• The Journal of the Korea Contents Association
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• v.11 no.11
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• pp.111-119
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• 2011

Movie research in the 1980's structuralism looks tendency to escape director or text research and analyze spectator or inspection action. These post-structuralist divert interest by analytic convention of spectators in analysis by director's intention or text type correctly. There is the age that spectator, inspectional action and inspectional subject weighs more than director, work and text itself. But, inspection of movie can be person's enemy by director's narrative strategy or spectator's analytic quality that depend on a text and spectator and their interaction usually, and only method to acquire universality chooses full analytic discourse to principle. We should be structured by symbol system that the event is consisted of movie language to reappear the event through narrative in movie and this symbol system, director's narrative strategy can cause fixed esthetic distance between spectator. Researches to analyze this distance need to keep universal validity as much as being accepted by effort to gap with director and spectator. Therefore, narrative poetry that I analyze movie narration style by 'narrated' and unit of 'narrating' and study the form and function so-called, is going to follow narratology's access method. The consistent argument of this narrative poetry is that story is consisted of the events and these observe to structured thing by unit that is sequence through arrangement with the other event that adjoin in the event. Also, director need consensus with spectator to reappear connection of this event logically and it is thing which this reappearance form can be done characteristic by narrative strategy in directing. I am going to try narrative structure analysis of movie by narrative that is connected at structure of the event and 'narrating-narrative acts' that is interested in way to reappear this story to spectator hereupon. Of course, at process of research, Roland Barthes and his followers wish to apply 'narrative function' and concept of 'narrative acts' that prefer from time to time.

• 한국HCI학회:학술대회논문집
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• 2006.02b
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• pp.692-698
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• 2006

영화와 게임 산업의 융합은 최근 콘텐츠 산업 분야의 주요 이슈이다. 사실 지난 20여 년간 그 동안 둘의 융합을 위한 많은 시도가 있어왔지만, 그 결과가 성공적인 것은 아니었다. 하지만 많은 시행착오에도 불구하고 융합의 시도는 계속되어 왔고, 그 결과 근래에 이르러 두 분야의 융합이 본격적으로 이루어짐을 알리는 현상들이 나타나고 있다. 그러한 현상들 중 서사 분야에서 두드러지는 것이 '에피소드형 스토리텔링'의 증가 현상이다. 이에 따라 본 연구는 최근 영화 및 게임, 혹은 기타 여러 콘텐츠 산업에서 나타나고 있는 '에피소드형 스토리텔링' 현상에 주목하고, 이를 기존의 서사이론의 연장선 상에서 파악하는 것을 목적으로 한다. 이를 위해 영화계에서 최근 등장한 멀티 플롯 영화의 유행을 살펴보고, 에피소드식 스토리텔링의 예로 최근작인 <킹콩>의 스토리 구조를 분석하였다. 그 다음, 이러한 에피소드형 스토리텔링이 최근 주목을 받고 있는 이유를 에피소드 구성 특유의 '반복경험'에서 찾고 그것이 리스크가 높은 콘텐츠 산업에 기여하는 바가 있다는 가설을 제시하였다.

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.15-24
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• 2019

Hollywood traditional movie companies are continuously challenged by new-type companies represented by the streaming content platforms. Based on the latest market statistics, and with a multidimensional approach involving the production, distribution, projection and overseas market, etc, this paper analyzes the changes and development of North American movie industry in its process of coping with the globalization and digitalization of media in 2018, and summarizes the effective measures for Hollywood mainstream movie companies to adjust their own structures and operation mechanism to maintain their development in the environment of new media consumption.

• Journal of Digital Convergence
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• v.11 no.5
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• pp.307-312
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• 2013

This paper aims to design and realize movie reservation system with EJB 3.1 lightweight container architecture. N-Tier enterprise architecture to resolve the problem with benefits to support the new architecture is a lightweight container architecture. This architecture, such as the EJB, but not heavy, to provide all of the architecture is possible. The lightweight container architecture is most often used in business EJB 3.1 is well-known architecture. Therefore, this research has the N-tier enterprise architecture to solve the advantages and disadvantages developed to support the latest EJB 3.1 architecture based on the design and implementation of a movie reservation system.

• Korean journal of communication and information
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• v.50
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• pp.94-120
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• 2010

This Studies interpret Kim Ki-duk's film in terms of shamanistic world views. In this studies, the ritual properties of Kim Ki-duk's film were trying to reveal. To do this, Kim Ki-duk's entire 14 works were analysed. Specifically, shamanistic characters, their actions, themes, ways of storytelling, mis-en-scenes, and visual settings were focused on. The results show, fantastic and ritual properties were represented directly and the very archetypes of Korean cultural shamanistic symbols were embedded in his films. Shamanistic symbols and narratives in Kim Ki-duk's films were related to the main themes of harmony between suppressing men and suffered women. This symbols and narratives could be interpreted through the sacrifices of characters, exorcistic behaviors, expressions of death etc. In the long run, as visionary or anti-realistic author, Kim Ki-duk has been performing shamanistic ceremonies(in Korean "Gut") with his whole works. With these findings, processes from preparations to completions of Gut-Pan (Shamanistic ceremony) in Kim Ki-Duk's works were tried to reconstruct.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.9-40
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• 2019

