Cultural review: Cultural Critic Choi Chul-joo's Imagination Culture-The Limits of Visual Cultural Viewing /
Cartoon design review on the Musical Sound of Shinichiro Watanabe's TV Animation "Cowboy Bebop", Japanese TV. Tokyo(1998)
Cowboy Bebop1 front cover, 2002
Cowboy Bebop1 1p, 2002
Cowboy Bebop1 3p, 2002
Limits of Visual Culture
Cowboy Bebop's sound attracts images set by cartoons into animation.
Director Shinichiro Watanabe's Bebop is excellent in combination with live-action sound music that matches the action image of the character and the narrative image.
He makes one episode into action-tailored background images, giving his eyes to the distinct story that matches the action, making the character image of the character stand out like the background image of a live action.
It was the 1998 animated Cowboy Bebop series that he produced and directed several episodes.
Japanese cartoon images use graphic designs made through the industrialization process to create bibimbap sounds that focus on the background of cartoon images and the realistic form of objects in order to focus on animation compared to cartoons based on the popularity and profitability of animated films.
Director Shinichiro sets Bebop's main character, centering on bounty hunter Spike, as the main character of the story, Fay and Jet, whose Spike has the right ability to solve the case, and Ed, who assists them. He made stories with fictional Bebop characters who hunt wanted men in space with a bounty from the 2070s.
In the first story, "Asteroid Blues," Spike runs a case of chasing a runaway lover.
In the process of solving the case, Spike plays a Chinese martial art that was in vogue in the past, wearing poncho and smoking cigarettes like Clint Eastwood, the main character of the western film.
Through the action, "Bebop" offers an epic structure featuring virtual trends and visual images of future cultures that coexist with trendy characters of the past.
This gives us a glimpse of human life, compassion, and future culture in the epic space of the coming future.
Animation assimilates characters and moves viewers' hearts by allowing them to see comic scenes in a row with their eyes.
It puts air into a flat cartoon space to create realistic movements as a virtual three-dimensional structure, and creates sounds of contemporary cultural phenomena in space.
He is a sound that emphasizes the meaning of Honda Masato's saxophone performance, the sound of conflict, and the meaning of human situations suitable for animation styles similar to actual movements, and the sound of Kanno Yoko's OST music is inserted into Bebop.
Thus, the composition of the successful animation, which links the image and meaning of Bebop, is Yoko's music as a sound effect.
Yoko's OST (1998) quickly conveyed the concept organized by Bebop as an excellent effect of reenacting the action of Bebop rather than the suspicion of plagiarism.
The effect of her plagiarism allegations leads to dramatic life developments that justify the fair use of the production process of cultural works in future cultures.
In 2009, the Computer Program Copyright Protection Act was incorporated into the Computer Program Copyright Protection Act as a cultural industry media to give rights to authors, rewrite and use them
In the computer visuals of Bebop (1998), the meaning structure of a double line that matches Dramatic lines with music has made Bebop a successful animation.
Her sounds are exposed to the surface like background compositions suitable for characters and actions, allowing her to immerse emotions in the shape of visual semantic structures, which can infer the concept of scenes that move the viewer's mind.
In this way, Yoko's music naturally creates a spatial effect of emotional sounds in which computer visuals and characters interact with each other, with sounds suitable for psychologically structured characters and background composition in unrealistic spaces.
When the emotional sound as a human work is freely used by electronic robots with artificial intelligence (AI), the human role in animation will be retroactive to drawing cartoons.
But Yoko's music communicates with possible electronic computer space, from cartoon images to cinematic processes of animation production.
This space is seen as another future of the Earth itself in the structure of human desire and death, with the 1998 Earthman unchanged from the life of the 2070s.
It began in 1963 with “Atom”, featuring an AI robot, the first animation of Fuji TV in Japan.
Cowboy Bebop is a combination of animation techniques limited to the complex structure of the century-end Atom Story and mechanization capabilities, or music suitable for spaces where electronic humans and robots share information about visual networks.
It reveals the human behavior of the Bebop characters against objects that do not reveal unconscious desires.
In the 17th episode of Mushroom Samba, Ed and his dog Ahin appear as team members looking for food.
