• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.181-194
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• 2022

between the Action-image and the Affection-image, there is the Impulse-image. IF the aesthetics of the action-image and Affection-image are realism and idealism, the aesthetics of the impulse - image is naturalism. since the impulse-image has traits of action-image and affection-image, naturalism refers to four co-ordinates: originary world/derived milieu, impulses/modes of behavior. In Deleuze's view, the great directors we call naturalists are Stroheim, Bunuel, and Joseph Losey.

• The Journal of the Korea Contents Association
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• v.21 no.12
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• pp.765-790
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• 2021

The affection-image is the close-up of the face with real connections in space-time, or with virtual conjunction, outside spatio-temporal co-ordinates. The close-up can carry its own space-time in background. with deframing and fragmentation, Space itself has left behind its own space-time connection and become any-space-whatever that is the affection-image. The elements of any-space-whatever are the shadows, lyrical abstraction, the colors, the disconnected parts, the empty space. Deleuze examines any-space-whatever through the close ups, fragmentation of space and de-framing in Dreyer and Bresson's cinema.

• The Journal of the Korea Contents Association
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• v.10 no.7
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• pp.169-178
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• 2010

This paper has conducted a theoretical re-inquiry on Gilles Deleuze' thought about Alfred Hitchcock' film based on the image of thought in relation with the concept and theory about film. So, the purpose of this article is to explore that film can acquire the academic significance as a philosophy including an academic denomination of social science and Arts. According to the findings, Gilles Deleuze appeared that A. Hitchcock used the mental-image which can transform the perception-image, the action-image, and the affection-image in film and make the relation including the way which it is developed between character and event. Also, as the mental-image can change the meaning of film, camera is the essence and mental referent. And the mental-image makes the other images a specific frame, permeates into image and transforms it. This paper sets limits to some problems that Deleuze's thought about film generalizes to filmic theory, but has a importance to inquiry new research as a theoretical introspection for the practical discussion about the relation between film and philosophy.

• Journal of the Daesoon Academy of Sciences
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• v.35
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• pp.1-37
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• 2020

In this paper, we investigated the principle of appropriation by which mythology and literature were accepted in the unique religious context of The Canonical Scripture (Jeongyeong 典經). First, we knew that almost all of the gods that appeared in the discourse of Kang Jeungsan (姜甑山) were related to Eastern Yi (東夷) mythology and deeply rooted in folklore. This is because the cultural tendency and historic consciousness of Kang Jeungsan was influenced by Danhakpa (the Danhak School 丹學派). Secondly, when we investigated the acceptance of literature into The Canonical Scripture, we discovered that Tang Poetry (唐詩), Romance of the Three Kingdoms (Sanguoyanyi 三國演義), and Journey to the West (Xiyouji 西遊記) were widely accepted in Kang Jeungsan's discourse. These works were used in diverse ways such as predictions, healing, and meditation. We knew that popular classical work like these were religiously appropriated in the context of The Canonical Scripture. Lastly, we investigated the mechanisms by which mythical and literary imagination was transformed into the Jeungsanist religious movements. Those mechanisms included the magical power of letter and images, sense-cognition of poetry, and the representational ability of mimesis. In conclusion, mythical and literary imagination helped Jeungsanist religious movements gain popularity and spread Kang Jeungsan's soteriology. This is especially true of how it transformed into unique religious techniques which functioned as key elements of the Reordering Works (公事).