Cartoon Industry Research Articles

Стилістичні маркери пейоративної лексики в українськомовних мультфільмах

The research is focused on the analysis of popular Ukrainian-language cartoons, such as "SpongeBob", "Cars", "Shrek", "The Adventures of Tom and Friends", "Speak Ukrainian", and "The Simpsons". The central goal of the study is to study how pejorative vocabulary in cartoons can influence the formation of children's language skills and their worldview. An important component of our work is the analysis of different types of communication in animation and their potential impact on children's perception through the principles of informatization, imitation and identification with characters. We seek to find out how animation, being not only a means of entertainment, but also an important element of artistic socialization, can shape children's ideas about social norms, stereotypes and roles. Pejorative language, which often goes unnoticed by adults, can have a decisive impact on children's development, contributing to the emergence of aggressive behavior patterns and the formation of negative stereotypes. In the context of our research, special attention is paid to cartoons, the speech of the characters of which contains pejorative vocabulary, which requires an in-depth analysis of their impact on children. In addition, the impact of globalization on the Ukrainian cartoon industry through the import of foreign cartoons, which carry cultural values and norms of behavior, often different from the traditions of the Ukrainian socio-cultural context, is considered. Such cartoons can influence the formation of the worldview of Ukrainian children, not always in a positive way. Therefore, our work also emphasizes the need to create high-quality domestic cartoon content that would correspond to national cultural traditions and values. The purpose of such content should be to promote the positive speech and emotional development of children, as well as to form in them an adequate understanding of social norms and values.

SCRIBBLING WITH MALE EGO: ANALYSING THE MALE GAZE IN THE PORTRAYAL OF WOMEN IN CARTOONS

Male cartoonists dominated the cartoon industry of Keralam in the second half of the twentieth century. Women stereotypes are highlighted in the discourse of cartoons, probably like any other artform in the world. This paper is an attempt to analyse the representation of women folk in the cartoons of Keralam, during the post independent period of India. The cartoons of veteran male cartoonists namely Cartoonist Toms, Cartoonist Yesudasan and Cartoonist Thomas have been analysed for the study. The misrepresentation of women characters in their cartoons are analysed. The ‘domineering wife’ stereotype in the cartoons portraying the domestic setting and the household is not the fair representation of women of the time, given the patriarchal tradition. Women’s empowerment is shown mainly as their physical empowerment in the cartoon series. The male gaze in the commodification of female body in the cartoons is analysed. The male ego in the nurturing of ideal woman characters by the male cartoonists is problematized in the paper. The images used in this paper are collected from archives and the sources of images, as it is mentioned in the bibliography, are old collections of magazines, which are fifty years or more old. These cartoons are retrieved from the archives compiled at Appan Thampuran Smaraka Library in Thrissur, Kerala.

Learning Deep Blind Quality Assessment for Cartoon Images.

Although the cartoon industry has developed rapidly in recent years, few studies pay special attention to cartoon image quality assessment (IQA). Unfortunately, applying blind natural IQA algorithms directly to cartoons often leads to inconsistent results with subjective visual perception. Hence, this brief proposes a blind cartoon IQA method based on convolutional neural networks (CNNs). Note that training a robust CNN depends on manually labeled training sets. However, for a large number of cartoon images, it is very time-consuming and costly to manually generate enough mean opinion scores (MOSs). Therefore, this brief first proposes a full reference (FR) cartoon IQA metric based on cartoon-texture decomposition and then uses the estimated FR index to guide the no-reference IQA network. Moreover, in order to improve the robustness of the proposed network, a large-scale dataset is established in the training stage, and a stochastic degradation strategy is presented, which randomly implements different degradations with random parameters. Experimental results on both synthetic and real-world cartoon image datasets demonstrate the effectiveness and robustness of the proposed method.

A Multimodal Analysis of Cartoon in Jordan

A cartoon is a kind of two-dimensional painting which can also be animated. The definition has changed in recent years, and these days the utilisation of cartoons is referred to as ordinarily non-realistic or could be the semi-realistic artistic style of drawing or painting, a picture or an arrangement of images expected for parody or humour, or could be a movie that depends on a succession of paintings for its liveliness. Any artist who makes cartoons is called a cartoonist. In Jordan, cartoons are regarded as political commentary; they are seen as an expression of some political points that should be noted, but many of the cartoons are not linked to the Jordanian cultural discourse and are not analysed due to the lack of previous studies which have been done in the Middle East. Also, there is a need to highlight the importance of the interaction of semantic and linguistic elements in Jordanian media to determine the more common and suitable pattern. Therefore, this study aims to be an essential reference for Jordanian cartoonists and researchers to develop the cartoon industry in Jordan and increase its influence and influence in society, as it is in developed societies. Through a review of previous studies on the analysis of social discourse and presented studies on the analysis of multimedia in cardboard in developed countries, the evaluation of the importance played by cartoons in various areas will explain the gap in previous studies in the Middle East and particularly in Jordan. The potential future study, the data analysis through modality, could be a possible topic for future research to explore interpersonal meaning created between authors and viewers and the effect of social media on the multimodal analysis of cartoons in Jordan.

