• Cartoon and Animation Studies
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• s.36
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• pp.349-374
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• 2014

The light is the language. Directors have to describe the scene component effectively his intention to configure the scene as an appropriately. After this act of the character, the layout of the props and scene lights will enter to the scene components. Those things help to audiences can understand narrative of work and emotion that producer want to send. Expressing their emotions especially using the lights by adjusting the colors and contrast makes audience to concentrate on work and understand naturally. This lighting technique clearly appears on early year theaters stage of England and Rembrandt's paintings. Properly dividing and controlling the lights dramatically increases the beauty of the work elements to express a variety of emotions such as worries and fear. Therefore, it can be evolve depending on director's intent of using lights on his work. Lights can increase involvement of human emotion through basic features that cognition of object, visualization of space-time and by artistic method in the product. This study will examine the role and how to use lighting to express the proper sentiment based on the narrative of the work. Making research named "Lighting Research of 3D animated film which applying light features to express emotion" previous study and have to combine emotional vocabulary and emotion-based theory for classifying the emotional language that can be applied on 3D animation. And choosing most emotional scene from 3D animation for analyze how they used lighting to expressing emotions. Directors trying to show up about the light role through light method that matched perfectly with an emotional language. Expecting this research work of directing 3D animations light for expressing emotional feelings will be continue successfully.

• The Journal of the Korea Contents Association
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• v.13 no.6
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• pp.77-85
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• 2013

This study aims to analyze the effects that video image in Seo-an's , claiming to China's first gigantic historic dance drama, has on the performance; it focuses on investigating which video image is used to accomplish the effects in showing specific themes and materials in . Image is meant by 'reflection of object', such as movie, television, dictionary, etc, with its coverage being extensive. The root of a word, image', is founded on imitary, signifying specifically and mentally visual representation. In other words, video image is considered combination of two synonymous words, 'video' and 'image'. Video is not just comprehension of traditional art genre, like literary value, theatrical qualities, and artistry of scenario, but wholeness as product, integrating original functions of all kinds of art and connecting subtle image creation of human being. The effects of video image represented in are as followings; first, expressive effect of the connotative meaning, reflecting the spirit of the age and its culture. Second, imaginary identification. Third, transformation scene. Fourth, dramatic interest through immersion. Last but not least, visual effect by dint of dimension of performance.

• Journal of the Korean Society of Costume
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• v.33
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• pp.143-156
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• 1997

와관과 실체의 갈등은 문학작품의 주제 중에서 가장 보편적이면서도 복잡한 양상을 지니고 있다 희곡 Macbeth에 있어서 이주제는 Shakespeare의 어느 작품에서보다도 핵심적인 역할을 하며 특히 외관과 실체의 주제를 시각적으로 보여주는 복식이미저리는 그의 주제를 상징적으로 나타내는 데 효과적일 뿐만 아니라 극적 분위기 창조 및 무대사에서배우들의 의상변화로 인한 시각적이미저리 효과를 극대화 시키고 있다 본 연구의 목적은 Macbeth에 내재된 복식 이미저리를 고찰하고 이를 가장 최근에 공연된 macbeth의 무대의상에 적용 분석함으로써 무대의상 제작시 복식 이미저리의 효과적인 무대적용 여부를 파악하는 것이다.연구의 방법은 먼저 이론적인 배경으로 희곡 Macbeth의 본문을 분석하여 복식이미지저리와 관계된느 대사 및 지문 등을 추출한 다음이를 하나의 케이스 연구대상으로 선정된 1996 RSC극단 공연의 Macbeth 무대의상에 적용하여 분석 고찰 하였다 본 연구에서 얻어진 결론은 다음과 같다 첫째 자신의 실체를 파악하지 못한 인물이나 혼동하는 인물은 자신의 신분에 맞지 않은 남의 의상을 적응기간조차 없이 착용함으로써 결국은 자신을 파멸로 몰고가는 복식 이미저리가 제시되어 있었다 둘째 자신의 실체를 분명히 지각하고 있는 인물들은 새로운 복식이나 신분에의 적응은 많은 시간과 노력을 요한다는 것을 매우 잘 파악하고 있었으며 이것은 그들의 대사 중에 구체적으로 제시되어있었다 1막1장의 Banquo 의 대사 중에 나오는'새로운복식'과 '새로운 신분'에 비유 2막 4장의 macduff의 대사중에 나오는 '새로브'와 '헌로브'의 비유 5막 2장의 Caithness의 '자제력의혁대'등의 비유는 복식이미저리의 구체적인 표현으로 분석되었다. 셋째 복식 이미저리의 측면에 1996 RSC의 Macbeth 무대의상을 분한 결과 이의상들에는 '난쟁이가 훔쳐 입은 거인의 옷' 으로 대표되는 복식 이미저리가 직접적으로 제시되지는 않았지만 공연전체를 통하여 무대장치 및 의상에 변화를 주지 않음으로써 이 작품의 초시한성과 복식이미저리를 오히려 역설적으로 표현하고 있는 것으로 파악되었다. 따라서 이공연의 의상 계획은 복식 이미저리의 역설적인 한 표현으로 분석되었으며 관객에게 등장인물의 외곤은 그 실체를 그대로 반영한다는 Shakespeare 본래의 의도를 잘 보여주는 의상계획으로 파악되었다 이러한 결과는 Shakespeare극의 무대의상 디자인 및 제작시 무대의상이 단순한 무대의상 그 이상의 의미로 고려되어져야 함을 보여주며 이는 관객에세 의미 깊은 메시지로 전달될 수 있을 것으로 사료된다.

