• Journal of Korea Multimedia Society
• /
• v.22 no.6
• /
• pp.716-728
• /
• 2019

This study explores the concept of spectacular realism. and finds out how spectacular realism is made in movies. The Movies's spectacle is a realistic spectacle that does not miss the reality. so audiences can immerse themselves in it. Nowadays the spectrum of visual realism is becoming very diverse. "Perceptual realism" means to feel more like real than to reproduce reality as it is. "Synthetic realism" is a realism that CGI makes. And "Spectacular realism" makes the spectators concentrate to images than narrative or character. It means the dominance of the visual. The films and showed "Spectacular realism" especially in the aerial battle scenes. The films use 'Presentation of a new spatial sensation using unusual angles', 'Editing that constitutes transcendental time' and 'Intense contrast' as methods to embody spectacular realism. And the harmonious arrangement of transcendental images and very realistic screens effectively embodies Spectacular Realism. This discussion, which began in the air battle scene, could contribute to a broader and more diverse exploration of the implementation of spectacular realism images in the future.

• Journal of the Architectural Institute of Korea Planning & Design
• /
• v.35 no.4
• /
• pp.115-126
• /
• 2019

Construction of the Pyongyang Railroad Station began in 1907 as an important foothold for the Japanese colonization of the Korean Peninsula and the further invasion of Manchuria. As Pyongyang gradually grew in size and political significance, the Pyongyang Station came to have two responsibilities: Fulfill its functional role and serve as a monument to the growing dignity of the city. This study argues that the Pyongyang Station, newly rebuilt in 1958, was the first building to solve the demands for both functional expansion and the pursuit of monumentality. Stylistically, the original single-story wooden building became a three-story classical masonry building. The stylistic change symbolizes the political shift by which the building was reconstructed. The simple wooden building built by the Japanese, representing Pyongyang's status as a colonial provincial town, was transformed into an imposing gateway for the capital city of a newly born socialist state. Socialist Realism, correctly described by its slogan "socialist in content and national in form," harmoniously blended classical architecture, socialist symbols, and Korean local motifs. This study is significant in that it illustrates the historical changes and continuity of the Pyongyang Station from 1907, when it was first built, through the "liberated space" to the postwar reconstruction period of the 1950s.

• English & American cultural studies
• /
• v.9 no.1
• /
• pp.163-184
• /
• 2009

Sherman Alexie deals with reservation realism in The Lone Ranger and Tonto Fistfight in Heaven and Smoke Signals. By reservation realism he means American Indian traditions and its problems like alcoholism, violence, unemployment, depression, and poverty on the reservation. It cannot be denied that the traditional ceremonies have played significant roles in making it possible for American Indians to keep their own ethnic identities. It is, however, also true that the same traditions have prevented them from embracing modernity. Alexie believes that it is high time that Indians living on the reservation discarded the old tradition of racial exclusiveness for a gradual crossing of cultural borders. What is seriously needed on today's reservation is not the historic figure of Crazy Horse, a stoic and masculine warrior in the late 19th century, but Sacagawea, a Shoshoni Indian who helped Meriwether Lewis and William Clark to explore the American West in the early 19th century. When asked to be more specific about cross cultural examples, Alexie proposes successful Indian doctors and lawyers as role models on the reservation.

• The Journal of the Korea Contents Association
• /
• v.22 no.10
• /
• pp.181-194
• /
• 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
• /
• v.5 no.1
• /
• pp.117-126
• /
• 2005

In the present, animations of auteurism and aestheticism became a unique genre of art that expresses directors' idea. 'Tale of Tales' by Yuri Norstein, a Russian animator, is a paper animation that emphasizes the cut out technique and picturesque feeling as well as complicated structure of sequence in expressing metaphysical themes in the author's historical realism. It is evaluated as unique and creative. The present study analyzed the montage technique applied through the development of several symbolic images, the diachronic expression of contradictory worlds, the unique foreshadow of revealing the causes of results later, rapid repetition of urgent and serious situations, the movement of the camera to express the psychological distance between two characters in different situations and the process of editing. The derived results of this study are expected to be helpful in the works of animators of auteurism and aestheticism.