The Synergy of Animation and Tourism Industry: Myths and Ideologies in Mickey Mouse’s Traveling Adventure

The tourism industry circulates signs through its synergies with other cultural industries, such as film, music, museum, video gaming, and the sports industry, to name but a few. This paper aims at exploring the creation or preservation of tourist myths and ideologies through the cartoon industry following the travel experiences of one of the first and most widely known animation characters, Mickey Mouse, in animated films such as the Hawaiian Holiday (1937), Mickey’s Trailer (1938), Mr. Mouse Takes a Trip (1940), On Vacation with Mickey Mouse and Friends (1956), Croissant de Triomphe (2013), Tokyo Go (2013), Yodelberg (2013), O Sole Minnie (2013), Panda- monium (2013), Mumbai Madness (2014), O FutebalClάssico (2014), ¡FelizCumpleaños! (2015), Al Rojo Vivo (2015), Turkish Delights (2016), Entombed (2016), Dancevidaniya (2016), Locked in Love (2017), or Shipped Out (2017). In terms of methodology, this study of animated films and images will be conducted with the help of Greimas’ semiotic square combined with Roland Barthes’ writings on myth. The main objective of such research is to trace the tourist myths and ideologies that the animation industry proposes and highlights. The focus will therefore be on outlining any simplifications, stereotypes, and boundaries regarding tourist image-brand production, as well as foregrounding the creative practices and invitations to co-productions of meaning offered to young gazes, that is, those of future travelers.

러시아 만화 산업 현황과 과제

러시아 만화 산업 현황과 과제

지역 중심의 만화 창· 제작센터 구축에 대한 연구

본 논문은 2013년 이후 급변하는 한국의 만화산업에서 수도권에 집중된 창, 제작 환경의 지역 균형 발전을 위한 방안을 연구하기 위한 것이다. 만화는 여타 문화 콘텐츠 산업에 비해 제작비가 낮을 뿐만 아니라 제작기반이 최소한의 요건만 갖추어지면 가능하므로 지역 분권이 상대적으로 매우 용이한 분야이다. 현재 대부분의 만화 관련 기업, 진흥 기관 등은 서울과 부천 등에 분포하고 있다. 그러나 작가의 경우 전국적으로 분산되어 있으며 해외에서 작품 활동을 전개하는 작가도 유의미한 수치에 이른다. 대전, 부산, 순천, 경북 등에서는 만화 창 제작 센터를 구축하기 위해 2015년부터 본격적인 움직임을 보이고 있다. 본 논문에서는 지역별 만화 창 제작센터 구축 움직임을 해외 사례와 함께 살펴보고 각 지역별 특색과 균형, 조화를 어떻게 이룰 것인가를 점검해보고자 한다. 먼저 정부의 만화산업 육성 정책의 현황을 분석했다. 만화산업중장기발전계획을 축으로 한 정부의 만화진흥정책은 그간 한국콘텐츠진흥원과 부천의 한국만화영상진흥원을 축으로 전개되어 왔으나 웹툰 산업이 급성장하면서 각 지역에서도 진흥 기관의 필요성이 2015년 이후 제기되어 왔다. 2019년부터 시행하게 될 4차 만화산업 중장기발전계획 수립을 앞두고 본격적인 지역균형발전의 지원 틀이 갖춰져야 할 것으로 보인다. 해외의 경우는 미국 샌디에고(코미콘), 프랑스의 앙굴렘(국립이미지센터), 일본의 교토(만화박물관), 사카이미나토(미즈키시게루로드) 등 일찍부터 지역을 중심으로 만화진흥 기관, 행사 등이 발달해 왔던 점은 시사하는 바가 크다. 결론에서는 지역마다 만화창 제작센터가 구축된다고 하더라도 지역의 성격과 특징에 맞게 설립되는 것의 중요성과 필요성을 구체적인 방안을 들어 제안하고자 했다. 이를 바탕으로 문화콘텐츠 산업에서 거의 유일하게 지역 창 제작 시스템이 정착될 수 있는 만화, 웹툰 산업의 비전을 제시하고자 한다. This thesis aims to research ways for the regional balanced development of cartoon creation & production environment being centered in metropolitan area in Korean cartoon industry which has rapidly changed since 2013. As a cartoon can not only be produced with relative lower production cost comparing to those of other cultural contents industries, but also can be produced only if the minimal requirements for cartoon production is prepared, so the cartoon is a field that the decentralization can be accomplished very easily. Currently, most cartoon-relevant companies and cartoon promotion institutions are located in Seoul an Bucheon, etc. However, cartoon artists live nationwide, and even cartoon artists producing their works abroad are reached to a significant number. In some regions like Daejeon, Busan, Suncheon and Gyeongbuk (Gyeongsangbuk-do), there have been appeared full-scale movement to construct regional cartoon creation & production centers since 2015. This thesis aimed to investigate each region's movement to construct cartoon creation & production center with oversea cases, and to check how such movement could be balanced and harmonized with each region's unique features. First of all, this thesis analyzed the status quo of government's policy nurturing the cartoon industry. Korean government's cartoon-promotion policy around the axis of the Cartoon Industry's Mid.Long-Term Development Plan has been developed around the Korea Creative Content Agency and the Korea Manwha(cartoon) Contents Agency in Bucheon, but as the webtoon industry has rapidly grown up, the necessity for building a cartoon promotion institution in each region has been raised since 2015. With the establishment of 4th Cartoon Industry Mid.Long-Term Development Plan to be executed from 2019, it seems that full-scaled support framework for cartoon regional balanced development should be occupied. For the case of foreign countries, cartoon promotion institutions and relevant events have been developed around regions from early times like San-Diego, USA(Comicon), Angouleme, France(National Image Center), Kyoto (Cartoon Museum), Sakaiminato(Misuki Sigeru Road), Japan gave a lot of implications. In the section of conclusion, this study aimed to suggest the importance of and necessity for establishing a cartoon creation & production center in each region appropriately for the region's identity and characteristics with specific plans. Based on that, this thesis aimed to suggest a vision for cartoon & webtoon industry that regional creation & production system can be settled almost only in the cultural contents industry.