• Science of Emotion and Sensibility
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• v.11 no.4
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• pp.541-552
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• 2008

We cannot express emotions correctly with only speech because it is hard to estimate the kind, size, amount of emotions. Hamlet who is a protagonist in 'Hamlet' of Shakespeare has emotions which cannot be expressed within only speech because he is in various dramatic situations. So we supposed an artificial emotion, instead of expressing emotion with speech, expressing and visualizing current emotions with color and location. And we visualized emotions of characters in 'Hamlet' with the artificial emotion. We designed the artificial emotion to four steps considering peculiarities of emotion. First, the artificial emotion analyzes inputted emotional stimulus as relationship between causes and effects and analyzes its kinds and amounts. Second, we suppose Emotion Graph Unit to express generating, maintaining, decaying of analyzed one emotional stimuli which is outputted by first step, according to characteristic. Third, using Emotion Graph Unit, we suppose Emotion Graph that expresses continual same emotional stimulus. And we make Emotion Graph at each emotions, managing generation and decay of emotion individually. Last, we suppose Emotion Field can express current combined value of Emotion Graph according to co-relation of various emotions, and visualize current emotion by a color and a location in Emotion Field. We adjusted the artificial emotion to the play 'Hamlet' to test and visualize changes of emotion of Hamlet and his mother, Gertrude.

• Cartoon and Animation Studies
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• s.39
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• pp.451-472
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• 2015

Lian Huan Hua(連環畵) has occurred in the history of China Cartoon was initially developed as a unique literary style of Chinese painting and narrative combined. Also Lian Huan Hua are also tend to form once the fusion 1920s was also a very creative fashion cartoon style. This is also referred to as chain cartoon. In 1950-1960, China 's Lian Huan Hua also mature a 'golden age' legal group reaches to indicate the unique formal features developed independently. This work is a dramatic expression of Lian Huan Hua narrative, shows a more realistic representation techniques and art forms such as portraiture is a very big breakthrough was achieved artistic maturity of the work increased significantly. by He You Zhi(賀友直) and by Hau San Chuan(華三川) is a masterpiece of artistry and maturity in the period leading side. Chapter 2 looked at the origin and development of Chinese Lian Huan Hua, it was seen by the fact that China achieved new progress in Lian Huan Hua upset every time the combination of content and form, In addition, the work of 1950-1960 in the development process of China's Lian Huan Hua confirmed the fact that they won the biggest achievement in artistry and maturity surface. Therefore, Chapter 3 how 'golden age' masterpiece of and the dramatic narrative of expression by analyzing a specific angle in the multifaceted image of the , realistic portraiture, such as the acquisition of Chinese concrete artistry Lian Huan Hua I want to show. Analysis of the figures depicting nature, landscape screens. consisted of highlights and background and techniques of utilization, production methods. The purpose of this research work is to identify two conditions of great Lian Huan Hua through analysis of concrete work and painting techniques such as framing and directing the Lian Huan Hua's artistic achievements is to investigate the influence of China in the early comics. These two works are focused on a realistic view of life and put out was to create a more effective representation of information it attempts to pass a new production techniques and will have the significance. Also completed was a new style absorbed throughout the aesthetic advantages are compelling own personality writers of Eastern and Western paintings are remarkable in that its performance. But the difference in the two works represent all types and painting techniques has a the mood of common China's lives.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2009.11a
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• pp.111-114
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• 2009

