• Cartoon and Animation Studies
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• s.5
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• pp.485-489
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• 2001

본 작품은 사실적 표현, 즉 실사에 근거한 분위기의 애니메이션에 관한 관점에서 시작한다. 물론 애니메이션에서는 생략과 과장이 자유로우며 풍자적이고 은유적인 분위기를 연출하는 것이 특징이다. 즉 사실성보다는 허구적이며 과장된 표현으로 왜곡을 가함으로써 관객들에게 극적 효과를 유발한다. 하지만 관객은 사실적이지 않은 허구인 것을 알면서도 자유로운 상상력의 오락적 분위기에 흥미를 갖는다. 아울러 본 작품은 애니메이션의 동인(動因)과 감성과의 관계를 전제로 한 애니메이션의 분석모형 작품이다. 이러한 모델 설계를 통해 대상물의 본질적인 면, 즉 사실성에 근거한 표현정도에 따라 인간의 감성이 달라질 수 있다는 가정 하에 애니메이션에 있어서 프레임 수와 대상물의 단순화 정도에 따라 감성이 어떻게 반응하고 변화하는가를 웹사이트 상에서 조사할 수 있도록 분석모형을 제작하였다. 연구작품을 위해 애니메이션의 동인이라고 할 수 있는 시간, 운동, 공간 중에서 움직임 지각에 영향을 줄 수 있는 타이밍, 즉 속도문제에 대해 프레임 수와 단순화 단계를 애니메이션의 Movement 동인에 대한 조작적 정의에 독립변수로 보았다. 분석모형의 설계는 객관적인 시각에서 대상물의 움직임을 파악할 수 있는 Duration이 짧은 유형의 대상물(말)과 중간정도의 대상물(사람), 그리고 긴 유형의 대상물(거북이)을 표본으로 선정하여 각 대상물마다 4단계의 프레임으로 나누어 좌표상의 Y축에 제작 배열하였다. 한편 단순화 단계는 대상물의 사실성에 선 드로잉에 이르기까지 4단계로 구분${\cdot}$제작하여 X축에 배열하여 각 클립별 감성언어 조사를 인터넷상에서 할 수 있도록 디자인하였다. 한편 각 클립에서 보여지는 표현향식에 대해 느끼는 감성조사는 디자인 관련 감성 형용사 중에서 본 연구에 적합한 감성언어들을 골라 조사 실시하고자 한다.

• The Journal of the Korea Contents Association
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• v.9 no.2
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• pp.193-202
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• 2009

This dissertation is considerably studied Faction Genre which is embossed as a new image content, and it is figured out practical used works' possibilities for Korea film production's varieties. Faction, a neologism, which is combined by Fiction and Fact, is a boundary as limits. If authentic history is closed to a truth, it is a record history description method. Also, if unauthorized history is closed to a fake, it is a fictitious history description method. In addition, macro history and micro history are respectively connected to social criticism's matter and personal action, and these can make various analyses, depend on a boundary's limits and personal analysis. On the other hand, history film could be remembered to audience merely history film itself without existed history's fact. However, there are Faction Genre's Genre possibility and film's attraction which indirectness experience of historic fact could be experienced through film. For Faction Genre’s developing solution, there are three cognitive switches; audience's interpretation ability about history film through watching perception, linking between the past and the present for audience through communication with history, audience's considerable decision about history first or fiction first as film writer's interpretation. Above all, hopefully filmic pressure can be shown with historical true to audience. Therefore, it would be Korea Faction Genre's attraction and hope.

• The Journal of the Korea Contents Association
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• v.16 no.2
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• pp.525-536
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• 2016

is basically based on a written history but is narrated for an unwritten history with imagination. This study explored whether viewers of tow films and regard them as a real story or an unreal story. Analysis of film contents and data from a nationwide online survey(N = 300) were executed. This study found the following. First, viewers consider a true story but a imaginary story. Second, viewers show different ideologial and emcotional evaluation, and strength of memory between two films. Finally, viewers are not likely to evaluate performative value of two history films, which suggest a pluralistic interpretation of history, as they regard the films as an imaginary story or a recreation.

• The Journal of the Convergence on Culture Technology
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• v.6 no.2
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• pp.71-76
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• 2020

The preface to the Korean version of ≪十個詞彙中的中國≫ is titled This means June 4, 1989, when the Tiananmen Square incident in China took place. It was cleverly called 'May 35' to avoid censorship by the Chinese government. The reason why the original ≪十個詞彙中的中國≫ is banned from publishing in China is because the book directly mentions the Tiananmen Square incident. On the contrary, it was published in the May 35 style of writing in spite of public opinion. Writing in the May 35 and June 4 style refers to writing in "fiction" and "non-fiction." For the past three decades, Yu-hwa has talked about the Chinese reality in love and hate amid the so-called fiction "false writing." And it is someone's admission that there was a keen spirit of criticism in the past. ≪十個詞彙中的中國≫ has an important meaning that Yu-hwa is no longer dependent on the framework of fiction, but is the first work to begin to express the desire to directly talk about.

• The Journal of the Korea Contents Association
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• v.14 no.11
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• pp.50-59
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• 2014

A basic role of sound is to give realism to the expressions on the screen or to highlight the images using exaggerated effect as a supporting role. In that way, sound effect makes it possible for audiences to naturally understand realistic images. However, the sound effect in movies is not real 'sound' in fact. Rather, sound effect is a separate cinematic tool that needs a separate direction to manipulate sounds in order to create appropriate effects for particular intention in the movie. While watching the movie, the audiences go through unique experience where they comprehend the manipulated world as the real world. Therefore, direction for sound effect must help deliver realism to the images by auditory factors. Thus, effective sound direction shall have precise and independent design for identification, reason and eurythmical match with the screen and occurred sounds shall be designed based on the subjective listening point to see who is actually listening.

