• The Journal of the Korea Contents Association
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• v.10 no.4
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• pp.123-132
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• 2010

Beginning in 1990's, 3D filmmaking reappeared. As almost every job in filmmaking is digitalized, 3D takes advantage of its new software and hardware, and digital friendly customers as well. One reason why Korean cinema should take 3D seriously is that it can resolve the old and tough problem of unemployed human resources in film production. Another reason is the cooperation programs in which universities and 3D companies can join. 3D cinema can create new cinema goers who don't belong the regular viewer. The totally new experience of 3D can bring people to the movie theaters, and this will add up the total movie customers that expand the whole film industry. The newly designed 3D also could take care of piracy of movie file uploading and downloading through internet. 3D cinema would be precious alternative for film industries of Korea.

• The Journal of the Korea Contents Association
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• v.19 no.2
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• pp.581-590
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• 2019

As the film industry develops in China, movie posters come in various types. Among them, 'concept poster' has been recognized as an important means to form the first impression of a movie at the early stage of promoting the movie. In China, however, there are not many movie posters that have been recognized for their creativity. Accordingly, it calls for research on creative methods of implicitly expressing the content of the movie. This study analyzed visual expressions in the concept posters of HuangHai, who has been recognized not only for commerciality but also for artistry. The results showed that he did not use images of famous scenes and actors in the movie. Instead, he created the implicit image that reflects the main theme of the movie by using Minimalism, color, typography, and pictorial images. This study has a significance in terms of providing fundamental resources for improving movie poster designs in China.

• Proceedings of the Korea Multimedia Society Conference
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• 2003.11b
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• pp.925-928
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• 2003

지금까지 비디오와 영화의 질을 판단하는 기준은 모니터와 스크린, 테입과 필름이라고 생각해 왔다. 하지만 고성능 HD카메라가 개발되면서 대부분의 영화가 모니터를 통해 감상되어지고 있다. 본 논문은 이러한 디지털 영상 기술에 좀 더 효과적인 영상데이터 전송을 통하여 디지털 씨네마 시장에 한걸음 더 빨리 다가갈 수 있도록 하고자 하며 또한 제안한 디지털영상시스템은 최근에 그 중요성이 높아지고 있으며 향 후 많은 분야에 접목이될 디지털 씨네마 시스템을 효과적으로 구성할 수 있는 토대를 제공할 수 있을 것으로 기대된다.

• Journal of Korea Entertainment Industry Association
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• v.15 no.1
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• pp.53-62
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• 2021

After the first to present projected moving pictures to audiences, the film industry has been reshaping along with technological advancements. Through the full-scale introduction of visual effects-oriented post-production and digital technologies in the film-making process, the film industry has not only undergone significant changes in the production, but is also embracing the cutting edge technologies broadly and expanding the scope of industry. Not long after the change to digital cinema, the concept of artificial intelligence, first known at the Dartmouth summer research project in 1956, before the digitalization of film, is expected to bring about a big transformation in the film industry once again. Large volume of clear digital data from digital film-making makes easy to apply recent artificial intelligence technologies represented by machine learning and deep learning. The use of artificial intelligence techniques is prominent around major visual effects studios due to automate many laborious, time-consuming tasks currently performed by artists. This study aims to predict how artificial intelligence technology will change the film industry in the future through analysis of visual effects production cases using artificial intelligence technology as a production tool and to discuss the industrial potential of artificial intelligence as visual effects technology.

• The Journal of the Korea Contents Association
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• v.15 no.1
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• pp.114-122
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• 2015

This study has a main purpose on discussing the issue how the construction of film narrative will be changed by audience's desire to intervene into film narrative through the active participation, out of watching a film passively in movie theater. Compared with the collective theatergoing experience in big screen was defined as the past cinematic identity, the absolute value of movie theater fragmented increasingly in the era of media diversification facing with digital media convergence. As this situation can be compared with "the author's death" Roland Barthes predicted on the mono-media of the book, thus, we are to take the time to discuss the new emerging 'movies'. The most important thing in this discussion is the aspect of the transformation of narrative in the future screening. Especially, while 3 act structure and configuration evoking a catharsis in film narrative are elements defining aspect of the past narrative, then, the future narrative in film will change to the structure interacting with audience actively. This paper had a discussion how could be possible the aucience interaction in only movie valuing the passive experientiality uniquely in screening over the other media through investigating the attempts of interactive cinema so far and the possibility of future.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.241-242
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• 2019

