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      애니메이션에 나타난 여성 인물의 괴물성 연구 = A Study of the Animated Female Character’s Monstrosity

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      https://www.riss.kr/link?id=A104196118

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      다국어 초록 (Multilingual Abstract)

      The purpose of this study is to discuss the female character’s monstrosity in animation. Unlike live action movies, animation expresses character by visual reconstruction and demonstrates the values or theme directly. Most female characters are portrayed as ‘the other’ on the screen and are portrayed in a role of passive beautiful sacrifice conforming to patriarchal desire. By comparison, the monstrous femininity expressed in a horrible monster appears the form of an assailant by showing a monstrous body and threatening males with her power.
      In The Night Before Christmas and, Corpse Bride, both directed by Tim Burton, and Shrek, Monster vs. Alien from Dreamworks Studio, female characters are shown in monstrous feminine form by the transformation of their bodies. The body of the female character is either described with many cutting fragments or by having an ugly appearance. This is not the beautiful body that males want to see, but a way of expressing her desire through her grotesque body. Moreover, female characters have many desires and Deleuze describes these as being like a ‘Desiring Machine’, because the plurality of their desires can produce various meanings and, since the desires become a ‘Body Without Organs’, it follows that each desire distributes the power.
      The female characters from Tim Burton and Dreamworks, portrayed through animations’, express feminine desire at the boundary of female and monster. Nevertheless, there is a critical point where the desire of the female character are still subordinated to patriarchal society. However, it is meaningful that the possibility of a diverse type of female character is shown by the acknowledgment of this boundary.
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      The purpose of this study is to discuss the female character’s monstrosity in animation. Unlike live action movies, animation expresses character by visual reconstruction and demonstrates the values or theme directly. Most female characters are port...

      The purpose of this study is to discuss the female character’s monstrosity in animation. Unlike live action movies, animation expresses character by visual reconstruction and demonstrates the values or theme directly. Most female characters are portrayed as ‘the other’ on the screen and are portrayed in a role of passive beautiful sacrifice conforming to patriarchal desire. By comparison, the monstrous femininity expressed in a horrible monster appears the form of an assailant by showing a monstrous body and threatening males with her power.
      In The Night Before Christmas and, Corpse Bride, both directed by Tim Burton, and Shrek, Monster vs. Alien from Dreamworks Studio, female characters are shown in monstrous feminine form by the transformation of their bodies. The body of the female character is either described with many cutting fragments or by having an ugly appearance. This is not the beautiful body that males want to see, but a way of expressing her desire through her grotesque body. Moreover, female characters have many desires and Deleuze describes these as being like a ‘Desiring Machine’, because the plurality of their desires can produce various meanings and, since the desires become a ‘Body Without Organs’, it follows that each desire distributes the power.
      The female characters from Tim Burton and Dreamworks, portrayed through animations’, express feminine desire at the boundary of female and monster. Nevertheless, there is a critical point where the desire of the female character are still subordinated to patriarchal society. However, it is meaningful that the possibility of a diverse type of female character is shown by the acknowledgment of this boundary.

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      참고문헌 (Reference)

      1 장미경, "페미니즘의 이론과 정치" 문학과학사 1999

      2 유지나 외, "페미니즘/영화/여성" 여성사 1993

      3 들뢰즈 질(Deleuze, Gilles), "천개의 고원" 새물결 2001

      4 권택영, "잉여 쾌락의 시대" 문예출판사 2003

      5 백문임, "월하의 여곡성" 책세상 2008

      6 라깡, 자크(Lacan, Jacques), "욕망이론" 문예출판사 1993

      7 김진아, "여성의 몸—시각・쟁점・역사" 창비 2005

      8 스탬, 로버트(Stam, Robert), "어휘로 풀어읽는 영상기호학" 시각과 언어 2003

      9 박기수, "애니메이션 서사 구조와 전략" 논형 2004

      10 들뢰즈 질, "앙띠 오이디푸스" 1994

      1 장미경, "페미니즘의 이론과 정치" 문학과학사 1999

      2 유지나 외, "페미니즘/영화/여성" 여성사 1993

      3 들뢰즈 질(Deleuze, Gilles), "천개의 고원" 새물결 2001

      4 권택영, "잉여 쾌락의 시대" 문예출판사 2003

      5 백문임, "월하의 여곡성" 책세상 2008

      6 라깡, 자크(Lacan, Jacques), "욕망이론" 문예출판사 1993

      7 김진아, "여성의 몸—시각・쟁점・역사" 창비 2005

      8 스탬, 로버트(Stam, Robert), "어휘로 풀어읽는 영상기호학" 시각과 언어 2003

      9 박기수, "애니메이션 서사 구조와 전략" 논형 2004

      10 들뢰즈 질, "앙띠 오이디푸스" 1994

      11 서인숙, "씨네 페미니즘의 이론과 비평 : 정신분석학에서 포스트페미니즘까지" 책과길 2003

      12 전재혁, "만화・애니메이션・캐릭터・영상기호론" 만남 2005

      13 이진경, "노마디즘1" 휴머니스트 2002

      14 Laura Mulvey, "Visual Pleasure and Narrative Cinema. in: Feminism and Film Theory" Routledge 57-68, 1988

      15 Creed, Barbara, "The Monstrous Feminine: Film, Feminism Psychoanalysis" Routledge 1993

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      유사연구자 (20) 활용도상위20명

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      학술지 이력

      학술지 이력
      연월일 이력구분 이력상세 등재구분
      2026 평가예정 재인증평가 신청대상 (재인증)
      2020-01-01 평가 등재학술지 유지 (재인증) KCI등재
      2019-08-06 학회명변경 영문명 : Korean Association Of Literature And Film -> The Korean Association Of Literature and Film KCI등재
      2017-01-01 평가 등재학술지 유지 (계속평가) KCI등재
      2013-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2010-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2008-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2005-01-01 평가 등재학술지 선정 (등재후보2차) KCI등재
      2004-01-01 평가 등재후보 1차 PASS (등재후보1차) KCI등재후보
      2003-01-01 평가 등재후보학술지 선정 (신규평가) KCI등재후보
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      학술지 인용정보

      학술지 인용정보
      기준연도 WOS-KCI 통합IF(2년) KCIF(2년) KCIF(3년)
      2016 0.17 0.17 0.2
      KCIF(4년) KCIF(5년) 중심성지수(3년) 즉시성지수
      0.23 0.26 0.491 0.04
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