Abstract

This paper attempts to critically reconsider the storytelling of the “Ttori Janggun” series produced during the theatrical animation buoyancy. The “Ttori Janggun” series, produced between the late 1970s to 1980s, holds contents that significantly affected contemporary children, along with the “Taekwon V” series. Especially <Tori Janggun – The Third Tunnel> and <Kkomaeosa Ttori>, which represent the “Ttori Janggun” series, illustrate the standards for differentiating between good and evil in the value oriented and the regulatory ruling order of the society at that time. What is more interesting is that these animations request for agreement and approval from the audience. Through this study it was found that there are various political and ideological implications in the process the main character Ttori overcomes the situation of his ‘father’s absence.’ Furthermore, it was possible to indirectly infer, in conscious and unconscious level, the effects on the audience of the children animations with similar characteristics that were released during the production buoyancy of theatrical animation at that time. It is judged that the study on the works of theatrical animation during the period of buoyancy is insufficient in terms of quantity and quality. This paper as well is limited to the two pieces of work that represent the ‘Ttori Janggun’ series. I hope this research on the works representing this period can be proceeded at various angles in the future.