• 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.

• Proceedings of the Korea Contents Association Conference
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• 2016.05a
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• pp.331-332
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• 2016

메가 스포츠 이벤트(Mega Sports Event, MSE)는 방대한 수의 내방객, 스펙터클한 미디어 캠페인, 대규모 투자와 지역 인프라 혁신을 특징으로 하는 스포츠 대회이다. 본 논문에서는 MSE에서 다루는 서비스를 살펴보고 향후의 경기장에서의 ICT(정보통신기술)의 역할을 기술한다. ICT는 경기장을 찾는 관람객의 방문동기를 최대한 충족하는 익스피어런스를 제공하도록 활용되어야 한다. 이를 위한 ICT 익스피어런스 프레임워크를 제안한다.

• Electronics and Telecommunications Trends
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• v.20 no.4 s.94
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• pp.58-66
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• 2005

2004년, 개봉 39일만에 국내관객 1000만 명을 돌파하며 국내영화사상 신기록을 수립한 영화 ‘태극기 휘날리며’에선 사상 유례없는 10만여 명 이상의 피난 및 중공군 진격장면이 연출되었다. 그러나, 10만여 명이 나오는 장면을 찍기 위해 동원된 엑스트라는300여 명에 불과하다. 1982년작 영화 ‘간디’의 장례식에 동원된 30만 명의 엑스트라를 생각한다면 괄목할 발전이라 할 수 있다. 이와 같은 대규모 스펙터클 잠연이 영화에서 빈번히 활용될수록 첨단영상 장비에 대한 활용도는 제고될 것으로 예상된다.

• The Journal of the Korea Contents Association
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• v.17 no.7
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• pp.22-30
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• 2017

CGI not only performed a crucial role to make cinema and animation evolved into digital cinema and digital animation but also CGI, an important visual format, settled realism-centric spectacle image culture in public commercial cinema and animation. The fact that CGI visual format could be structuralized in three different view points is discovered through Iconicity, photorealism, verisimilitude, uncanny valley, hyperrealism, and spectacular realism discourse research which explain image culture. First, a formative viewpoint that comes up in an iconic difference between drawing and photograph. Secondly, a cognitive viewpoint that sees visually perceived naturalness and abnormality as a realistic probability issue. Lastly, a customary viewpoint which is rooted in aesthetic tradition of cinema and animation. After that, the features of CGI which is used in the movie 'jungle book'(2016) were analyzed using the structured visual format. Consequently, this movie has hyper-realistic photographic iconicity on the base of realistic probability. Also, by following image-aesthetic convention which uses overstated and amplified narrative as a visual format, at the same time, the movie also has sufficient image-aesthetic convention in animation by personified animal character.

• The Journal of the Korea Contents Association
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• v.9 no.1
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• pp.205-214
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• 2009

There has been a change in the production of the movie and techniques of the expression in the digital technology which has been used universally since 2000. As the focus of the production system of the movie has moved from the production procedure centering around filming to the procedure centering around editing used by the digital tools. The flows and boundaries of the production system which is consist of pre-production, production and post-production are getting indistinct. In the point of view of aesthetics and technology, this kind of change expands the creativity and originality for the screenwriters and provides the reality and vitality which haven't been found in previous films for the audience. It also elevates the quality of the movie. However, this ‘illusionary spectacle' has a vulnerable point that shows the aura and details of the movie soundly for the audience.

• Journal of The Korean Association For Science Education
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• v.40 no.1
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• pp.13-28
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• 2020

This study attempted to understand the characteristics of images of scientific experiments represented and consumed on YouTube, a representative of today's new media. In particular, this paper analyzes the case studies of YouTube's hydrogen peroxide decomposition experiment based on Baudrillard's theory of Simulation and Simulacra, which discusses the strong status of images and the ambiguity of the boundary between virtual and reality. A total of 14 YouTube videos related to hydrogen peroxide decomposition experiments were analyzed. In those videos, hydrogen peroxide decomposition experiments were typically conducted with several signs representing scientific experiments, but the most important sign in the videos were bubbles produced through experiments. For more public consumption of the content, the bubbles resulted from hydrogen peroxide decomposition reproduced in YouTube have been transformed into a more spectacular image as 'super-huge' and 'explosive' bubble. Considering the influence of new media that can be accessed by students anytime and anywhere, it is positive that science experiments in new media enhance students' intimacy and access to science. At the same time, however, it is also important to note the danger that the purpose of scientific experiments will be limited to only 'showing specular images', due to the nature of new media, which mainly deals with immediate and superficial images. Furthermore, this study argues that improving students' science media literacy is required to critically examine the science-related images represented in the new media based on understanding the characteristics and limitations of new media that deeply affect daily life.

