 것은 고전적인 주제중의 하나이다. 따라서 관련된 많은 연구가 이루어져 왔지만 대부분의 연구들은 특정 모델을 이용한 얼굴 표정 애니메이션을 제공하였다. 이는 얼굴 표정에는 얼굴 근육 정보 및 부수적인 정보가 필요하고 이러한 정보는 3D 얼굴 모델에 종속되기 때문이다. 본 논문에서는 일반적인 3D 얼굴 모델에 근육을 설정하고 기타 정보를 편집하여, 다양한 3D 얼굴모델에서 표정 애니메이션이 가능한 도구를 제안한다.

• Cartoon and Animation Studies
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• s.38
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• pp.145-176
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• 2015

In animation, 'laughter' is an important factor for the fun. Dreamworks' animation is a successful popular animation. It has four series and spin-off animations, and settled as a successful case that created fun with strategic use of parody throughout the productions. Most preceding studies on this animation have focused on its humor, parody, and satire. However, not many studies have discussed its independent comedy as a piece of animation that satisfies the needs of public. This study considered that viewers' desire to watch an animation comes from their fantasies to discuss the comedy of based on its animated characters. Animated characters communicate with the public with wits that ignore the rules of reality. The characters that do not exist in reality are created and animated to turn the world of reality upside down. The comedy in comes from the entertaining deformation of the society's fixed ideas and prejudices. It is a fun variation of the ideology behind fairy tales created by the Disney animations to challenge Disney in the animation market in reality, and twisted the world of fairy tales in the story to quench the thirst of the public. 'Shrek', a monstrous character, stands in the center of the story. A monstrous character that always played an anti-role has become the main character to break the rule of fairy tales. This is the subjectivation of anti-character. Second, it is a new anti-character with an exaggerated and distorted body. Lord Farquad, who looks abject compared to the monstrous character for a person with so much power and ambition, brings laughter. Third, it is the variation of various characters from fairy tales. The conventional fairy tale characters, both animals and non-living things, come out of the box and appear as humorous characters that bring life to the story. uses comedy characters in the process of reinterpreting the fixed ideas, prejudices, and ideologies of the real world created by fairy tales. I hope that it helps Korean animations establish a successful format for creating characters that bring life to the stories.

• Journal of the Korean Institute of Landscape Architecture
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• v.29 no.5
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• pp.43-50
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• 2001

This design proposal was accepted to a design competition for the improvement of Indi Youth Street, Mapo-Gu, which was held by the Seoul Metropolitan Government in June, 2000. The \`Hong-ik University District\` projected area consists of several streets, where the independent and youth culture unique to this area is blossoming-Indi music, underground arts, and historic meaning of the area as an estuary of Mapo. The site is also expected to attract many citizens and fereigners because of convenient accessibility of the new subway station to the Inchon International Airport and because of many attractions on the street- foods, music, art and people. Accordingly, the proposal set the main design concept of this project as \`the Street of Youth Culture\` considering its special and social status as well as the physical improvement of the street environment. With this concept in mind, the proposal designed the improvement of the physical conditions based on the motive of \`the Street of Youth Culture\`, having Indi/under art, Indi/ under music, Indi/under drama and Indi/multimedia animation. This design proposal of the Street of Youth Culture consist of three segments, which symbolize the millenium Youth Plaza, MultiMedia Animation Pocket and Arts Exhibition Pocket based on unity and balance. This plan has the ultimate aim of making the district one of the people\`s favorite streets in Seoul, which people love to visit again and find the vivacity of the new millennium youth culture.

• Cartoon and Animation Studies
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• s.36
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• pp.167-187
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• 2014

Animation-related films and game industries have been expanding their markets rapidly responding to sharply increasing public demand. The production processes of major studios are getting more and more specialized and detailed. Therefore, they feel burden to manage and maintain as the HR and physical sizes are getting greater. So, independent studios which perform partial processes of the works are increasing over North America and Europe. Specialized studios build previous functions and related business models. They are expanding their areas. Therefore, this study targeted studios specialized in digital concept art in free production step. The characteristics of such studios were analyzed. To this end, first definitions of digital concept art concepts and functional & artistic features of entire production, and their application to business were deliberated through documents and online. Based on the results, the features of 'concept art service', 'self-brand business/ communication', and 'education service' were drawn. Second, based on it, targeting three con cept art studios such as Atomhawk (UK), FengZhu Design (Singapore), and Studio Gage (Korea), case research was done. Comparative analysis for the cases was conducted. It turned out that concept art studio s lead new market demand through active business strategies such as related contents development, marketing, etc. based on specialization. This research is significant to understand global trend of newly establishing specialized studios market and suggest reference data to improve prospective domestic specialized studios competitiveness.