Industrial Upgrading and the Advent of Independent Innovation: A Case of the Chinese Cartoon Industry

In recent years, the development mode of China’s animation industry changed from “offshoring” to “innovation”. China’s domestic animation has since achieved rapid advancement in the creation of original characters, animation production and sales, development of cartoon-related products, cultivation of the animation market and industrial upgrading. This article investigates the upgrading progress of China’s animation industry. To transform the country’s economic growth model and strengthen ideological control, the Chinese government promoted culture industrialisation, including animation. There has been a shift in the function of animation from edutainment to a balanced mix of edutainment and commercial success. On the one hand, the Chinese government regards animation as an important part of the knowledge-intensive cultural and creative industries, and lends its support for a breakthrough in transforming the economic growth model. On the other hand, the government insists on domestic animation to fulfil its indoctrination function to promote mainstream culture, as well as on implementing a slew of policies to reinforce domestic culture dominance in the society such as the “differentiated” broadcasting policy, incentive policy on production, flexible review and management policy, and market development and regulatory policy aimed at building the industrial chain. All of these policies form the substance of the transformation and upgrading of China’s domestic animation industry.

웹툰 통계 분석을 통한 한국 웹툰의 특징

This study that had been conducted two months by a research team of Pusan National University at the request of Korea Manwha Contents Agency in Dec. 2013 is about the statistical analysis on `Korean Webtoon DB and its Flow Report` which resulted from the complete survey of Korean webtoons which had been published with payment in official media from early 2000 to 2013. Webtoon which means the cartoons published on web has become a typical type of Korean cartoons and has developed into a main industry since 2000s when traditional published cartoons had declined and social environments had changed. Today, it represents cultural contents in Korea. This study collected the webtoons officially published in media with payment, among Korean webtoons having been published from the early 2000s to Jan. Based on the collected data, it analyzed the general characteristics of webtoons, including cartoonists, the number of cartoons, distribution chart of each media, genre, and publication cycle. According to the data analysis and statistics, a great deal of Korean webtoons are still published in main portal websites, but their platform is being diversified and a webtoon`s publication cycle tends to be shortened. In terms of genre, traditional popular genres, such as drama, comic, fantasy, and action, are still popular, and the genres of history, sports, and food are on the rise along with a social trend. Regarding webtoon application, such events as relay webtoon and brand webtoon, and a new type of webtoon featuring PPL commercialism appear. Such phenomena can realize the common profits of cartoonists, media, and ordering bodies, and are various trials to test the possibility of webtoons. In addition, what needs to pay attention on in the expansion of webtoons is increasing webtoons for adults. The study subjects are the webtoons published with payment, excluding free webtoons. However, this study failed to collect the webtoons published on the online websites already closed, and the lost information on cartoonists and their lost webtoons, and it is necessary to conduct a complete survey on all webtoons including free ones. Despite the limitations, this study is meaningful in the points that it categorized and analyzed Korean webtoons accoridng to official media, webtoons, cartoonists, and genres and that it provided a fundamental material to understand the current conditions of webtoons. It is expected that this study will be able to contribute to activating more research on webtoons and producing more supplementary data which will be used for the Korean cartoon industry and academia.

