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    닫기

    일본 애니메이션에 관하여 : 일본애니메이션의 성립과정과 캐릭터산업을 중심으로 = On Japanese Animation : Centering on the formative process of Japanese animation and character industry

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    https://www.riss.kr/link?id=T8396000

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    다국어 초록 (Multilingual Abstract) kakao i 다국어 번역

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    한국어
    As school violence comes up to the surface as a social problem recently, Japanese cartoons has become the dispute subject of the press more seriously than ever.As for the effects of Japanese cartoons on the youth, various organizations has already raised their voices on the regulation of them, and when the preparation of the measures against them are hastened in fact, I have come to review whether school violence truly stems from Japanese cartoons, or the wrapping up of Japanese cartoons and cultures are hurting the national feelings from the viewpoint of a student who majors in Japanese Study.
    In European markets, the existence of Japanese animation has largely grown to the degree that Disney is threatened, and Korea takes up the position like the subcontract base for its royal road.However, I have examined what kind of situation domestic animation industry, of which the subcontract base is being taken away to Philippines, is currently facing.
    At this point of time, first of all, I tried to approach Japanese animation not as a specific part of violence and lasciviousness but as an aspect of Japanese culture, and to examine the animation that can be said to the enormous mental power to the Japanese not from the narrow-mindedness but from the objective viewpoint.
    While I checked what kind of problems the inflow of Japanese cartoons that have the colors unique to Japan could bring to us, and what had been cartoons to the Japanese looking at the past and present of Japanese animation through Dezka Osamu who is a mythical person that cannot be omitted in the history of Japanese animation, next, I mainly examined the character industry, which is the darling of the future image industry that is evaluated to become one of the most high value added industries in the 21st century.
    What I could learn through what I had examined so far like this is that the attitude of our country toward Japanese cartoons is showing considerably peculiar aspect.
    We have already been showing them on TV for long, but we are avoiding the official introduction of them.This is not the phenomenon that we can see only in cartoons, but it could be said that this is the our attitude toward the overall Japanese culture.
    Though it just has not been seen, a great deal of Japanese technology or culture has already been introduced.In a sense, however, the national feelings arising from the history of disgrace and sufferings is suppressing free cultural exchange.But I think that the introduction of Japanese culture can be the shortcut to a cultural superpower rather than the road to leading to a cultural colony.
    Cartoons can be a problem because they have the strong cultural features above all.Our childlike innocence has grown up through those cartoons. But the place of imaginative power that can grow it more and more is being contaminated by various pirated editions due to the door of cultural isolationism that is ambiguously closed.
    I think we have to believe that our awareness has greatly matured and now change our narrow viewpoint toward Japanese cartoon and furthermore Japanese culture in order to strengthen the competitiveness
    번역하기

    As school violence comes up to the surface as a social problem recently, Japanese cartoons has become the dispute subject of the press more seriously than ever.As for the effects of Japanese cartoons on the youth, various organizations has already ra...