• Cartoon and Animation Studies
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• s.38
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• pp.53-70
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• 2015

In industrialized societies throughout the 19th and 20th centuries, Over Produced and Mass consumption images were constantly shown to people via Mass-Media as means to provoke one's desire. Frank Mouris, the American independent animator, captured and showed the infinite nesting of industrialized image with his autobiographical story through his work (1973) and made it as an intense visual flow. This innovative art animation has broke the traditional form of narrative animation and won the Annecy Animation Festival Grand Prix and the Academy Awards in 1974. This was also selected for preservation in the United States National Film Registry by the Library of Congress as being culturally, historically, or aesthetically significant in 1996. This study explores and shows that how these a-half million images to express Franks Mouris's autobiographical story in could be analyzed by the concept of Walter Benjamin's 'dialectical images'. Typically, the term 'dialectic' need to be formed by contradiction or opposite concept in the basic principles, but a dialectical image of Benjamin could be formed without any opposite concept while maintaining the uniqueness of each new relationship of the past. Benjamin's dialectical images are no longer stay in the historical past, It always meets with the present when someone realizes the past in the present moment. I suggest three different aspect according to Benjamin's point of view to analyse this animated film such as 'Historical-dialectical imaging of private/collective memory', 'Reconfiguring of present through analysing the relationship between the image flows and its own time/space', and 'Old future over the existing fragment and the presence of fragment. has the great value not only to present the experimental and innovative aesthetics of animated film, but also to show an analysis of contemporary culture and social aspect in mid-20th century. This study is to explore the diversity of animation representation, aesthetics, and also to suggest a new aspect of animation studies.

• The Journal of the Korea Contents Association
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• v.22 no.7
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• pp.599-606
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• 2022

This study investigates trends and changes in gender expression in film and animation. It compares how gender, race, and class discrimination that was socially and culturally expressed differently in past and modern media contents. Indiscriminate content appreciation by the "digital native" generation is likely to unconsciously create false stereotypes. In this study, 「Aladdin」(1992) and 「Aladdin」(2019) were analyzed. This study looks at in the characters have changed since the original, which was a 2D animation in 1992, was re-released as a live-action film in 2019. For character analysis, we compare and analyze major characters and find out the differences based on the nine personality types of Enneagram, which define human personality types. As a result, Princess Jasmine's character change was remarkable. In the past, Disney animations had the majority of patriarchal and male-dependent princess characters, but now Disney is aiming for self-directed and independent female characters. Also, scenes that could instill stereotypes of gender, race, and class were changed. Disney's change can be seen as expressing the gender image that the public wants. Analysis of the change in character's personality in these works can be a useful methodology for creating attractive characters for the public.

• Journal of the Korea Computer Graphics Society
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• v.15 no.1
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• pp.7-15
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• 2009

In this paper, a novel framework that synthesizes and clones facial expression in parameter spaces is presented. To overcome the difficulties in manipulating face geometry models with high degrees of freedom, many parameterization methods have been introduced. In this paper, a data-driven parameterization method is proposed that represents a variety of expressions with a small set of fundamental independent movements based on the ICA technique. The face deformation due to the parameters is also learned from the data to capture the nonlinearity of facial movements. With this parameterization, one can control the expression of an animated character's face by the parameters. By separating the parameterization and the deformation learning process, we believe that we can adopt this framework for a variety applications including expression synthesis and cloning. The experimental result demonstrates the efficient production of realistic expressions using the proposed method.

• Korean Journal of Child Studies
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• v.26 no.3
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• pp.127-139
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• 2005

The subjects of this study were 86 eight- and 76 ten-year-old children(total: 162). Experimental procedures and tools included pre- and post- learning tests and controls for intelligence (Draw-a-Man-Test) and for cognitive styles(Children's Embedded Figures Test). The content of the learning task was the lightning generation process. After various types of seven-minute color animation multimedia presentations about the generation of lightning were screened, post-hoc analysis showed that the rehearsal strategy was effective with field-dependent learners but not with field-independent learners.