Animation Storytelling Research Articles

스토리텔링 내부의 캐릭터 변용에 관한 연구 : "목란시"와 <뮬란>의 사례 비교분석

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.

공공미술로서 만화.애니메이션의 사회적 역할 : 도시공간을 중심으로

While Korea has actively discussed fields of comics and animation, with an aim toward public art and publicity for cultural welfare, research on public cultural content for underprivileged and their regions is in fact lacking. The Korean government has also tried to improve Korea`s cultural welfare, but its benefits have failed to be evenly given to underprivileged. Therefore, we need to take greater interest in underprivileged and their regions. Korea should work to correct unbalance among regions in field of cultural welfare (cultural differences between capital area and other regions, and between new towns and old), as well as improve living environments of isolated areas. For this reason, such a public art project should be conducted from two directions. First, underprivileged living in poor conditions should be allowed to live in clean and cultural environments. And second, public art, comics, and storytelling through animation should be formed with an eye on urban culture. This project aims to focus on improving the quality of citizens` lives through creating unique characteristics and landscape of city. It will be presented through use of public art, which presents elements of city with charm and vitality. The two directions stated above are our urgent tasks. Public art, comics, and animation storytelling regarding history, culture, and natural resources of region will develop with affection and pride of citizens, and public art will help create an environment that allows people to discuss their issues. In addition, it will be cultural environments that will allow all citizens to enjoy beautiful streets and events. This project will be an opportunity to realize cultural democracy by pursuing social values such as publicity, communication, equality, and participation.

Using Slowmation for animated storytelling to represent non-Aboriginal preservice teachers' awareness of "relatedness to country"

<span>In this study, a group (N=15) of final year non-Aboriginal preservice teachers participated in an elective subject that aimed to raise their awareness about Aboriginal ways of knowing. A vital aspect of the course was developing the preservice teachers' awareness of "relatedness to country" which is a key belief for Aboriginal people. The non-Aboriginal preservice teachers selected their own special place and then experienced Aboriginal ways of knowing throughout the course and visited local Aboriginal sites to hear and listen to stories shared by an Aboriginal Elder. At the end of the subject, the preservice teachers created their own animated story about their special place using an approach called called </span><em>Slowmation</em><span> (abbreviated from "Slow animation"), which is a narrated stop-motion animation that is played slowly at 2 photos/second to tell a story. It is a simplified way for preservice teachers to make animations that integrates aspects of claymation, digital storytelling and object animation. To research this approach, the preservice teachers were interviewed at the beginning and end of the course as well as submitting their animation for assessment. Data collected revealed that all the preservice teachers were able to make an animated story explaining their relationship to their "special place" and most developed a deeper understanding of what a relational approach to country means. Getting the preservice teachers to make animated stories helped them to reflect upon their special place and was a creative way to develop their awareness of cultural diversity, especially about Aboriginal ways of knowing.</span>

Killing the Self: How the Narrator Acts

Joruria, theJapanese puppet theatre, is a type of animated storytelling illustrated with puppets. One or more tayub (reciter, narrator, chanter, or storyteller) and a musician sit apart from the main stage, where puppeteers silently manipulate large dolls without the use of strings (Plate 1). One Western observer, Roland Barthes, finds in this type of theatre, where words and movement are produced separately, an opportunity to reexamine certain Western concepts: animate/ihanimate; outside/inside; soul/God. (1982, 48-62) Because Barthes examines the relationship between puppet and manipulator, he does not explore the way in which the storyteller renders texts: the tayu sometimes distinguishes between and at other times intermixes the words of the characters and those of the narration.