• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.303-311
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• 2019

is a film festival in conjunction with that shows about 50 works from 25 countries. It has become the only martial arts action film festival going on in Korea, with 32 feature films and 24 short films for a total of six days during the event from August 30 to September 6. has the slogan 'Muye, change the history of movies!' Through the movie, it sheds light on the value of life pursued by the martial arts spirit around Samjae, the core value of martial arts, and explores the aesthetic value of the most beautiful gesture that humans can make through the movement of martial arts centered on the space of dots, good and cotton. And through this film festival, I saw the potential to grow into a festival with the world. With this film festival, the identity of is established as a sustainable film festival, not as a single film festival, and image of martial arts action movies, which are part of genre movies, through the certainty of this image, differentiates itself from domestic and international film festivals, and does not stay in Northeast Asia or in Southeast Asia. Then, let's study the value of the future through the results of this film festival. In addition, we will study ways to increase the probability of growth as the best cultural and arts festival held along with the world's only international martial arts competition.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.587-596
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• 2013

Film is all about people. Characters in films represent the worldviews and perspectives on "people" of film directors. Lee Chang-Dong, Lim Sang-Soo, These are the directors who concentrate on "persona" in their films, but in turn, they see it at unique and distinctive angles. Director Lee Chang-Dong seeks for innocence as the core of humanity and hopes to recover it in his films. On the other hand, director Lim Sang-Soo keeps his sarcastic and nihilistic stances towards human nature, claiming that we are just mere beings who "happen to" be living and staying at our time in history. This paper examines the contrasting views on 'human nature' of the two directors, which are uniquely explored in the films , of Lee Chang-dong and , , of Lim Sang-soo respectively. What is the true human nature that each of these two directors wants to imbue his films with and how different are their perspectives?

• The Journal of the Convergence on Culture Technology
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• v.8 no.4
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• pp.227-238
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• 2022

This paper studies the change process and characteristics of the 'Korean community cinema movement'. The community cinema movement that has been active since the 2010's can be said to be a turning point in the Korean film culture movement. However, academic and policy definitions and research on the community cinema movement are extremely insufficient and only appear in some seminars or policy research reports. This study aims to discover the characteristics of the 'Korean community cinema movement' in the flow of the Korean alternative screening movement. A comparative study through a diachronic approach to the Korean alternative screening movement and case analysis of community cinema is intended to identify the characteristics of Korean community cinema and suggest policy measures for which a support system has not yet been prepared.

• Journal of Ethics
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• no.84
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• pp.243-274
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• 2012

The purpose of this study is to study the community narrative ethics of China·Taiwan film. in the context of globalization and locality. I especially wish to look this part through narrative·hermenutical approach and communitarian ethics against contemporary liberalism and individualism. In particular, this article focuses on the works of Hou Hsiao-Hsien, Zhang Yimou, Lee Ang, Tsai Ming-Liang, Chang Tso-chi and Chen Kaige. China and Taiwan's main directors show family and country's community narratives through the self understanding and identification that we call narrative conception of the self. The idea of local community and identity is related with inheritances, history and tradition from the past of my family, my city, my tribe, my nation. Main directors make and have the story of those communities which I derive my identity. And community narratives from the life histories that define us form local community's solidarity should have the openness to other communities. Community narratives shouldn't be separated from the aspect of globalization and locality. After all, I examined whether the local community narratives reveals meaningfully from the standpoint of globalization and locality through China·Taiwan film.

• (The) Research of the performance art and culture
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• no.18
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• pp.283-314
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• 2009

This paper is an attempt to examine historical drama which change rapidly in the manner of seeing history. Historical records are treated differently unlike in the field of modern history. Now the distinction between historical facts and fictions becomes no longer important. This change is affected by micro history, new cultural history, or post-modern history. History and narrative become interactive each other. In this respect they are no more historical drama. by Han Areum (director Suh Jae-hyung) represents this new trends. Of course, it doesn't suddenly pop up in 2005. It began in by Lee Yoon-Taek, was reinforced in by Kim Tae-Woong, and bloomed in . I intended to search important features of by following three. First is the interest about unimportant persons such as a maid of honor, an eunuch. In , they are the main characters. The author described much about those trivial people revealing the truth in different way of the existence. Second is the way of calling a past. In this piece, the past is not continuous. The past always appears at the stage by the present in the form of split which is imagination, recollection, revival. Third is a mixing genre. Comics, melodrama, and thrillers are all together in . This is a similar phenomenon to historical novel and movie of new trend. Strictly speaking, this piece isn't a history thriller. The accident of lost prince doesn't be treated importantly and the result isn't clear either. In this piece, detective genre is used for a symbol showing that writer pursuits the history, not the event. This represents well the characters of new historical drama because how historical facts are carefully recreated and constructed are important. It's enough to show the possibility to mix genre through comics and melodrama.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.185-190
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• 2019

Historically, the representation of the colonial period has responded closely to the policies and political conditions of the time. The Korean blockbuster , which links the genealogy of Manchuria Western, adopts a safe nationalism frame, upgrading the genre's narrative typology to colorful action and spectacle, including the Japanese army, the Liberation Army, the good and evil, and the confusion of identity. On the other hand, , which deals with the friendship of the poet and the warrior, treats the mental and internal struggles implied by the power of poetry, without resorting to familiar nationalism and heroism. is a thorough genre of rules. If the visual and sensual pleasures of imaginative resilience beyond the bounds of the law are provided within the Rules, inevitably seeks resistance within the colonial empire's legal system. Political, diplomatic, and economic conflicts between Japan and Korea, which have been continuing until recently, reaffirm the framework of nationalism on the screen.

