• The Journal of the Korea Contents Association
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• v.16 no.11
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• pp.776-783
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• 2016

Discussion of facial image of the movie starts is recognized as an art movie that started from silent film period. Critical discussions on the facial image initiated with the emergence of 'close-up' are performed in the context to claim the superiority of close-up format. Therefore, the trend of critical discussion on the facial image differs from two perspectives to perceive close-up in this era. The first perspective is to privilege both face and close-up since close-up is recognized as the unique tool to realize the face considering close-up as the independent body to have new aesthetic feasibility of the movie. The second perspective is to consider close-up as one of the plots in the movie language to complete its narration. In this case, it is perceived as just a short, which has no differentiation from the others, as long as the facial image does not interfere the completeness of the narration, because the characteristics of close-up to highlight the subject more than the other short is not recognized as the unique form to complete the movie, and because it has the meaning only when the subject and the format aim to maintain the completeness of the narration.

• Cartoon and Animation Studies
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• s.43
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• pp.343-362
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• 2016

The purpose of this study is to analyze the 'depth of the film image' and to discuss its aesthetic implications in the Wes Anderson's films. In this study, I have analysed his two recent representative films, (2014) and (2012). As a result, it is found that Wes Anderson created a symmetrical composition with the depth by placing symmetrically things on the Z axis or using one-point perspective. In general, symmetrical composition is a two-dimensional form. The symmetrical composition in these two films, however, has the depth perception. It gives a sense of the fantastic world, not the real world. Thus, it is the unique way of Wes Anderson's expressing the world of the fairy tale on his films. It is also found that he used the camera work, emphasizing the depth of the image. Through these devices, Wes Anderson has created his own sensational mise-en-scene for a storyline like a fairy tale.

• Cartoon and Animation Studies
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• s.45
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• pp.1-25
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• 2016

This study aims to study the relationship and narrative structure through types of conscious shown through characters of animation. Regardless of professional knowledge, animation viewers are able to decide sympathy cognitively during watching. There are previous studies examining elements regarding the sympathy felt by viewers, "how much sympathy one feels about the story" conveyed by character is one of the most significant element. "Sympathizing" is reacting to the emotion of character, which does not concentrate on visual phenomenon revealing from appearance and mise en scene, but from "conscious" establishing relationship from behavior and practice. In other words, it starts from in-depth insight regarding the types of conscious and relationship between characters. Therefore, this thesis aims to analyze the types of conscious of main character Simon of Japanese animation which was aired in Korea in 27 episodes, and analyze how it conducted meaning structuralization of relationship with surrounding characters in the growth process of every episode. When analyzing the animation, the study concentrated on analyzing the conscious formation process of character, completeness of relationship and structure rather than the plot or power of delivery of direction, to insist that animation should not only convey humor or fun but secure the in-dept self discernment.

• Journal of Digital Convergence
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• v.14 no.11
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• pp.495-500
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• 2016

Since 2016, the VR market has been on the rapid growth. The most critical and arising issue in the VR market is VR contents. That is because it is necessary to develop making techniques and various VR contents to satisfy users' immersion and interaction as much as possible. Therefore, this study focused on VR image contents, conducted domestic and foreign cases of the components of visual and auditory inducement to keep and improve immersion, and thereby tried to find a right direction of visual and auditory inducement. As a result, the visual and auditory components of visual and auditory inducement were found to be photographing, edition, lighting, stitching, graphics, effect, voice actor's narration, dubbing, character voice, background sound, and sound effect; its technical and content components were found to be photographing technique, edition technique, lighting, stitching, graphics and effect, sound and sound effect, and theatric direction based on Mise-en-Scene, lines and narration of characters, and movements of characters and objets. For VR image contents, not only visual and auditory components, but technical and content components are necessary to improve immersion. In the future, it will be necessary to continue to research them.

• Cartoon and Animation Studies
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• s.26
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• pp.31-56
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• 2012

This is a scientific study of subjectivity on recognition types and preferences of animation audience. Therefore, Q-methodology was used as a methodology of this study. As a result, it was possible to find the various characteristics according to the preferences of audience on animation genres. The features of each type were classified into 3 types. First was an artistic and literary value-oriented type that explored storytelling and descriptive value. Second was a pictorial and aesthetic value-oriented type that explored visual beauty such as characters and Mise en scene. Third was a visual and entertainment value-oriented type that explored entertainment factors and attractions. Thus, according to the classification of preference types, it was inferred that digital image generation audience with an active preference that can create and consume images have developed a tendency that independently consumed their preferences based on thoroughly personal or subjective preferences rather than classified and accepted their preferred culture as their symbolic expressions of hierarchical position. In this aspect, Q-methodological consideration that is useful to analyze the subjectivity of audience could be a significant work. Nevertheless, this study alone could not reveal various generative contexts of specific preferences. It seems to have more significant results by applying various qualitative or quantitative methodologies together with this study and analyzing recognition types and preferences of audience.