• The Journal of the Korea Contents Association
• /
• v.16 no.9
• /
• pp.502-511
• /
• 2016

This article reviews the film acting studies of Kracauer presenting the basic approach of traditional film theory. It is to provide a foundation for film acting theory in order to activate the domestic acting studies. While Kracauer explaines the difference between traditional stage actor and film actor in 'Remarks on the Actor' of Theory of Film(1960), he suggests the characteristics of the cinema acting and its media technical meanings. He emphasizes the acting forms presenting the postwar new realism in his film acting studies. His approach takes the perspective of 'physical reality' or 'camera reality' which is the basic premise of film theory. Kracauer insists the naturalness of the actors, listing the features of professional actors, non-professional actors and Hollywood stars as they are a familiar classification for the types of actors. He does not prefer the Hollywood stars, whether it is fiction or documentary, professional or non-professional actors, but he emphasizes negative acting, the ability to express words by doing nothing, based on indeterminacy or indefiniteness of the film. Kracauer's film acting studies has affected later film theory and media-related acting, and has become the principles of cinema textbook and acting.

• The Journal of the Korea Contents Association
• /
• v.11 no.1
• /
• pp.165-175
• /
• 2011

The purpose of this research is to investigate the possibility of creating new theatrical contents by performance anthropological approach. Today's traditional performing arts are historically descended and developed in the forms of Ahk, Hee, and Geuk. Among those, Dongrae-yaru is a traditional mask dance, handed down in Dongrae, Pusan and appointed as the 18th intangible cultural asset. Its performance is carried out in the juxtaposition of Ahk, Hee, and Geuk. Korean theatre in the 21st century seems going back to realism after going through post-modern cultural phenomenons. However, the quest for alternative theatre is raised higher than ever. As a part of this strive, this paper asserts the traditional performing arts should be investigated as an alternative and new theatrical form. Among those traditional performing arts, Dongrae-yaru is selected for its well balanced combination of Ahk, Hee, and Geuk. The study examines in depth how each element of Ahk, Hee, and Geuk, they are expressed in forms of folk music, refined dance, jest, satire, wit. Its investigation on the stage adaptation provides the possibility for the new style and codification as the new theatre contents.

• Journal of Digital Convergence
• /
• v.18 no.5
• /
• pp.433-440
• /
• 2020

Afrofuturism was born under the combination of the elements of African culture, sci-fi novels, history, afrocentrism and Magic Realism. The aim of this study is to sort out the concepts and characteristics of Afrofuturism basing on the artistic elements appearing in Black Panther. The method is to investigate the academic papers, periodicals, singles and the Internet research related to African culture, Afrofuturism and American superheroes first. And then make the analyzation of the design of uniforms of the major characters in the movie as cases. The result is : First, the resistance of art for social minorities, second, the establishment of identity of black art through the reactionary effect of culture, and third, the artistic healing through SF fantasy.

• The Journal of the Korea Contents Association
• /
• v.6 no.12
• /
• pp.309-323
• /
• 2006

Before the appearance of luc-media image, art is performed by the hands of man. That was the best of the reality and the absolute standard of reality. However the appearance of luc-media image brings together the scientific thoughts on realism, which gave birth to 'impressionism' where 'light' becomes the most important part in art as well as in luc-media image and analyzed scientifically. In this paper, I'd like to analyze 5 paintings of Monet, a representative of the impressionism, chronically and present the various aspects of luc-media image as follows; 'picture the present moment', 'picture the light', 'picture the sound and movement', 'picture in the several frames', 'picture continuous frames'. These image phenomenon presented in this paper are mainly concerned with the photograph image, because the time when impressionists entered the stage was the age of photograph image, accordingly there are a little difference from digital image.

• The Journal of the Korea Contents Association
• /
• v.12 no.2
• /
• pp.116-126
• /
• 2012

As a film maker, Lee Chang Dong stands out from most Korean film makers who work within the trappings of genre films. To be sure, Lee has also used the trappings of genre films, such as noire and melodrama, but primarily as a tool to communicate with film audience. In his most recent film "Poetry", Lee seems to have even stripped even the minimal trappings of genre film. Lee commands the audience to self-reflect and work towards their own conclusions by denying them the illusory identification on screen. In this way, Lee's works are counter cinema. Lee achieves a distancing effect using such filmic apparatuses as hand-held camera, fantasy, mise en abyme, and returned gaze. Through these filmic apparatuses, Lee exposes the re-presentation of text and compels his audience to see the historical and political contexts of the text. In this study, I make the case that Lee Chang Dong's film making is an act of repetition compulsion that cultivates ethical reflection, through symbolization of the invisible realities.