• Journal of Digital Convergence
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• v.15 no.9
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• pp.407-413
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• 2017

Mis-en-Scene is a direction method of image aesthetics for constructing screen and space. Mis-en-Scene is important factor not only in plays and movies, but also in animations, and it is a strong method to induce audience to immerse in the works and to continue the immersion. This study examined animation's Mis-en-Scene based on theories of Mis-en-Scene in movies, how Mis-en-Scene is directed and expressed in virtual spaces, and what factors and characteristics induce audience to immerse in the works and continue the immersion through analysis on visual Mis-en-Scene factors of a specific case, VR animation . It was found that as visual Mis-en-Scene factors, character and props, background, unique quality and friendliness of character, natural movement and acting, symbolism and utilization, and variety and consistency of background induce and sustain immersion. It is thought that this study would helpful for related areas based on the findings which suggest that there is a need for differentiated measure and method to catch audience's eyes and sustain immersion utilizing characteristics of vidual Mis-en-Scene factors in VR animation in the future.

• Cartoon and Animation Studies
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• s.44
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• pp.1-31
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• 2016

In this thesis, the movie with mise-en-scene established was compared with the peculiarity of the play that is the etymological source of the term to identify the peculiarity of mise-en-scene which was substituted into animation to find the peculiarity of mise-en-scene in animation. To emphasize the direct connection between the frame's visual peculiarity and the director's opinions, the mise-en-scene of director centered animation created under a restricted environment was reviewed. Mise-en-scene which started from movie critics theory does not simply mean the arrangement of images in a frame. Mise-en-scene emphasizes the exposure of the work's motive by the visual components. The animation's assuming the middle point of environmental share possessed by play and movie when schematizing the genre peculiarity of animation, play and movie was a noteworthy result. It can be said that the cause is that the animation's peculiarity yield different results depending on the making methods; we verified that this is a key factor in the analysis of animation's mise-en-scene. I emphasized that the peculiarity of animation mise-en-scene is in its making method and material and suggested identifying the work's making methods and analyzing the work's aesthetic results derived in this way. The russian animation which was perceived as peripheral arts was relatively free from the burden of censorship while receiving support from the Soviet as a media for propaganda. The russian animation's mise-en-scene which found the material for its works in the country's folklore was metaphorical, focused on new expression forms and achieved experimental elements. Russian animation pursues a unique aesthetic world through space expression based on the forms of opera or ballet and heavy motions formed static inbetweens.

• Korean Institute of Interior Design Journal
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• v.17 no.5
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• pp.51-60
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• 2008

This thesis sets out to study the immanent mechanism of architectural space which had been classified as external space in general. The mise en $sc{\acute{e}}ne$ could consider one among various immanent tools to deal with the singularity of interior architecture. An imaginary interrelationship between cinema and architecture offers a possibility which a mise en $sc{\acute{e}}ne$ could be used with a space making equipment. The mise en $sc{\acute{e}}ne$ is a conscious equipment to lead a meta-function of simple visual-perception. The mise en $sc{\acute{e}}ne$-space has been supposed to visual-perception cases and conscious cases in interior architecture. In particular, as a result of analysis, it becomes clear that the mise en $sc{\acute{e}}ne$-space is a kind of something signifer to expose designers's an abyss of conscious and unconscious. In my opinion, this is the very way that the contemporary interior architecture is exposed to its singularity by a mechanism of mise en $sc{\acute{e}}ne$-space. In conclusion, the psychoanalysis-frame of mise en $sc{\acute{e}}ne$-space has brought out any possibility of an interpretation about architectural immanent themes like a subject, meaning creation, and construction logic, and it has also been useful to reveal the architectural singularity.

• Proceedings of the Korea Contents Association Conference
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• 2013.05a
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• pp.85-86
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• 2013

이 연구는 더글라스 서크(Douglas Sirk) 감독의 <천국이 허락한 모든 것> (1955)과 이용주 감독의 <건축학 개론>(2012)에서 집에 대한 '재현' 공간을 고찰하였다. 두 멜로드라마 장르 영화는 등장인물들이 대사로 직접 표현한 수 없는 것들을 가구, 소품 등의 미장센, 특히 리모델링을 하는 집을 통해서 보여준다. 집은 욕망을 스타일과 형식을 통해 산출한다는 점에서 멜로드라마 장르의 공간을 특징짓는 서술적 사건과 모티프를 담고 있는 구체적 장소의 역할을 한다. 이러한 맥락에서 이 연구는 멜로드라마 장르에서 집과 풍경들이 어떻게 영화적 공간(cinematic space)을 구성하고 그 재현공간이 갖는 사회적인 의미를 고찰한다.