• The Journal of the Korea Contents Association
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• v.7 no.9
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• pp.54-61
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• 2007

Chungchong-namdo area is place that Baekje cultures are straggling. Many ruinses of grant exist and is having special quality of seeing area such as Muryeongwangreung, Busosanseong, Gongsansung as Baekje cultural areas' center with Kongju of Buyeo. More than goods that equip the area's color if see culture goods been selling in tourist resort that there are many resemblant goods that can see in any local and goods development is insufficient misgovernment. Tourists understand history of the area and culture through head relic of having wide knowledge official rank and master basic knowledge. This research proposes culture goods design that apply relic that is excavated in Baekje culture station as a way to based Chungchong-namdo area culture and keep another province station and discrimination. Meantime, interest about Baekje histories was lacking but interest about Baekje histories is decaying through movie or history drama etc. the latest. Hereupon, Chungchong-namdo area culture expects to be activated developing goods design that combine traditional culture and modem thing accomplishes with beauty appropriateness and formative.

• Journal of Digital Contents Society
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• v.11 no.4
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• pp.607-614
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• 2010

History centered knowledge based story-telling project planning tool supports the process of story creation in narrative genre about history of families or individuals. Narrative fields not only include drama, mythology, legend, history but also non-verbal epics such as movie, play, ballet and opera. But as verbal epic, this research paper focuses on the family history and individual history of each household. This story-telling planning tool redevelops each genre of story-telling about family history through sampleDB and informationDB, and it is widely applicable in concreting high quality stories in both its content and value. Reduces the time of planning story-telling, and impose minimum expenses in human resources. Content about family history is one of the most the fundamental and renowned contents in Story-telling but planning tool that is easily applicable in creating such content does not exist in statue quo. In this current system lacking creative infra, this research paper seeks to provide a planning tool that public can easily utilize, and by systemizing the tool. it aims to create a creative contents tool model applicable in variety of genres.

• Cross-Cultural Studies
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• v.53
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• pp.193-218
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• 2018

In this essay, I examine the interactions of chronotopes in the narrative of Gangnam Blues, a film written and directed by Yu Ha and released in 2015. Bakhtin's chronotope, the connectedness of temporal and spatial relationships in literary narratives, provides the background for the representability of events and becomes the organizing center for the events. Each chronotope offers a different way of acting, interacting and understanding experience, and chronotopes can interact with each other in a single text or between the reader and the represented world. Gangnam Blues is a gangster movie, first of all, showing an individual's illusion of an unlimited possibility for achieving wealth and power. At the same time, the film describes the government's project to transform Gangam, a rural area in the south of the Han, into a new downtown and residential area for Seoul. As the world in the narrative and the world of the author or the reader are all chronotopic, we can see the interactions of chronotopes between the narrative of an individual and the historical narrative, as well as between the narrative about the beginning of Gangnam and the audience's perception of the present Gangnam. In this film, the main character's ambition is shown as part of the social desire for rapid economic achievements in the 1970s, along with high social mobility. The social desire can be explained as envy, as it is fueled by social comparisons and competitions. The main character's pursuit of money and power through the possession of Gangnam land overlaps with the envious desire for the present Gangnam shared by many. The individual's exceptional ambition and violence are not fully examined in this text. Moreover, the film's dependence on the feelings of envy to represent the individual's choice and violence can be a symptom of the lack of critical distance from social desire and envy.

• Trans-
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• v.12
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• pp.81-106
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• 2022

The possibility of metaverse system to be a catalyst for hyper-connected society will be dependent on the speed of connected technological development and its social utilization in the same manner as AI technology. Putting these technical realization processes in brackets, this paper focus on some philosophical-political issues in connection with cognitive-ecological changes in the future cinema which will be influenced by the complexive techno-socio couples of accelerated development of metaverse system. Generally speaking, essence of metaverse system seems to be the degree of immersion by technical accuracy, but is not true. In perspective of cognitive-ecology, flow degree of a picture or photograph is relied not on 'accuracy of representation' but on its message's contextual link-up. In this aspect, real potentiality of metaverse system shall be understood in the context of cognitive-ecological changes of human brain's multi-intelligence networking abilities(intersection of augmentation-simulation and outside-inside) which will be activated in the new structure of natural-social-technological coupling of metaverse system. These cognitive-ecological potentialities have been partially actualized in the cinematic process of tripod mimesis for the longest time, [real contradiction/conflicts (Mimesis-1) -->fictional solutions of cinema (Mimesis-2) --> selective interpretation of spectator's wish fulfillment (Mimesis-3) --> real change (Mimesis-1')]. Therefore metaverse's real potentiality must be considered to be dependent on the possibility of deepening and extending of cinematic circulation between real seperation/problems and ideal connection/solutions. In this context, advanced metaverse system can be compared as a modern technical version of ideal circulation of physics and metaphysics