• Proceedings of the Korea Society of Costume Conference
• /
• 2004.10a
• /
• pp.160-161
• /
• 2004

• The Journal of the Korea Contents Association
• /
• v.14 no.12
• /
• pp.618-628
• /
• 2014

A photograph used in a film poster summarizes the story of the film that lasts for around two hours. The image must contain a picture that represents the story and text including the title, with various design elements composed in a harmonious way. However, given that a photograph is the most noticeable element in a film poster, this study aims to examine the function, role, and types of a film poster and analyze poster photographs. Currently, there are companies specialized in photography for film posters, but sometimes recognized photographers are commissioned to take a photograph that will be used for a film poster. Hein-kuhn Oh actively produced such photographs in the early and mid-2000s, and this study deals with 'how the photographs recreate the content of the films' focused on three selected photographs taken by him. Also, There were commonalities found between the tree photographs and Oh's personal portrait photographs, which were then analyzed from the photographic aesthetic point of view. The three selected works are: , , and .

• Cartoon and Animation Studies
• /
• s.47
• /
• pp.241-271
• /
• 2017

Film color is equivalent to other elements of film, including narrative, and has a textual meaning according to the identity of expression. In general, red has a function of focusing attention, and the meaning derived from it is diffused. In the interaction of text and context, the function of concentration and the meaning of diffusion can be presented. The concept of concentration and diffusion is shaped by the relationship between independent colors, colors and other cinematic elements, and interactions between colors. In order to confirm this, this study analyzes a series of popular Korean films, how film colors interact, and in particular, the concentration function of red and the meaning of proliferation. The results of this study are as follows. First, in Korean popular films, at its most basic, red symbolizes a nation, a people, and a nation. The red of nationalism surrounding ethnicity, nationality and country visualizes ideology and conflict. The purpose of an individual or group, the relationship between the offender and the victim is mediated through red. The flag, the name tag, the costume appearing in the film are red. This can be seen in films such as Train to Busan, Assassination, Masquerade, Miracle in Cell No.7, Brotherhood of War, Northern Limit Line, Joint Security Area, Welcome to Dongmakgol, and May 18. Second, the red color attached to the female body fixes or strengthens socio-cultural sexuality and gender. The examples are films like Ode to My Father, The Thieves, The Host, Purpose Of Love, Sunny, Like A Virgin, Forbidden Quest, Untold Scandal, Bewitching Attraction, and Ssanghwajeom. Third, the blood red in Korean films is a visual device that directs magical horror, anger, and asceticism. Such films include The Neighbors, Bunshinsaba, R-Point, A Tale Of Two Sisters, Whispering Corridors, The Uninvited, Thirst, SECTOR 7, Asura:The City of Madness, The Tiger, Veteran, and so on. Fourth, red of tears constitutes the specific emotions such as a beautiful desire and a brilliant tragedy in films like King and The Clown, Oldboy, Memories of Murder, 26 Years, The Attorney, Unbowed, Sympathy For Lady Vengeance, Happy End, Punch, Calling, The Yellow Sea, and He's on Duty.