멀티미디어(Multimedia) 시대에 있어 메시지(Message)를 통한 사회적 상호작용, 즉 커뮤니케이션 (Communication)은 시각적인 요소, 색채, 형태, 시간, 움직임 뿐 만 아니라 청각적인 요소도 메시지를 전달하는 표현요소로 자리 잡고 있다. 왜냐하면 시각이나 청각 어느 하나만으로 메시지를 전달할 때보다 시 청각을 조화시켜 메시지를 전달 할 경우에 인지도가 훨씬 높기 때문이다. 그리하여 본 연구는 영상 커뮤니케이션이 가지고 있는 시 청각적 요소들의 연관성을 찾고자 하였다. 오늘날 TV 이나 영화 인터넷 등등의 멀티미디어에서 우리는 정보전달과 설득의 영상 메시지들을 쉽게 접할 수 있다. 그 중에 특히 영상메시지의 역할을 극적으로 나타낼 수 있는 광고영상에 속한 시각적 요소 타이포그래피와 청각적 요소 사운드를 통해서 시 청각적 요소의 연관성에 대해 연구하였다. 먼저 다양한 광고영상을 소구방법과 내용에 따른 분류를 통해 분야별로 나누고 그 분야에 따른 시 청각요소의 사용 빈도와 유형을 조사하였다. 타이포그래피는 전달방법에 따라, 사운드는 사용 유형에 따라 나누어 빈도와 유형을 조사하였다. 영상의 시각요소와 청각요소의 적절한 사용이 수용자로 하여금 선호도 및 인지도에 높은 효과가 있다는 분석 결과를 가지고 국내와 국외 광고영상의 시 청각요소의 분포도를 조사, 분석하였다. 그리하여 향후 효과적인 영상 커뮤니케이션의 역할을 하기 위해 시 청각요소의 연관성을 고려한 효율적인 광고영상 제작방향을 제시하고자 한다.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 1991.04a
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• pp.53-56
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• 1991

산업구조의 급속한 발전과 공업화는 사회구조의 변화 및 대도시로의 인구집 중, 고밀도화, 교통량의 증가를 초래하여 이로부터 기인한 도시지역의 환경 오염 문제는 쾌적한 인간생활을 위협하는 단계에까지 이르렀다. 그중에서 소 음에 관한 문제도 대기 및 수질의 오염과 동시에 도시생활 환경에 많은 영 향을 미치게 되었다. 도시 소음의 주 원인은 주로 도로교통소음이며 이는 기 하급수적으로 늘어가는 자동차의 양에 의해 더욱 심해지고 있다. 따라서 현 재 우리나라에서도 주거지역 및 준주거지역 등의 지역별 소음도 규제 및 신 설되는 공동주택 단지에서의 소음레벨규제등이 있긴 하나 이들은 상당히 소 극적이며 미온적일 뿐 아니라 실제 거주하는 주민들의 반응과는 상당한 차 이를 보이고 있으며 더욱이 주민의 소음에 대한 주관적 반응을 적절히 표현 할 수 있는 지표마저 명확하지 않은 실정이다. 이러한 관점에서 본 고찰에서 는 피험자들의 주관적 반응을 실험할 때 발생하는 변수요인들을 통제 할 수 있는 실험 실시행 청감실험을 실시하기에 앞서 대상지역의 도로교통소음을 여러가지 평가척도에 의해 평가한 후 그 현장에서 이 소음에 노출된 피험자 들의 반응을 파악하여 청취자들이 인지하는 소음레벨을 적절히 평가하는 지 표를 찾고자 한다.

• Archives of design research
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• v.13 no.2
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• pp.87-94
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• 2000

The industrial design in American sense has never been the design movement for socio -cultural change, nor the organized plan for man-made environment. It has been an efficient tool to modify machine and gadgetry into dream products for American people, and at best, to express its futuristic images. In fact, its real function is to expand sales volume and contribute manufacturers profit. The potential market of mass consumption has been led by the technological achievement from the parts changability to automatic assembly line has been combining with industrial design function. Industrial designers in this nation have grown under the circumstance and become design stars of the 20th century.

• Journal of Fashion Business
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• v.28 no.5
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• pp.109-123
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• 2024

This study explored characteristics of Camp style as presented in the musical The Rocky Horror Show, analyzing its symbolic meanings through the lens of Greimas' semiotic square model. Camp style, known for its exaggerated expressions, irony, and fluid gender representations, plays a central role in challenging traditional gender norms and cultural binaries. This study begins by outlining the significance of The Rocky Horror Show in musical theater and pop culture, highlighting its impact on fashion and art. Through character and costume analysis, this paper examined four key features of Camp style: symbolism, gender fluidity, playfulness, and theatricality. The semiotic square model was applied to deconstruct complex relationships between these features, particularly focusing on contradiction and opposition. Research findings demonstrated how Camp's symbolic elements in costume design interacted with the narrative and character identities to convey deeper cultural and social meanings. This analysis provides insights into how Camp style functions as both a visual and cultural critique within the framework of the musical.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.7
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• pp.518-528
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• 2016

It seems like many songs have the tonality of one key in jazz standards, but there are many cases in which more than one new key could be formed, despite being a short moment. Moreover, some songs contain keys of temporary changes many times in the event that keys are changed transitionally with the sequencing of cords many times, which is called 'Transitional Modulation with Sequences. The proceeding II-V-I of the major and minor keys are used as the sequencing of cords, and the most popular type in this sequencing pattern is the downward modulation in whole-steps or half-steps. The downward modulation in the interval of whole-steps is a useful technique; for example, there should be three compositions in the adjacency circumstances when it is used twice. We could express effectively a phenomenon that feelings go up to the climax and rapidly fall down. The downward modulation in half-steps must be more dramatic because a higher comparative aspect is made between the adjacent two keys.