발터 벤야민은 그의 저서인 '기계복제시대의 예술작품'에서 영화를 인쇄술, 사진술과 같은 기계복제의 예술품으로 묘사하였다. 분명 영화는 복제에 기반을 둔 예술이다. 나아가 21세기에는 컴퓨터 기술이 향상과 함께 컴퓨터그래픽에 대한 의존도는 더욱 높아졌다. 이러한 경향은 영화를 제7의 예술로 추동하는 '놀랄 만한' 효과와 그 영향을 약화시켰다. 바로 벤야민이 기계복제로 인해 우려했던 지점이기도 하다. 하지만 기술의 향성은 부정적 우려와 함께 영화제작의 효율성을 제고하고 있는 것도 사실이다. 이에 연구자는 기계복제에서 나아가 디지털까지 확장된 영화에 대해 연구하고자 한다.

• Korea Information Processing Society Review
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• v.11 no.1
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• pp.41-50
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• 2004

영화의 산업적인 가능성은 잘 알려져 있다시피 1900년대 초부터 유럽과 미국에서 확인되었고 이를 위한 많은 연구와 실험이 이루어졌다. 또한 영화가 본질적으로 제공하는 영상언어라는 예술적인 면을 추구하기 위한 노력도 함께 진행되었다.(중략)

• The Journal of the Korea Contents Association
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• v.10 no.4
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• pp.133-140
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• 2010

It is said that the highlight in the media covergence and integration within digital environment era is 'Contents'. Due to the advent of new media and various covergence and integration services, the competition between the platforms has become aggressive. As a result, it is predicted that the negotiation power of a 'Content's industry will be strengthened. In reality, the actual environmental changes in the media environment have accompanied elements of industrial crisis rather than opportunity to expand the market. The changes are especially causing sales structure distortion and proceeds deterioration in the Korean film industry. Moreover, telecommunication and broadcasting businesses are making their entrance into the film industry, through the appearance of the media covergence and integration as a backdrop. Thus, the situation that the Korean film industry is facing is closely associated with the development of the digital technology and new media environment. Eventually, weathering the crisis and pioneering the future will be possible through changes in the media environment. The purpose of this study is to show how the media covergence and integration phenomenon is occurring in the film industry. This study will also focus on what new problems are occurring as a result, and seek out the solutions that are available.

• Journal of Digital Convergence
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• v.15 no.2
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• pp.301-307
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• 2017

Once, the faster the digital technology developed, the more provocative obscure commercial film has spread like a trend. Researching the aspect of the successful films, about 10 million audience in 2016, we can find the similarities that only social phenomenon, stands itself without real-existence, which makes public sentiment. I will list up all the problems that I mention above with audience's review and analyze the famous film "the wailing" with big social attention, having 6.8 million audience. I will seek the better way to developthis movie, in terms of artistic dignity and depth as an public-art. With great depth, the realistic application of cultural inheritance, holding mankind common, such as culture, philosophy, religion, history, would be an essential proposition for obtaining cultural emotional empathy from the people in the society. Based on this, the theme and massage from a director, should be expressed in order to be a master piece work beyond time and space in the film history.

• Journal of Digital Convergence
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• v.17 no.11
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• pp.441-450
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• 2019

The research of this paper is aimed at finding out the meaning of the literary rhetoric technique of metaphor in film, and understanding the difference between metaphor and symbol. It is also worth reference to the study of metaphor in the future. This paper will read the related paper to organize the relevant concepts and look at the classical film repeatedly, and find the expression element of the metaphor in it. Finally, look at Truman Show and analyze it and find a conclusion. Through related research, we have found that metaphor in movies is always built together through various aspects of themes, titles, lines, and plays. It provides clues through the screen and induces the audience to think. Metaphor not only helps improve the movie's content, but it is also the most important feature in the movie to influence the audience and induce thinking.