• Cartoon and Animation Studies
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• s.17
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• pp.37-51
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• 2009

Immersion is the key factor in determining success or failure for fictional narrative animations. It does matter to not only for the socio-economic achievements like box-office success but to the asthetical achievement, immersion is very important prerequisite character that are raised in terms of research needs. Fictional narrative animation shares the audience's immersive method with the narrative content and Virtual Reality, since animation has the character which narrates itself with the visual image format (including sound) and added the fact that 3D format which emphasizes realism compared with the recent 2D animation has been ubiquitous phenomenon. In other words, the artistic for called 'animation' is located between the view point that text has the immersive point intrinsic and oppositely, specific function of the certain media which stays extrinsic of the text enforce the participants into the immersion. In any case, the subject who experience immersion is the audience, so the most useful theory to research the phenomenon 'immersion' is Constructivism cognitive narrotologic approach which lies the peader-spectator as the centric notion and is more useful than text analysis or research on the visual effects. In this study, research and review about the studies on the audience's immersive experience would be preceded particularly aroud the constructivism theories, and examine the uniqueness and naures of the animation which makes the audience immersive.

• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.263-267
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• 2020

In the Japanese colonial period of Korean history, appropriate conclusion often overwhelmed the historical imagination, and also pointed out that it shows a similar pattern in spite of the history detective novel genre that emerged with pointing out the limitations of modern history. Historical facts showing in , the legitimacy of independence based on nationalism, and modern civilization are well known in the historical and cultural contents of the Japanese colonial period. It is the reason why applied in historical and cultural contents, as the history as is for current desire of the public to the imaginary community(nation), and as the history which current social conflicts are reflected. History, historical facts and fiction are intermingled in the contents of history, and it is creating a new 'historical imagination'. As a matter of fact, there is only one fact of the past, but the historical imagination of historical and cultural contents is diverse as there is not one historical fact made by historians. History has not yet gone to the imagination for the future, but writing history through historical and cultural contents will create a 'history of possibilities'.

• Journal of Digital Convergence
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• v.14 no.12
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• pp.495-501
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• 2016

The film has always reflected the culture of the era based on reality and imagination. The visual effect in the film has mainly played a role of expressing the reality more realistically or recognizing the virtual as reality. This study examines the meaning and the effect of fantasy realism through Oasis of Lee Chang-dong. Fantastic realism has separated the reality from the imaginary space by using a dual meaning tool that affects the time and space in the film and reflects the human desire and desire to see. It was also reproduced in the real world through the medium of pigeons. In addition, it separates visualized space from non-visualized space in film narrative structure, separation of real and unreal space, segregation of consciousness and unconscious space, and separation of reality and reality space into power structure. With the development of technology, the image of the yellow image comes closer to us like reality, which will express the space of unconsciousness that we could not think of.

• (The) Research of the performance art and culture
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• no.36
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• pp.169-184
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• 2018

This paper reveals the double meaning of the temporal background and spatial background on Shimchungga. Its temporal background is the fictional and romantic time of the story, while the time of the weary lives of ordinary people is realistic and historical in the late Joseon Dynasty. The spatial background has a dual meaning that reminds us of the ancient capital of China and Seoul of the Joseon Dynasty. Namgyeong, a spatial background is fictional and romantic where the daughter of the public, Simcheong, becomes "The mother of all the people." In addition, Namgyeong reminds us of Seoul, the capital of Joseon Dynasty. Shimchungga is based on the customs and manners of the late Joseon Dynasty, and it is embodied by borrowing time and space from China. It is recalled Joseon's as backgrounds of China First of all, Namgyeong on Shimchungga is the ultimate attraction of the free imagination of the ordinary people as well as Shin, Jae-hyo in the late Joseon Dynasty.

• 한국게임학회지
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• v.6 no.1
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• pp.44-47
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• 2009

분명한 것은 한국형 온라인게임의 특징적 원리들이 탑재되고 있는 방식과 현상은 점차 강화되고 있음에도 불구하고 게임사 주도적으로 전개되고 있는 산업의 성장모형은 평가기능으로 작동해야 할 조정 메커니즘의 원활한 흐름을 저해하는 길항관계에 있는 것은 사실이다. 이러한 문제를 인식하고 연구자는 게임연구의 활성화지점과 게임개발 테크놀로지가 가진 길항관계를 보완할 수 있는 디자인에 주목하고자 하였다. 게임디자인은 게임의 미적, 실용적, 경제적 가치를 창출하는 직무이면서 유관 콘텐츠산업과의 연계와 매개 가능성을 함의하고 있다는 측면에서 게임연구의 활성화지점의 매개로서 충분하다는 것이 연구자의 견해이다. 이 같은 주장의 전개를 위하여 국내에서 탄생한 온라인게임에 초점을 맞추고 국내 온라인게임의 전형이 되고 있는 핵 앤 슬래쉬(Hack & Slash) 방식과 허구적 공간에서의 게임화된 사회경험을 추구하는 스토리텔링 방식의 분석을 통해 국내형 온라인게임이 성취한 디자인 좌표를 검증하고, 이를 통해 국내 게임산업에 대두되고 있는 위기 스펙트럼과의 연관성은 어떤 것이며, 디자인은 어떠한 방향으로 매개되어야 할 것인지에 대한 의제로 접근하였다.