• Cross-Cultural Studies
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• v.49
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• pp.59-93
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• 2017

This paper provides an in-depth examination of the relationship between cinema and Giorgio Agamben's aesthetics and philosophy. Intersecting Agamben's key concepts including gesture, mediality, biopolitics, historicity, and profanation with historical and aesthetic dimensions of cinema, I argue for his ambivalent view on cinema and visual media. On the one hand, Agamben linked cinema and visual media to his discussion on biopolitics and spectacle as he considered them as apparatus for capturing and controlling gestures. On the other hand, he also argued that cinema could restore the image with capacity to preserve and recuperate gestures based on his consideration of montage as cinema's key aesthetic and technical component (an operation of profanation) and his Benjaminian thought on the ways in which montage suspended linear flow of images and activated an alternative memory of them. Drawing on history of cinema and optical devices in the 19th and early 20th centuries as well as examples of found footages of filmmaking predicated upon stoppage and repetition of images, I argue that Agamben's concept of potentialities can be extended into his thought on cinema and visual media apparatuses in general.

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.125-162
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• 2010

This is the study on the 'Theater State' in the Daehan Empire of the Emperor Gochung in the late 1900 with the theatrical concepts of cultural performance theory which has been useful for investigating historical, social, and cultural collective memories and their transformation mechanism in the society. The performance theory is based in the notion, '$Performativit{\ddot{a}}t$', by which the performance can contain vary performance forms. $Performativit{\ddot{a}}t$ is the notion which points up the certain process that can cause the perceptional emotion communication to the performers and audiences in the performance. The spectacle of a society is also understood and presupposed by the $Performativit{\ddot{a}}t$. Generally speaking, the spectacle has been used of explaining the visual cultural experiences in society. Fundamentally, spectacle had resulted from the latin 'spectaculum', which was used to designate theatrical representation in France. In the case of movie, spectacle was the grand show with showy technological attractions. The spectacle have been to show the political and socio-historical relationships in a society. But in my study, I want to start the premise that the cultural performance planed by the Emperor Gochung in the Daehan Empire has the attribute of 'theater state', which can awaken the certain collective emotion to connect the Emperor and his people in the Daehan Empire period of the Emperor Gochung of the late 1900. In addition to it, I search for the historical collective memories of the Daehan Empire. The government of the Daehan Empire was continuing with its efforts to enforce and recollect the imperial images and authority of the Emperor and his Empire to get the approval of the people and international society. The effect of spectacle consisting of theater state was the concrete effort to establish the collective memories of the Daehan Empire by remodelling and rebuilding the Seoul, the capital of the Empire and performing the national ceremony such as the korean pagent(Gae-Dung거둥) and parade to set the portrait of the Emperor(A-Jin어진), the geo-body of the Empire.

• Journal of Korea Game Society
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• v.17 no.5
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• pp.39-50
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• 2017

This paper explores the concept of mobile gaming platforms and changes in game play through mobile parameters, focusing on the role of role-playing mobile games through mobile parameters. As a move, the Player combines the mobile media with the game platform. The daily time of the mobile mid-dividualization is reconstructed with the principle of superposition, which affects play experience on the mobile gaming platform. The character of a mobile role-playing game plays a non-integrated play where the player is staying, rather than an avatar character, and exhibits a non-dwelling character as a residential space. Automatic battle also regenerates unused combat forces in the form of explicit integration. The experience of combat in overlapping hours serves as a visual spectacle, and the player inhabits the fighter jets.

• Journal of the Korean Society of Costume
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• v.51 no.6
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• pp.147-165
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• 2001

Haute couture denotes a luxurious made-to-order dressmaker's shop. In principle, it refers to a place that is registered with the Paris Apparel Association and has met the size and criteria specified by the association. The features of modern fashion expressed in haute couture have been contemplated by categorizing them into mixed impression appearing in haute couture work pieces. turning the collection event into a spectacle and commercialization for the succession of haute couture. Mixed impression manifested in the haute couture has engendered (1) the creative and dynamic feature (2) eclecticism with popular culture (3) mixed impression of reactionism (4) ethnic characteristics. From the above considerations, one could say that the factors drive the very existence of haute couture and comprise three elements of impeccable backgrounds, They are (1) organizing ability and protective policies of the French fashion industry, (2) relentless experimental spirit of the haute couture designers and (3) Paris that supports creativity and fashion fabrication, have coincided with rising up of the value of persistence on originality of work pieces in accordance with diversifying cultural transformations. consumer-oriented patterns by way of capital symbolized by consumers and restructuring of company operation by each shop. This report describes comprehensive understanding of haute couture, creativity and dynamic power of the haute couture work pieces. Akin to the efforts to maintain the existence of high-grade cultures throughout the overall cultures themselves, haute couture, on the basis of these factors, should also become the motive power through which luxurious culture in fashion is created in the days ahead.