• Journal of the Korea Institute of Information and Communication Engineering
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• v.17 no.12
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• pp.2865-2874
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• 2013

Recently, most of movies top-ranked in the box office are screening in Stereoscopic 3D, and the world's leading electronics companies such as Samsung and LG are getting the hots for 3DTV sales. However, each person has different binocular disparity and different viewing distance, and thus he or she feels the severe visual fatigue and headaches if he or she is watching 3D content with the same binocular disparity, which is very different from things he or she feels in the real world. To solve this problem, this paper proposes and implement a 3D rendering system that correct the disparity of 3D content by reflecting binocular distance and viewing distance. Then, the computational complexity is analyzed. Optical-flow and Warping algorithms turn out to consume 732 seconds and 5.7 seconds per frame, respectively. Therefore, a dedicated chip-set for both blocks is strongly required for real-time HD 3D display.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.20 no.6
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• pp.1087-1095
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• 2016

The study aims to analyze factors of box office utilizing big data. The film industry has been increasing in the scale, but the discussion on analysis and prediction of box-office hit has not secured reliability because of failing in including all relevant data. 13 films have sold 10 million tickets until the present in Korea. The study demonstrated laughs and tears as an main interior factors of box-office hit films which showed more than 10 milling tickets power. First, the study collected terms relevant to laugh and tear. Next, it schematizes how frequently laugh and tear factors could be found along the 5-film-stage (exposition - Rising action - crisis - climax - ending) and revealed box-office hit films by genre. The results of the analysis would contribute to the construction of comprehensive database for the box office predictions on future scenarios.

• Cartoon and Animation Studies
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• s.30
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• pp.245-262
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• 2013

This paper analyzes three feature films that are based on Brothers Grimm's "Snow White": Disney's Snow White and the Seven Dwarfs (1937), Tarsem Singh's Mirror Mirror (2012), and Rupert Sanders' Snow White and the Huntsman (2012). Disney's animation, not the original literature, is the archetype of the later films. Grimm's fairy tail does not include the kiss of Prince Charming that saved Snow White which is, in fact, borrowed from "Sleeping Beauty", nor Snow White's rapport with animals. In Snow White and the Huntsman 's case, the costume of protagonist is similar with Disney's film and some shots are almost identical with Disney's version in terms of composition and angles. Nevertheless, these films show their originality with markedly different visual styles. Mirror Mirror and Snow White and the Huntsman have achieved reasonable success at the box office despite of relatively simple and predictable narratives due to the power of spectacle. While Disney's Snow White displays the model of witch that later becomes prototype of many movies, Mirror Mirror represents the unique magical world, a trompe-l'oell that can only done by director Tarsem, and Snow White and the Huntsman successfully visualizes Freudian concept of 'the uncanny' itself.

• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.238-250
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• 2011

In 2006, the number of days of the screen quota (theatrical movie screening days of Korean produced films in a year required by the law) was reduced to 73 days from 146 days per year. Three years after the reduction of screen quota, this paper studies the impact of reduction of screen quota system on Korean produced films. Using Non-parametric statistics, Gini Index and Regression analysis, this study shows that the average number of Korean moviegoer of Korean films which was released last three years(2007-2009) after the cutback of screen quota in 2006 is reduced to 640,109.9123 from 1,107,217.82 for three years(2003-2005) before the cutback. And this is significant in statistics. while Hollywood film gets 76,168,518 more audiences than the total number of audience for 2003-2005, the total numbers of Korean films is cut to 218,917,590 (2007-2009) from 245,802,356 (2003-2005). Gini Index of 2009(0.84) indicates that the inequality of a distribution of box office performance of Korean films is getting worse after the cutback. For now, the reduction of screen quota has negative effects for Korean films. Only the technological advance, education of relates personnel, redesigning of the related infrastructure, market-driven movies, creative production, and the promotion of the independent films can reduced the negative effects.

• The Journal of the Korea Contents Association
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• v.15 no.12
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• pp.50-60
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• 2015

The animation film , which became a worldwide sensation with its theme song 'Let it go', did not only rank first in the U.S. box office - it was also the greatest box office hit in the history of Disney animation. Why did , recreated into a musical animation, become a worldwide success and what were the characteristics of its materialized hybrid visual direction technique? In order to look into this, firstly, literature on musicals and animations were studied, and secondly, analysis standards were drawn for musical characteristics of musicals and direction techniques of animations. Thirdly, analyzation and investigation will be conducted on hybrid visual direction techniques based on the research above with as the example. Through this study, it's known that realizes its musical features such as 'exaggerated acting,' 'delivering the meaning of circumstances', 'dramatic expression of emotion' and etc. through animated characters and that its background music is aided by 'narrative features' through its musical composition. Besides, its snow effect through animated VFX composing scenes along with its musical characteristics realizes hybrid image direction. It can be said that image directing effects of musical animations through hybrid grafting and the characteristics of image aesthetics generate public demands worldwide.

• Cartoon and Animation Studies
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• s.29
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• pp.209-241
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• 2012

Is a failed blockbuster film? Is there no room for reconsideration of the value of the film in terms of its contents and forms? The purpose of this study is to answer these questions. In 2007, SHIM Hyung-rae's was in the limelight due to the nationalist discourse around the film rather than evaluation of the film itself. In terms of its narrative and formal properties, the film showed the difference from the Korean nationalist blockbuster films. It led to the disaccord and hard-to-understand results of having somewhat disappointed box-office success of 8,500,000 audiences in comparison to the input, of receiving well by a generous part of the audiences absorbed by nationalism, and of getting the critics' cynic criticism of the film's cinematic value. Eventually only provided the cultural battlefield of nationalism, was left as an unnoticed film in the realm of industry and criticism. However, it was interesting that there was a common ground between the film's supporters and the cynic critics. Both sides were being acknowledged that the spectacle of was way out of proportion to the degree that the spectacle was unbalanced with the story unfolding, achieved more than expected. Its spectacle overwhelming the narrative enfever a few audiences, and at the same time, it provided some reasons making critics face away from the film. In this context, the purpose of this study is to examine 's aesthetics that 'the spectacle dominating narrative' or 'the narrative as a pretext for showing spectacle,' leading to discussion of artistic/theoretical/critical value and to find out cinematic value of the film being regarded as a failure. In addition, this study is significant in that it suggests that is a new kind of moving image that it cannot be analyzed with existed critical methods of narrative film criticism; as a result, this study provides the chance to be evaluated through a new conceptual frame of the film. In order to grasp the narratological aesthetics, this study focuses on the concept of trickality that Andre Gaudreault suggests, and Tom Gunning's 'the cinema of attractions,' referring to the spectacle-oriented narrativity or the mode of production displaying the spectacle more than the narrative.