• 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.

• The Journal of the Korea Contents Association
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• v.14 no.6
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• pp.63-72
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• 2014

This study focused on the determinants of the use of Caligraphy in the movie posters, which may have impacts on movie promotion. Caligraphy has been of interest as a tool to carry emotional factors of movies to potential movie-goers. Movies have characteristics of experience goods of which consumers may not know the value of the products before they actually experience the products. This study collected data of the top 200 movies during 2003 and 2013 from Korian Film Council database and analyzed the relations between the characteristics of movies and the use of Caligraphy design in the posters. As a result, we found that history-based movies and drama-genre movies have adopted Caligraphy. We confirmed that the Caligraphy design have functioned effectively in Korean movie posters.

• Journal of the Korean Society of Costume
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• v.53 no.1
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• pp.159-170
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• 2003

핀업은 제2차 세계대전기간동안 매력적인 여성들의 성적인 사진들을 군일들이 그들의 숙소 벽에 부착함으로서 생겨난 신조어이다. 이러한 핀업들은 영화의 발달로 인하여 헐리우드 스타들과 같은 발전된 형태로서 나타나게 됐으며, 그들의 스타일은 하나의 패션 트랜드를 만들었다. 본 연구의 목적은 핀업의 스타일을 역사적 관점에서 고찰하여 특성을 분석하며 핀업 스타일이 역사적으로 어떠한 변화를 통하여 오늘날의 현대패션까지 영향을 미치게 되었는가를 연구하는 것이다. 연구방법은 관련된 문헌고찰을 통한 역사학적 이론적 배경을 토대로 하여 핀업의 범주를 설정하고 관련자료를 수집하였다. 그리고 핀업 스타일의 공시적, 통시적 고찰, 역사적 변천과 특성을 분석하여 이들에 내재된 문화적 가치가 패션에 어떠한 영향을 미치고 있는지를 연구해보았다. 연구 결과 핀업 그 스스로는 역사적 고찰을 통하여 그 가치를 지니며, 핀업 스타일의 변화는 구조적으로 이루어지며, 구조는 세대와 취향에 따라 변화하며 패션에 지속적으로 영향을 미치고 있었다.

• Cross-Cultural Studies
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• v.39
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• pp.287-308
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• 2015

Biographical film is a genre narrativizing the actual person and history, and reproducing the character and history in a biographical film is in a dimension different from a film focused on a fiction. Discussion between these methods of narrative composition and image reproduction in a biographical film is also, in line with artistic/aesthetic problems and ethical/philosophical theses of the film text. This study discusses the phase of the way of reproduction of the actual person, $Xi{\bar{a}}o$ $H{\acute{o}}ng$ in the biographical film, The Golden Era and the time she lived in a biographical film and how the audience's discussion of the film and socio-cultural discourse differ depending on their attitude towards the cinematic introspection of the text. The narrative structure, the method of image reproduction and cinematic devices of the film, The Golden Era are completely off the point of the general format of the traditional biographical film. In The Golden Era, $Xi{\bar{a}}o$ $H{\acute{o}}ng$ and the history which she lived in did not revive depending on an omniscient subject's selective statement and meta-film structure. Ann Hui removed general, mythic images of $Xi{\bar{a}}o$ $H{\acute{o}}ng$ formed in the field of traditional Chinese culture and reproduced her through multilateral visions of a real, fictional narrator. Each spectator's judgment and interpretation of the film intervene in the multi-layered and sparse descriptions of the actual person's images and the era of the characters. Through this, it is possible to approach the uniqueness and authenticity a historical character, $Xi{\bar{a}}o$ $H{\acute{o}}ng$ and to have an opportunity of multi-layered reflection on how to secure a critical distance and make a perception in historical judgment.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.87-122
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• 2020

This study explores the method of representation of traumatic history in 2D horror game Detention developed by Taiwan game production company Red Candle through an analysis of its method of storytelling. Unlike conventional public media, video/digital games are based on interactivity, in which game players engage in the narratives. Thus, the relationship between players and the history in the game world may also change. This research investigates how the players build their way of remembering and recognizing the past in a different relationship. Detention, which was well received, not only in Taiwan but also around the world upon its launch in 2017, is set in a middle school during the martial law era in Taiwan in the 1960s. In the game, the main character encounters her lost memories in the process of following clues and game rules, and finally realizes she is implicated in the 1960s' event. Detention was cinematized after the success of the game. The film achieved enormous popularity both in terms of box office success and criticism. In this paper, the strategy of the game's storytelling is introduced in comparison to the film's approach in the representation of historical events. In particular, the paper explores elements such as the interactivity of the game medium, narrative fragmentation, quests, hints and cues, and the horror genre, that asks users to understand history beyond the game world differently from the point of view of other media. Though this study, it can be considered that the digital game is a medium exploring history in a serious manner. In particular, Detention invokes the matter of game-mnemonics as well as cine-mnemonics. Compared to plentiful research in cine-mnemonics, game-mnemonics has not been extensively studied to date. Therefore, through the analysis of Detention, this paper explores the relationship between digital games, history and memory.

