러시아 애니메이션 산업의 콘텐츠로서 동슬라브 신화

다국어 초록 (Multilingual Abstract)

Russian animations are now remarkably breaking away from their previous tendency to borrow stories and characters from foreign fairy tales and myths and instead have begun to imprint national narratives not only on children but also on adults by placing stories and characters inherited through national and cultural memories at the center of the subject. Among them, paying special attention to East Slavic mythologies and folktales is the most prominent trend in the Russian animation industry at present.
While the history of Russian animation began with scientific exploration and artistic experimentation, the industrial development of Russian-Soviet animation certainly began with ‘Soyuzmultfilm’ as a response to the need for establishing an infrastructure for ‘Soviet animation’ against Walt Disney animation. Amid concerns and self-analysis of the reality of Soviet animation, which had lost its unique colors and traditions and had fallen into being Disney imitations, Soyuzmultfilm gradually recreated characters and spirits from Eastern Slavic myths and folktales as the unique contents of Russian animation.
In particular, ‘Melnitsa’, an animation studio that was established in the mid-1990s, is a leading company in the Russian animation industry. Distinguished by its exploration of East Slavic mythology and folktales, ‘Melnitsa’ Studio is creating a revival of Russian animation that does not lag behind the box office of Disney and other foreign animations. Including the ‘Three Bogatyrs’ series, Melnitsa Studio’s animations, which set East Slavic mythology and folktales as for their own contents, were paradigm-shifting works that made ‘Russian’ animation globally successful. The ‘Three Bogatyrs’ series, which began in 2004 and currently has produced up to 10 films, has led the trend of returning to Russian heroes and East Slavic myths throughout the Russian animation industry. Conveying old stories about the heroes of East Slavic mythology and folktales in a new way, the ‘Three Bogatyrs’ series is characterized by way of de-heroization, reflecting the change in the public’s emotions and needs. The fact that this de-heroization strategy was very accurate was proved by the unprecedented success and popularity among the wide range of audiences in ages and generations.

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