Browse > Article

Research in Off-Screen Space and Cognitive Psychology  

Wang, Zhen-Xing (동서대학교 디자인&IT전문대학원 디자인학과)
Kim, Dong-Hyun (동서대학교 디자인학부 영상디자인)
Publication Information
Journal of Korea Multimedia Society / v.13, no.2, 2010 , pp. 341-347 More about this Journal
Abstract
The off-screen space openness of the movies converted a unilateral communication, which films have made audiences understand with, into an interactive communication. When the spectators see a movie, the off-screen space will be able to take out their positivity and induce their deep thinking. They won't accept information of the screen by manual operation but will participate in the narrative stories of the cinemas, thinking about the reality. In the paper, it shows that the motion pictures, which Jean Renoir and Michelangelo Antonioni produced, consist of the expressive forms of the off-screen space as well as a human has the ability sense, feeling, perception and memory associated with interacting between the off-screen space and audiences.
Keywords
Off-Screen Space; Cognitive Psychology;
Citations & Related Records
연도 인용수 순위
  • Reference
1 安德烈巴贊著, 電影是什么, 江蘇敎育出版社, 2005.
2 Allen and Unwin, Production Videos: A complete Guids, AFTRS, 1996.
3 馬賽爾馬爾丹, 電影語言, 中國電影出版社, 1992.
4 쉬잔 엠 드라코트, 들뢰즈:철학과 영화, 열화당, 2004.
5 김시무, "인지주의 영화기호학의 가능성과 한계," 한국영화학회영화연구, 제17권, 제23호, pp. 64-103, 2004.
6 鄭國恩, 電影攝影造型基础, 中國電影出版社, 1992.
7 민병록, "미켈란젤로 안토니오니의 공간구성에 관한 연구," 한국영화학회영화연구 제15권, 제20호, pp. 139-160, 2002.
8 D. Bordwell and K. Thompson, Film Art: An introduction(4th ed), McGraw-Hill, 1993.
9 질 들뢰즈, 시네마 I 운동-이미지, 시각과 언어, 1983.
10 뱅상 아미엘, 몽타주의 미학, 동문선, 1997.
11 나카노 하지무, 공간과 인간, 도서출판국제, 1999.
12 로널드 보그, 들뢰즈와 시네마, 동문선, 2003.