• (The) Research of the performance art and culture
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• no.43
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• pp.47-78
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• 2021

This study was written to examine the acceptance of pansori in movies based on pansori, and to explore changes in modern society's perception and expectations of pansori. A pansori is getting the love of the upper and lower castes in the late Joseon period, but loses the status at the time of the Japanese colonial rule and Korean War. In response, the country designated pansori as an important intangible cultural asset in 1964 to protect the disappearance of pansori. Until the 1980s, however, pansori did not gain popularity by itself. After the 2000s, Pansori tried to breathe in with the contemporary public due to the socio-cultural demand to globalize our culture. And now Pansori is one of the most popular cultures in the world today, as the pop band Feel the Rhythm of KOREA shows. The changing public perception of pansori and its status in modern society can also be seen in the mass media called movies. This study explored the process of this change with six films based on pansori, from "Seopyeonje" directed by Lim Kwon-taek in 1993 to the film "The Singer" in 2020. First, the films "Seopyeonje" and "Hwimori" were produced in the 1990s. Both of these films show the reality of pansori, which has fallen out of public interest due to the crisis of transmission in the early and mid-20th century. And in the midst of that, he captured the scene of a singer struggling fiercely for the artistic completion of Pansori itself. Next, look at the film "Lineage of the Voice" in 2008 and "DURESORI: The Voice of East" in 2012. These two films depict the growth of children who perform art, featuring contemporary children who play pansori and Korean traditional music. Pansori in these films is no longer an old piece of music, nor is it a sublime art that is completed in harsh training. It is only naturally treated as one of the contemporary arts. Finally, "The Sound of a Flower" in 2015 and "The Singer" in 2020. The two films constructed a story from Pansori's history based on the time background of the film during the late Joseon Dynasty, when Pansori was loved the most by the people. This reflects the atmosphere of the times when traditions are used as the subject of cultural content, and shows the changed public perception of pansori and the status of pansori.

• The Journal of the Convergence on Culture Technology
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• v.5 no.2
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• pp.59-65
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• 2019

This study examines how cinematic texts are used in movies through Lee Jun-ik's 2015 film, and what narrative and visual effects are obtained through them. This film portrays poet Yun Dong-ju as a central figure and chooses to reconstruct his life. The movie, , used Yun's poetry as a device to maximize the lyricism of the film and to suggest a change in the fate of the character and the inside. In other words, uses Yun Dong-ju's poetry to aesthetically express the inner change of the characters in the film and the sensitivity of the film. Through this, I visualize Yun Dong-ju as poet Yun Dong-ju, a poet who was stuffed in literary books, as a normal literary youth. It is also a reminder of the weight of the reality that the present youth is experiencing and the problem of an individual living in history. In this respect, the movie is a major text that depicts the poetry and poetry of the time, and the age of poet through the media. 'Poetry' as the text of the text delivered with the image maximized the lyricism of the image and led to high aesthetic achievement. Through poetry and poetry, it can be regarded as the main text approaching the problems of history, individual, literature and reality.

• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.154-165
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• 2012

In this paper, I examine the history of split screens, primarily seek to explain types of them, and explore the narrative meaning of each type in feature films. In short, I try to categorize the types of split screens and present a figure of them according to events and characters, focusing the relations between/among simultaneous images and narrative meanings. In addition, I assert that split screen have altered some methods of filmic storytelling and the ontology of screen. Story lines no longer have to be linear and the screen need not to remain a window through which we can see another world. The screen has come to be a canvas upon which several images can be arranged for narrative purposes.

• Journal of The Korean Association of Information Education
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• v.2 no.2
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• pp.215-225
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• 1998

In this paper, we talk about various themes as follows. History and future of computer graphics, situation of computer graphics in Korea which is in IMF condition, newly release movies produced by computer graphics, present condition about developing animation movies, history of virtual reality and its potentiality.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.361-395
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• 2019

This paper take a media archaeological approach to cinema transformed into a narrative medium during its transitional period, 1903-1915. To accomplish this, I will explore the question of as which narrative medium cinema was imagined and also how it was institutionalized as a narrative medium with authorship. I will explain that the imaginary and real ideas and changes on cinema resonated with each other on the foundation of its technological aspects such as indexicality, 23 frames/sec. and montage. It was during the transitional period that cinema was transformed from a medium representing spectacle to a medium of narration. The establishment of the American film copyright law in 1912 was an institutional, real outcome from the contemporary understanding of cinema as a narrative medium. At the same time, various ideas emerged that led to imagining of cinema as a complete narrative medium, incomparable to any other. From a media archaeological perspective, the imaginary ideas of media resonate with their actual course of development. These imaginary ideas are not just imaginary, but rather reflect the contemporary desire for the medium. This paper looks into the transitional period based on this media archaeological point of view. To this end, this paper will briefly introduce the notion of media archaeology as a media theory and then discuss Eric Kluitenberg's concept of 'an archaeology of imaginary media' and its methodologies. Second, it will explore literary and cinematic imagining of cinema as a powerful medium of storytelling, while discussing the ways in which cinema's technological characteristics played a decisive role in these imaginings. Also to show the techno-deterministic role of cinema in the real world, this paper will explore how its technological characteristics were considered as an important element in the processes through which America's first motion picture copyright was institutionalized in 1912 after two historical copyright cases: one is Edison v. Lubin in 1903 and Kalem v. Harper Brothers in 1909. Ultimately, this paper will lead us to an understanding of the history of cinema as a medium and its developments in more multi-layed way, as communication between the real and imaginary, and give us perspectives toward what cinema is.