Retrieval-based cartoon gesture recognition and applications via semi-supervised heterogeneous classifiers learning

2D cartoon plays an important role in many areas, but it requires effective methods to relieve manual labors. In this paper, we propose a heterogeneous cartoon gesture recognition method with applications. Firstly, heterogeneous features with different dimensions are assigned to express cartoon and human-subject images according to their characteristics. Then for recognition, we simultaneously integrate shared structure learning (SSL) and graph-based transductive learning into a joint framework to learn reliable classifiers on heterogeneous features. Provided with the framework, the similarities between cartoon and human-subject gestures can be quantitatively evaluated in a cross-feature manner. Extensive experiments on self-defined datasets have demonstrated the effectiveness of our method. Finally, applications illustrate the usages in various aspects of 2D cartoon industry.

국내 만화콘텐츠 비즈니스의 확장과 발전방향 조망

만화콘텐츠는 단순히 스토리를 통한 원작만이 아니라 문화침투력이 강하고 아이디어의 고부가가치가 높은 엔터테인먼트 상품으로서의 무한한 가치를 지녔다. 또한 만화콘텐츠는 다양한 감정과 의사표현의 욕구를 충족시키는 감성기호로서의 커뮤니케이션 역할이 가능함으로써, 모바일 기반의 감성콘텐츠로 확장 가능성이 매우 높다. 본 논문은 만화콘텐츠 비즈니스의 이해를 통해 만화산업의 현황 및 매체별 발전방향을 조망해 보고자 했으며, 만화콘텐츠 비즈니스 영역을 확장하는 대안으로 만화콘텐츠 자체를 상품으로 기획하고 개발할 수 있는 상품개발 방안을 제안하고자 하였다. Cartoon contents is strong not original work through only story but culture penetration and high added value of idea had infinite value as entertainment goods. Also, it can extend by emotional contents of Mobile base by communication role as sensible symbol that satisfy various emotion and appetite of expressed opinion is available. This paper wished to take a view of present condition of cartoon industry and development direction through comprehension of cartoon contents business, and to propose goods development way of cartoon contents by the alternative to extend cartoon contents business area.

An Arabian Phoenix: Trust, Cooperation and Performance in the Italian Animated Cartoons Industry

New industries emerge thanks to the joint entrepreneurial actions of social actors in developing both a new knowledge base and institutional legitimacy. Creative industries have to deal with the supplementary tension between the domains of art and business, which carry different expectations, identities, constraints and opportunities. Industries trapped in a failure path face additional problems: not only a new knowledge base has to be developed but it has also to be recombined with the old one, not only legitimacy has to be obtained in an institutional void but hindering traces of past institutionalisation have to be dismantled. The Italian animated cartoon industry did find itself in the middle of such divergent institutional requirements. Fifteen years of steep decline followed the golden seventies and only recently the knowledge base, the governance structure and the basis of legitimacy are in the process of being redefined. The analysis of this re-founding process is presented here. Different kinds of trust relationships developed in the industry based on artistic and technical competence: networks of reciprocal artistic respect coexist with networks based on complementarity. Network centrality reduced the need for capital and increased profitability but joint projects were developed mainly by technologically complementary firms and did not involve artistic cooperation. I state here the importance of considering conflicting institutional demands deriving from different domains like art and business or from the persistence of past legitimisation in explaining the re-foundation of an industry.

Cartoon in the Classroom

THE FIRST words I heard at the Disney studio were, how does the horse get in the bubble? Screwy, yes, but significant-significant enough to indicate a future usefulness for this wacky and wonderful cartoon industry that may rank with the greatest things it has done in the past. For that theatrical phrase dissolves into a parallel of some promise to the field of education, namely, how does the verb get in the sentence? The cartoon, of course, has been a powerful educative force ever since artists roughed out their stuff with sledge and chisel. The spot cartoon, political or humorous, has always been a form of frozen animation, distilling a whole sequence of action or character into a single significant moment. The comic strip added an element of progression in the making of a point. But the comparatively recent development of filmed animation, and the still more recent embellishment of sound, have brought into being a truly new teaching tool-a tool which, when the medium is properly used and its philosophy is understood, can clarify and make rememberable many vital things which hitherto have been difficult to impart by traditional methods. The educative possibilities of liveaction film are reasonably apparent, and, regardless of one's opinion of the existing library, pretty well explored; those of cartoon animation are not so