• Korean Institute of Interior Design Journal
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• v.25 no.3
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• pp.40-50
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• 2016

The purpose of this study is to investigate the mise-en-$sc{\acute{e}}ne$ characteristics to direct an emotional atmosphere. It also analyzed whether these characteristics are reflected in how the work of Peter Zumthor. First, a theoretical consideration base on the distinction between montage and mise-en-$sc{\acute{e}}ne$, the research on space directing techniques in film. In particular, research on the mise-en-$sc{\acute{e}}ne$ around the technique of deep focus, long-take, charade. It also examines the mise-en-$sc{\acute{e}}ne$ tendencies that appear in the painting art, philosophy and psychology to deepen understanding. It should understand the mechanism by going to complete the meaning. Based on this, in terms of mise-en-$sc{\acute{e}}ne$ to analyze the space directing of Peter Zumthor. And the features of mise-en-$sc{\acute{e}}ne$ has its significance in having a look at whether there is any correlation in the 'Atmospheres' directing of Zumthor. As a result, the mise-en-$sc{\acute{e}}ne$ is active, multi-layered, ambiguous, uncertain, becoming and enables an open interpretation in terms of audience.

• Journal of Digital Convergence
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• v.12 no.9
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• pp.343-351
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• 2014

This study poses questions on the role of a movie sequences partially deployed in the comic strips style in the movie. Though both the movie and the comic strips's image is expressed in the flat space, it is different to the reciever's manner in the interpretation of the media's narrative. Comic strip has a media's characteristic of the aggressive interpretation. It can be create the objective and critic point of view for an audience as the visual style in the ideology movie. Comic strip Style has a flat frame, a form of comic strip's mise-en-scene, montage and camera working. This paper studies expression of 'La Chinoise' using 'Comic strip style' for the objective point of view.

• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.569-579
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• 2016

, 2007 firm by Joe Wright, deals with tragic love of Cecilia and Robbie. While the 2001 novel of the same name focuses on Briony narrative the movie is seen through romantic relationship of two lovers. However, Briony's narrative in the movie helps to accent the two's love story. The director's emphasis on the love story is unfortunately from Briony tragic story. The continuous build up of misunderstanding and irreconcilable regrets begins to materialize and explodes in the middle of the film. The director manages to use just one day and uses the same location to illustrate the background of the characters as well as build up of the plot's misunderstanding. The study will focus on the beginning of the film that enabled the beautiful love story through effect and symbolic visual expression and techniques- especially the use of mise-en-scene, camera movement, framing, and lighting and how it emphasis and use of specific color and sound.

• Journal of Convergence for Information Technology
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• v.9 no.2
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• pp.115-120
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• 2019

Chinese xian-xia films is a new genre that occurred through the fusion of the genre of martial arts and fantasy. This study analyzed the development of xian-xia films and the space aesthetics of xian-xia films through the miseenscene of the journey to the west films. In particular, the space for xian-xia in the films is divided into the human, urinary, heaven world and the space of conflict. It looks like the fantastic Middle Earth that Tolkien presented, however it is discriminatory in that it shows a highly Chinese appearance and overlapping world centered on the natural environment (the world of Mountains and Livers), such as mountains, deserts, caves, and grasslands, which usually appears in traditional martial arts history. Resently, the boom of journey to the west films is regarded as the change of the Chinese film industry under the influence of the development of IP (Intellectual Property) industry and the western fantasy genre in the 21st century China. This change marks the birth of the new Chinese fantasy "xian-xia" genre with the spirit of the present era that transcends the original world of journey to the west through the hybridization of the genre.

• Korean Institute of Interior Design Journal
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• v.21 no.4
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• pp.57-67
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• 2012

The goal of this research is to study the spatial and temporal disjunctive composition of the movie 'Kill Bill part 1/2' and to lay a foundation for the future exploration of the topological relationship between contemporary architecture and cinema based upon the spatial and temporal multiplicity. Since the birth of cinema in early 20 century, architecture and cinema have a dynamic interdisciplinary relationship as Soviet director and theorist Sergei Eisenstein has called the Acropolis of Athens as 'one of the most ancient films' based upon its cinematic spatial sequence, and contemporary architect and theorist Bernard Tschumi has adopted cinematic montage technique to create his own disjunctive event-structure. As french philosopher Gilles Deleuze has traced the cinematic version of his 'disjunctive synthesis' from Eisentein's 'dialectic montage', Deleuzian 'disjunctive synthesis' can be discovered not only from the work and theory of Bernard Tschumi and Rem Koolhaas, but also from the 'Kill Bill's disjunctive composition where the heterogeneous spatial images and temporal images are under continuous interaction to create rhizomatic relationship between the cinema and viewers.

• Journal of Korea Multimedia Society
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• v.21 no.8
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• pp.991-1001
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• 2018

In the context of the 4th Industrial Revolution, IoT, Big Data, and VR are rapidly emerging as core sectors of future industries. In particular, the VR has been under the limelight as a new media content appealing to new generation. And the VR user is not merely a 'spectator', but the 'actor'. In other words, the newness of VR is not in the 'more likely representation of the virtual reality', but in the 'making it act more virtual (more technically, 'interactive')' in the virtual world. In this paper, we examine the VR cinema in terms of film composition unit, montage, cinematic space, mise-en-$sc{\grave{e}}ne$ and perspective. The VR cinema, which is in the early stage of evolution, is basically based on $360^{\circ}$ image that strengthens the autonomy of the audience's point of view, but other factors like haptic or sonic immersion are becoming increasingly important. In addition, the VR cinema will be combined with AR, MR, SR, and Interactive technologies, and will expand its horizon as it is produced in various forms. Therefore, it is expected that more detailed viewpoint will be applied in the subsequent study on VR cinema.