After many twists and turns, Spike, who ate the mushroom of hallucinations brought by Ed, Ahin, climbed the endless stairs, Pei swam deep in the sea, and Jet had an unknown conversation with the tree.
In this way, the main characters of Bebop create a virtual computer space for future culture, a scene that copies the reality of objectless imagination into one action.
This is an unrealistic action in which the unconscious desire hidden in the object realizes the repetition of solidarity with the past different from the other future, and the object communicates with the main characters of Bebop as the presence of desire.
And the desire of the bebop protagonists and their coexistence with future space form contemporary popular culture and destroy exclusive sociality.
Cowboy Bebop 1 31p, 2002
Cowboy Bebop 1 137p, 2002
The comic book Cowboy Bebop (1999), which depicts the image frame and speech bubble of a scene as a symbol in story text, is a storyboard composition of the animation "Cowboy Bebop.“
This is a symbolic sign of Manga's intention, and it is objectified to interpret symbolic pictures and letters as symbols of the concept and emotions of objects, just like the storyboard of Bibap Annie, which is made by putting a speech bubble in a picture compartment.
And in order to find a comic logic, it realizes the symbolic ideas of comic thinking, such as Peirce's Pragmatism.
It portrays the object as a symbolic symbol, just like the symbol of Peirce, which separates the image of the target with a symbolic icon and an interpreter.
The unique effect of Bebop Annie on objects expressed in symbolic images is a fitting composition for the main characters of Bebop caused by an attempt with emotional sounds tailored to the level or sounds inspired by action beyond real life.
It is a symbolized character, painting and sound that conceptually transforms the animation image of the target.
The character of the object and the image of the picture are similar, but the virtual sound is symbolic.
The image can't produce sound, so it can't speak meaning as a visual character.
Here, sound is a conceptual image to observe the main characters.
This is a symbolic icon image of the main characters of Bebop, in other words, it is a sound in which characters and painting's image have been transformed into concepts.
Bebop's musical sound becomes a symbolic icon different from its object by comparing the real object with its virtual story.
At this time, the sound makes us realize that it is music that shows the desire of a other who is separated from the object as a real object.
As a new media medium, Bebop's sound creates a virtual story through its combination with a virtual image and conceptualizes non-realistic sound from a other's desire point of view.
The concept of sound goes beyond Animation's non-realistic image. And as a conceptually visible domain from flat cartoon to animation, it creates an image created by the desire of a other.
The subject of visual images overlaps with the illusory visual area of others created by the positioning of subjects, and the image is fixed.
And the area of the other person's gaze, which adjusts the illusory image, appears to form another visual future culture's current image.
This is the limit of visual culture in which the subject of the present space as the past creates the shape as the subject of the future image and aligns the shape with the present.
So the future culture changes the shape of the space, like the bebop of another future space separated from reality, through the introduction of a new sound that starts with a reproduction of a virtual story,
the main body of the shape stops the time of the image when the combination of images tells the visual reason, but goes beyond the limits of visual culture where time and awareness have awakened to capture the sound momentarily.
■ Culture critic Choi Chul-joo (Doctor of Design) profile:
He entered the Culture Department of Seoul City Hall and planned the establishment of the Seoul Cultural Foundation. He was a researcher of the Cultural Planning Board, a member of the Cultural Committee, an evaluation committee of the Seoul Metropolitan Government's literary and arts support project, and a senior member of the City Hall's Cultural Information Archive.
He was a curator and citizen art instructor at the Seoul Museum of Art, curator of the Busan Museum of Art, curator of the Hansae Museum at Pusan National University of Education, and director of the J&C Institute of Art Jang Hye-sook.
Presently, he is an artist promoter, culture, art, design, photo and cartoon critic, news Busan culture reporter, cartoon designer and BICAC's steering committee member.
in one's book:
There are about 40 books on culture, art, design, photography, and cartoons, including 'A Study on Development of the Railroad Space of the New Concept as the Cultural Space'(2019), the Korean Contemporary Art Review (2018), the Korean Contemporary Design Review (2018), and the Lakang Design Methodology (2018), the Stage Design (1997).