This study presents an investigation into South Korean films in the 1990s in the aspects of genre change and emotional reorganization. The 1990s witnessed a change of genres and a paradigm shift in the history of Korean films according to the revolutionary changes of the film industry structure and media environment. Believing that these changes had something to do with emotional changes driven by global capitalization symbolized by democratization in 1987 and the foreign currency crisis in 1998, the investigator analyzed the phenomena in film texts and examined the opportunities and context behind them. Unlike previous researches, this study made an approach to the history of Korean films in the 1990s with three points: first, this study focused on why the romantic comedy genre emerged in the 1990s and what stages its formation underwent since there had been no profound discussions about them; secondly, this study analyzed the biggest hits during the transitional period from 1987~1999 to figure out the mainstream genres and emotions during that period since these hits would provide texts to show the genre domain and public taste in a symbolic way; and finally, this study grew out of the separate investigation approach between melodramas and romantic comedies and looked into an emotional structure to encompass both genres to make a more broad and dynamic approach to South Korean films in the 1990s. History flows continuously without severance from previous times. When there is attention paid to inflection points and opportunities in the continuum, it can show the dynamics and structures of changes. This research led to the following conclusions: the mainstream genre of South Korean films had been melodramas until the 1980s. The old convention had been kept to offset or suture contradictions and excessive elements deviant from the structural consistency. Here, the structural consistency refers to no compliance to rational regulations or trade. The process of genre reorganization in the 1990s happened while securing some distance from the convention of making the structural consistency a sacrifice. The direction was to reinforce control through reasonable rationalism and logic of capital. It developed into romance, which would start with comedy to keep distance from the objects through laughter, heighten the level of remarks, and expand criticality, symbolize emotions with taste items, and build through the logic of mutual consensus and practical trade. In the 1990s, the South Korean films thus developed in a direction of moving away from the narrative of urgent pathos based on unconditional familism. It was on the same track as the entry of the South Korean society into the upgraded orbits of democracy and capitalism as the twins of modern rationalism since the latter part of the 1980s.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.638-649
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• 2013

This study focuses on analyzing the trend of Korean movies and the issues caused by industrialization and the alternatives. The results are as follows: first, there does not exist distinctive genre movie as most of the movie producers concentrate on thoughtless genre fusion of movie, simply hoping for box office success. Second, Giant companies that has large amounts of money and distributors tend to monopolize production, distribution, and running of movie. Consequently, the development of diversity and artistry is absolutely impeded. Third, the structure of Korean movie industry make some well-known movie stars survive the film world and staff members and actors except them face economic difficulty. The solution plans for the problems mentioned above can be drawn like this; first, genre film with distinctive features should be developed. Second, the monopolistic structure of the screen should be changed. Legal organizations are required to redesign the system of unfair Korean film industry. Third, it is suggested that quantitative expansion of special theaters of diversity film be urgently needed. Fourth, appearance fees given to popular movie stars, actors, and staff members have to be provided in a balanced way. Fifth, the way for revitalization of film production should be found through the legal examination of fund for film development. Last but not least, the profit from the additional film market ought to be made.

• The Journal of the Korea Contents Association
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• v.15 no.8
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• pp.156-169
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• 2015

The negative awareness of a multiculturalism rises around the world because of various problems that happen with the multicultural phenomenon. Nevertheless, the reason we uphold multiculturalism is that multicultural phenomenon is an inevitable consequence of capitalism and the decline of multiculturalism might imply danger of bringing about radical nationalism. This study assumes that a distortion of multiculturalism is the result from a myth of romance film which affects the public perception as an integral component of a discourse. Grounded upon monomith, the narrative structure of romance film of which motive comes from courtly love makes people miscomprehend the value of multiculturalism because of the multicultural factor as substitute for romantic obstacle. As the character of romance movie is likely to be formed focusing on superficial images and denotations, this tendency causes the hierarchy and the representative minority drives out the rest of other minorities. The attempt to arouse people's tolerance and understanding of the other is frustrated both by the structure of binary oppositions and the clich$\acute{e}$.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.145-153
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• 2019

As a category of film types, suspense thriller is constantly introducing a new element in the endless historical development and owns new vitality. The long-standing essence is that it doesn't vulgarly cater to the public, but stimulates more creativity. In this thesis, starting from theoretical foundation of creation in American contemporary suspense thriller, the author analyzes playwriting characteristics of suspense thriller and analyzes the exquisite description of characters' mental world and external presentation in detail from multiple structure modes to multiple perspectives. Also, the author comprehensively elaborates playwriting characteristic features of American contemporary suspense thriller by combining with playwriting theme, structure and viewpoint and takes the classic work of American suspense thriller by David Fincher as an example to analyze the unique value of thriller playwriting.

• Korean Institute of Interior Design Journal
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• no.16
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• pp.42-48
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• 1998

Contemporary space design has based on the framework of academic standards on a number of scientific propositions in order to find out correlation of human and environment and closely examine approaches of a normative design. However the contents are enormous and introductory and have limitation of application to practical business affairs so that we will have to understand them as a thinking to explain the design with,. Therefore this study is an experimental research making use of concrete design approaches applicable to the area of space design ad cinematic construction as a medium. The purpose and significance of it lies in examining its validity and contributing to the future development of space design. Accordingly this study conducted the research through a literature survey for the understanding of space perception in the cinema deduced the language of design concept according to it examined the basic unit of cinematic construction then analyzed the cases of practical architectural spaces. The findings of this study indicate that human's perception to space and the cinema is deduced as a common conceptual language characterized by the ideas of articulation scenery and timeness. These concepts are very organic and interdependent and can probably become a means for human to appropriately analyze an behavior attribute type of investigating environment with. Also in composing space the basic units of cinematic construction can be as instrument to be easily applied to practical affairs as they are correlated with the function of space and a constituent language to be reasonably designed.