    As school violence comes up to the surface as a social problem recently, Japanese cartoons has become the dispute subject of the press more seriously than ever.As for the effects of Japanese cartoons on the youth, various organizations has already raised their voices on the regulation of them, and when the preparation of the measures against them are hastened in fact, I have come to review whether school violence truly stems from Japanese cartoons, or the wrapping up of Japanese cartoons and cultures are hurting the national feelings from the viewpoint of a student who majors in Japanese Study.
    In European markets, the existence of Japanese animation has largely grown to the degree that Disney is threatened, and Korea takes up the position like the subcontract base for its royal road.However, I have examined what kind of situation domestic animation industry, of which the subcontract base is being taken away to Philippines, is currently facing.
    At this point of time, first of all, I tried to approach Japanese animation not as a specific part of violence and lasciviousness but as an aspect of Japanese culture, and to examine the animation that can be said to the enormous mental power to the Japanese not from the narrow-mindedness but from the objective viewpoint.
    While I checked what kind of problems the inflow of Japanese cartoons that have the colors unique to Japan could bring to us, and what had been cartoons to the Japanese looking at the past and present of Japanese animation through Dezka Osamu who is a mythical person that cannot be omitted in the history of Japanese animation, next, I mainly examined the character industry, which is the darling of the future image industry that is evaluated to become one of the most high value added industries in the 21st century.
    What I could learn through what I had examined so far like this is that the attitude of our country toward Japanese cartoons is showing considerably peculiar aspect.
    We have already been showing them on TV for long, but we are avoiding the official introduction of them.This is not the phenomenon that we can see only in cartoons, but it could be said that this is the our attitude toward the overall Japanese culture.
    Though it just has not been seen, a great deal of Japanese technology or culture has already been introduced.In a sense, however, the national feelings arising from the history of disgrace and sufferings is suppressing free cultural exchange.But I think that the introduction of Japanese culture can be the shortcut to a cultural superpower rather than the road to leading to a cultural colony.
    Cartoons can be a problem because they have the strong cultural features above all.Our childlike innocence has grown up through those cartoons. But the place of imaginative power that can grow it more and more is being contaminated by various pirated editions due to the door of cultural isolationism that is ambiguously closed.
    I think we have to believe that our awareness has greatly matured and now change our narrow viewpoint toward Japanese cartoon and furthermore Japanese culture in order to strengthen the competitiveness

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    목차 (Table of Contents)

    • I. 序論 = 1
    • II. 本論 = 3
    • 1. 일본 애니매이션이란
    • (1) 일본 애니매이션의 유래 = 3
    • (2) 만화의 역사 = 4
    • I. 序論 = 1
    • II. 本論 = 3
    • 1. 일본 애니매이션이란
    • (1) 일본 애니매이션의 유래 = 3
    • (2) 만화의 역사 = 4
    • 2. 일본 애니매이션시대의 개막
    • (1) 데즈카 오사무, 만화의 아버지 = 6
    • (2) 만화의 분서 갱유 = 9
    • (3) 영상 시대의 도래 = 10
    • (4) 일본 애니매이션의 시대 = 12
    • (5) 히로시마 국제 애니메이션 대회 개최 = 13
    • 3. 일본 애니매이션의 문화적 접근
    • (1) 이본 애니매이션의 세계적 붐 = 14
    • (2) 애니매이션 속에 숨어 있는 일본 = 16
    • さくら(櫻) = 16
    • 사무라이 신드롬 = 16
    • 승리 지상주의 = 17
    • 12禁, 15禁, 그리고 18禁 = 18
    • (3) 일본에서의 일본 애니매이션 = 20
    • 단순한 만화가 아니다 = 20
    • 만화 중독 증후군 = 20
    • 전문가들의 분석 = 21
    • 일본 만화의 수단적 유용성 = 22
    • (4) 아니메 오타구 = 23
    • (5) 한구에서의 일본 애니메이션 = 24
    • 4. 캐릭터 산업
    • (1) 캐릭터 산업 = 25
    • (2) 시장규모 = 26
    • (3) 캐릭터化 과정 = 27
    • (4) 일본 캐릭터 산업 = 28
    • (5) 국내 캐릭터 산업 = 29
    • 5. 일본 애니메이션의 영향력
    • (1) 긴장하는 세계 = 30
    • (2) 애니메이션 전쟁 = 31
    • (3) 일본 애니메이션과 할리우드 = 33
    • 6. 일본 애니메이션의 현장
    • (1) 일본 애니메이션의 현황 = 34
    • (2) 일본 애니메이션의 경쟁력의 이유 = 36
    • (3) 일본 애니메이션계의 고민 = 38
    • (4) 일본 애니메이션계의 새로운 도약 = 40
    • (5) 그리고 '행방불명'의 열풍 = 43
    • 7. 국내 애니매이션
    • (1) 한국 만화 시장 속의 외국 만화 = 45
    • (2) 애니메이션에 대한 의식(설문)조사 = 46
    • (3) 하청 만화 산업의 자리바꿈 = 48
    • (4) 우리나라의 만화산업과 일본 애니매이션 = 49
    • III. 結論 = 50
    • 參考文獻 = 52
    • ABSTRACT = 54
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