• Cartoon and Animation Studies
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• s.5
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• pp.517-524
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• 2001

인간의 내면에 숨어있는 양면성을 주제로 그 양면의 극적인 대조를 이용하여 인간의 고뇌를 그리고, 타이포애니메이션을 이용하고 영상과 사운드의 접목을 통하여 인간내면의 갈등구조를 그리고자 했다. 겉으로는 일상적으로 반복되는 생활이 평화스럽게 보이지만, 인간의 내면에서는 항상 갈등이 존재함을 한 방울씩 떨어지는 반복적인 물방울 소리와 영상, 그리고 다듬이질 소리를 이용해 다들이질 치는 심장박동을 표현함으로써 대신하고자 했으며, 이와 더불어 극적인 타이포애니메이션을 구현하고자 했다. 인간내면의 갈등구조, 화면의 스크레치와 노이즈의 표현으로 이를 더욱 심화하고, 흑과 백, 그리고 맑은 영상과 비트있는 사운드를 통한 평화스러움과 인간내면 갈등구조에서 고뇌하면서도 평화스러워 보이는 한 인간의 속내를 표현하고자 했다. 인간내면의 갈등이 존재함에도 불구하고 평화스러워 보일 만큼 일상에 젖어 인간본연의 가치를 쉽게 잊고 살아갈 수도 있는 인간의 양면성, 급속한 변화를 담고 있는 현대사회 구조에 적응하여 살아가면서 느껴야 하는 무기력, 반복적인 생활, 획일화되는 사람들, 그러면서도 어쩔 수 없이 존재하는 내면의 갈등구조, 이 모든 것을 짧은 영상물에 담기에는 한계가 있으나, 어떤 결론을 만들어 제시하는 것이 아니라 상황의 표현에 중점을 두고 작품을 전개하려 했다.

• Cartoon and Animation Studies
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• s.9
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• pp.143-160
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• 2005

This study was performed on purpose to consider the charade function of props in directing animation. The prop is gradually expanded its role and scope in modern animation. Its scope covers dramatic factors, creating and changing characters, the means of psychological description or emotional expression, mise-en-scene, montage, creating products etc. Like this, the prop has an important function emotionally or indispensably in human life. Thus, the prop should be a subject that can speak to audiences or viewers, not worthless and silent subject. Hence, the prop should be recognized as a charade having productional function. Nevertheless, the prop has been unnoticed up to now. The function of props should be valued hereafter. The prop itself is meaningless, but it always speaks to audiences on the screen.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.101-110
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• 2019

Filmic spaces are not only a core expressive factors that can embody both internal and external meanings of films, but also play an important role for initiating dramatic context in terms of narratives. They establish visible environment in which provocative incidents occur and characters' behaviors are induced, include characters' psychology or emotional meanings of narratives and provoke tensions through symbolic meanings and the implicit function of surface background. This paper, therefore, analyzes the film, , by focusing on the dramatic function of narrative space. This film provides insights and thoughts through deep philosophical reflection, by escaping from the convention of such a genre, through deep philosophical reflection, by escaping from the convention of such a genre, though it belongs seemingly to the crime thriller genre using Mexico's drug cartel as it main material. In the film, narrative spaces are responsible for emotions invoking dramatic tensions beyond provocative incidents and the elaborately planned and controlled mise-en-scene absorbed audiences' attention by organizing ultimate suspense. In conclusion, flow and dramatic lingering imagery of this film might be achieved by power of scenes rather than plot factors. This study thus explained the correlation between narrative spaces and dramatic immersion, by analyzing spaces appearing in and visualized construction. It is hoped that this will further extends the pattern of researches on dramatic immersion, which have been primarily focused on plots and characters.

• Proceedings of the Korea Contents Association Conference
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• 2012.05a
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• pp.45-46
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• 2012

본 논문은 '사실주의' 계열영화에 나타난 극영화 촬영기법을 파악하여 내러티브의 극적표현과 시각적 연출법을 분석해 보는 것이 연구의 내용과 목적이다. 이는 한국영화역사라는 큰 흐름 안에서 촬영기법의 변화를 진단해 보고, 촬영자의 주요 표현수단중의 하나인 구도기법이 현대영화에서 어떻게 적용되고, 관객의 감정이입을 유도하는지를 탐구해 본다. 이는 현대예술영화에서 다루는 인간소외와 고립, 내적갈등의 문제들을 시각적으로 어떻게 형상화하고, 상징화하느냐의 방식과 그 중요성을 인식하는 것을 의미한다.