• Journal of Digital Convergence
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• v.17 no.12
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• pp.451-459
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• 2019

This study is aims to examine how the skeleton character in Pixar's Animation is visualized for the narrative of the film and suggests the direction of attractive character development corresponding to the story. First of all, it was conducted the case studies on the narrative of animation, character design, character's emotion expression, and animations featuring skeleton character. Based on this study, it was derived the visual representation of the skeleton character featuring in and analyzed the role and function in the animation. As a result, the expressions by the skeleton's eyes, eyebrows, mouth, lips, and jaw played the most important role for the emotional expression and lines in , and the major characteristic for human facial expression was reflected in the design of the skeleton character. In addition, the various props were used to provide the detailed informations of the skeleton's character, and it was expressed the movement emphasizing its essential attribute. Finally, the skeleton's symbolic image was strengthened by composing and arranging the skeleton's image through Mise en scene. It is expected that this study will be used as a reference for the animation character related researchers and practitioners in the business and it helps develop attractive characters fir the narrative animation in the future.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.73-87
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• 2021

Special theaters were created to provide a sense of immersion and spectacles due to differentiated screens, sound, seating facilities, and advanced services, and also expanded screens. The purpose of this study is to perform comparative analysis of the technical characteristics formats shown in special theaters(3D film, 4DX, IMAX, ScreenX, and VR) in order to identify and find ways to overcome the technological limitations in production. The various formats show differences in field of view depending on the exhibition technology and these differences affect the mise-en-scene, narrative, and editing of the film and consequently result in changes in the production environment and process. Therefore, directors and creators must understand the technological features and limitations of the new formats before making their approach. However, a new format encounters limitations on production sets due to the decline of technical education and succession. In situations where shooting with a special camera is essential, the particular characteristics of each format should be carefully considered from the planning stage but financial problems arise due to increase in production period and cost. To overcome these various obstacles, it is essential to first identify problems and present alternatives through in-depth research on the production set of each format. Finally, this research aims to explore the prototype of each format and analyze the current state of production technology with formats that have not been adapted to the market trends by combining with the other formats and showing that they can survive in new ways.

• 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.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.123-161
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• 2019

The popularity of melodrama indicates that melodrama is composed in a historical context. This is the reason why it is necessary to analyze the imagination of melodrama within a sociocultural context rather than asking the essentialistic question of "What is melodrama?". (2016) and (2018) caused sensations while holding unchallenged top positions in terms of viewing rate and popularity. These dramas indicate the popular imagination and desire of Korean society in the 2010s during a period of upheaval. This paper analyzed imagination in melodrama with a focus on nation and emotions of individuals in and . In preexisting dramas, conflicts are often limited to individuals and families; on the contrary, in and , a nation appears as a motif that forms conflicts between individuals. In these intense situations of conflict, people make rational judgments at first; however, they soon dispose of such judgments and reveal value-oriented attitudes through emotions, which drive actions. Both dramas form poésie mainly through poetic rhyming and the mise-en-scène of objects. The dramas also amplify emotions. The main emotions of these dramas are sympathy and sadness. Such emotions are not consumed in itself; instead, they show moral aims through performativity. Consequently, sympathy becomes solidarity, and sadness becomes mourning. Unlike preexisting melodramas whose endings were simply pursuits of love and happiness within the realm of individuals, and demonstrate a moral imagination that simultaneously reminds us of the individual and community through solidarity and mourning.

• Cartoon and Animation Studies
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• s.27
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• pp.1-30
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• 2012

Oshii Mamoru attempts to project the perception of reality about his own modern world as it is through animation. The precedent studies on Oshii Mamoru put their focus on the point that his works have a tendency to represent the devastation of reality as the image of 'a ruin.' In addition, they gave an impression that Oshii Mamoru's animation has gradually developed to expose the 'realistic taste[beauty]' from the design perspective. However, this study is going to put its focus on the point that Mamoru's works were created as an attempt at finding the subversive possibility of the suppressed modern world under the modern capitalism in the aspect of 'everyday life' of the modern world. First, for its analytical purpose, this study intends to do that by dividing the work into the three layers such as space, body and everyday life. In Chapter II, this study, in relation with the issue of 'space' representation, analyzed the space in into the modern, mechanical, compactly capitalized space and also the space just like a closed circuit having the nature of 'repetition.' In Chapter III, this analyzed that suggests the body moving freely between a human named 'Kildren' and the inhuman from the aspect of character's body, through which Mamoru represents the capitalized, reified body of the modern world. In addition, this analyzed the extreme anxiety facing the body into the reflection of the phenomena of 'anxiety' and 'placelessness' consequent on the labor flexibility of the modern world. In Chapter IV, this study, on the basis of the analysis of layers of space & body, analyzed that the 'everyday life' of the modern world was represented in the respects of 'memory' and 'habit', and in the aspects of Mise-en-Sc$\grave{e}$ne, design and direction. In Chapter V, this rooted out the fact that Mamoru suggested the attempt at 'appropriation' based on his perception of reality about such a modern world. Such a finding includes unearthing the fact that Oshii Mamoru's work is raising a question about how to desert and appropriate the modern space. In conclusion of Chapter VI, this drew the conclusion that Oshii Mamoru's work represented the layer of 'everyday life' while dealing with the post-modern themes shown by the existing modern SF genre, provided the 'window' through which people can perceive the 'modern world radically by recommending an attempt at 'appropriation', and blazed a trail in a new realm of creation for animations.