Abstract

Korean [Sanguozhi] which was published in type printing, are as many as 400 kinds. There are mixed variety text forms: Mo Jong-gang's [Sanguozhi-Yanyi], Yosjkawa Eiji's [Sanguozhi], and korean independent rewriting, annotations etc. In addition, there are lots of [Sanguozhi]'s genres as much as existing genres: many cartoons, movies, animations, radio dramas, plays etc. This thesis intends to consider kinds and acculturation of Korean animation [Sanguozhi]. Okuda Seiji's [Sanguozhi] was aired in KBS. It is widely circulated for English education by Daijongyoungsang(대종영상) Co., however, its standard is very low. Moreover there are Japanese party animation [Sanguozhi] which are Sinano Kikaku's [Sanguozhi] in MBC and [New Sanguozhi] by Bidcom Co. In Korean party animation [Sanguozhi], I pay attention to Kim Cheong-gi's [Sanguozhi] which Go Woo-yeong was adapted. Kim Cheong-gi's [Sanguozhi] generally belong to Yosjkawa Eiji's Party in character's personal history and form conversion because of Go Woo-yeong who was acapted the first part. Nevertheless there are reflected in korean writer's imagination: Go Woo-yeong, Jeong Bi-seok etc. In comparison with Japanese animation [Sanguozhi] which has sensitive, feminine, and unrealistic characters in the main current, it has a few limitations of frame, organization of characters and design. However it is also feature of Korean animation [Sanguozhi] different from Japanese. Korean animation [Sanguozhi] has historical meaning to escape from subcontract country of animation.