• Annual Conference of KIPS
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• 2006.11a
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• pp.285-288
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• 2006

우리는 매일 다양한 미디어를 접하며 산다. 서로 다른 미디어는 서로 다른 특성의 정보를 표현 하고 있다. 신문과 잡지가 다르고, 잡지와 책이 다르며, 책과 TV 가 다르며, TV 와 연극이 다르다. 다른 특성의 정보를 다른 구조로 표현하고 있는 것이다. 미디어는 물질의 원천인 에너지와 표현하고자 하는 정보로 구성되어 있다. 따라서, 미디어는 긍극적으로는 정보와 에너지의 기본적인 관계에 의존적이다. 에너지의 구조는 그 에너지의 정보이다. 정보의 관점으로 보면, 정보는 에너지의 구조로서 표현된다고 할 수 있다. 구조적 차이는 정보의 차이를 의미하고, 정보의 차이는 구조의 변화를 요구한다. 거시적인 관점에서 보면, 구조적 구성 능력을 달리하는 미디어들은 서로 다른 정보를 표현하고 있다는 의미이다. 또한, 정보는 또 다른 정보를 만들어 낼 수 있고, 측정될 수 있다. 측정의 자로서 정보의 넓이, 크기, 복잡도를 정의하였다.

• Proceedings of the Korea Contents Association Conference
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• 2005.05a
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• pp.70-73
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• 2005

In the Racing game, the improvement of the motion of 3D object is necessary for a dramatic scene of 3D objects. In this paper, for the efficient dramatic scene, we applied the method of the static and random of the motion of 3D.

• Cartoon and Animation Studies
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• s.25
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• pp.65-85
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• 2011

In this essay, Japanese animator Kihachiro Kawamoto's works will be analyzed. Kawamoto made Breaking of Branches is Forbidden in 1968 and was famous for puppet animation as The Demon(1972), Dojoji Temple(1976) and House of Flame(1979) used Japanese traditional elements in his works. The themes are the agony and despair of a human being, and the narrative is developed dramatically. This is possible through a variety of techniques in animation expression. For example of this are the movement of the puppets and the lighting. In the case of Kawamoto's works, above all, it can be said that the dramatic development depends on editing - the relation of each shot to the next shot. Therefore, this analysis will focus especially on the editing of The Demon, Dojoji Temple and House of Flame. Kawamoto's method of editing will be examed and the analysis will confirm that classical continuity edting by controling space and time has been used. Namely that the effect of editing enhances dramatic development of the narrative on Kawamoto's works. This study will also discuss the benefit of using cinematic methods of in animation. Eventhough it is not essential, Kawamoto chooses cinematic method editing. Through their use, he is able to absorb the audience in the traditional Japanese world which ordinarily could be too difficult to understand through puppet animation.

• The Journal of the Korea Contents Association
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• v.14 no.11
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• pp.611-619
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• 2014

The purpose of this study was to examine the technique of modal changes and its performance effect in Manjeong Kim, So-hui's pansori "Chunghyangga" at the portion of jungmori. It is because Manjeong-style "Chunghyangga" effectively presents dramatic scenes, role changes and emotional variations through modal changes of pansori. In this study, such two songs as and in jungmori were examined and study findings are as follows: Modal changes always reflected dramatic scenes, role changes, situational alterations and emotional variations. In addition, all the transpositions of the two songs were related to geunchin-jo and euddeumeum-jo. In , the technique of modal changes was intensively used in the latter half of the song, whereas in , it was used from the middle portion of the song. All of these uses of modal changes resulted in an excellent performance effect, which was musically expressed in order to discriminate it from the portion of role changes or explanations.

• Cartoon and Animation Studies
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• s.14
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• pp.65-82
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• 2008

The animation is expressed by fusing the character's aesthetic feature and action in the entire structure and such creation of the character is needed to approach with understanding its socio-cultural background and dramatic structure. This study has started for the reason that there is a need of making an animation character based on reality, as well as to develop a individual character and narrative skill at the same time. In this study, analyzing through the DSM-IV (Diagnostic and Statistical Manual of Mental Disorders) by the American Psychiatric Association, APA), I have been able to come to a conclusion in which the character's personality is presented more exaggeratingly than its ordinary tendency. So it is used as a means to occur a dramatic motive-induction and probability. Futhermore, applying the same condition of the personality disorders to the animation character has changed the narrative development and it showed a result that even the character is not having the problem of personality disorders, it shows the nature of personality disorders-like is being appeared exaggeratingly or increasingly.

• Cartoon and Animation Studies
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• s.36
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• pp.1-17
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• 2014

The purpose of this study was to identify ironic characteristics that appear through ironic reversal in formal aspect and foreshadow structure examined through the progression stage of irony within the narrative structure in contents aspect. This study is intended to research how ironic expressions is embedded in latest full-length animation created by major animation production companies in America, such as PDI Dreamworks and Pixar. As identified in this study, the irony can be defined into two categories. First, Irony appears dramatically in a last scene through the process of prediction and implication after setting up a situation. It delivers laughter as it is mainly used to portray characters or to set up backgrounds for incidents. Secondly, foreshadow that appeared in the early part of animation in relation to irony was revealed with a surprising twist with the cause-and-effect relationship in the middle or end of the play. The irony strengthens dramatic elements and was used to make the story richer. By analyzing two american full-length animation films, various consecutive ironic expressions in narrative, which is the reversal irony in continuous scene or irony used with foreshadow were identified.