Korean Animation Industry

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Korean Animation Industry was never quite successful until now. Their hard works were not appreciated or recognized either inside or outside the country. The animation industry requires intensive human labor, resulting in competitive business affecting labor cost and pressuring innovative works on animators. Korean animation industry has been continually growing for over thirty years with innovative works, including secondary to subcontract production work for US, Japan, and Europe, such as Simpsons and Batman. There are three stages in the anime production: pre-production, main-production, and post-production. In the past, pre-productions, the storyboard and the main idea of props and characters, and post-productions, the final completion and detailing, were established in the US or Japan, while the main-productions, the actual making of animation, such as the labor-intensive coloring and drawing, were established in Korea with lower cost of production. Korean animation industry has developed from hand-held flipbook to digitalized computer graphic studios that produced most of the work for US and Japanese animation companies, gaining distributions and finding financial successes, and furthermore, progressed from being subcontract laborers to creative, original, and autonomous artists through decades of Korean animator’s experience with respect to historical and cultural circumstances, “in-betweeners,” in-between the global and the national perspectives4. With desperations to overcome poverty and famine, Korea has become the major international producer of animated film, overturning the title from the “giant without a head3” to “the miracle on the Han River.” The Korean animation industry is the new rising Korean wave, golden-market, with numerous global awards, government support, and continuous problems involving intensive labors and creativitiness. Although, in

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