• The Journal of the Korea Contents Association
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• v.14 no.12
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• pp.618-628
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• 2014

A photograph used in a film poster summarizes the story of the film that lasts for around two hours. The image must contain a picture that represents the story and text including the title, with various design elements composed in a harmonious way. However, given that a photograph is the most noticeable element in a film poster, this study aims to examine the function, role, and types of a film poster and analyze poster photographs. Currently, there are companies specialized in photography for film posters, but sometimes recognized photographers are commissioned to take a photograph that will be used for a film poster. Hein-kuhn Oh actively produced such photographs in the early and mid-2000s, and this study deals with 'how the photographs recreate the content of the films' focused on three selected photographs taken by him. Also, There were commonalities found between the tree photographs and Oh's personal portrait photographs, which were then analyzed from the photographic aesthetic point of view. The three selected works are: , , and .

• The Journal of the Korea institute of electronic communication sciences
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• v.10 no.7
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• pp.801-806
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• 2015

Recently, retro music is popular in the domestic music industry. Even in the movie industry, remake or retro movies are made continuously. In this paper, we consider the reason of remake in the viewpoint of mathematics and show that there is a maximum number of lyrics, pictures, music, and movies that human can make due to the characteristics of digital contents. The time that human cannot make new lyrics, new pictures, new music, and new movies any more will be estimated. Therefore, artists will have difficulties to make new contents in the future, and human have to listen and see the previous lyrics, movies, music, or pictures in the future. This study will give a deep philosophical insight for contents industry.

• The Journal of the Korea Contents Association
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• v.16 no.2
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• pp.251-256
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• 2016

The music video was produced by the multimedia type of a video clip by adding the image to match it with the release of audio recordings. mass production. Although originally it started as a means of promoting music as mere receive attention as the main content of the music cable broadcast M-TV began mass production. The 21st century has used the technology in various fields, including animated films and live action films, documentaries smart phone era. Among attempts to analyze their work tends to center the photographer and music video director Anton Corbijin and Stephen Sednaoui representing a photographic image of a music video

• Digital Contents
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• no.11 s.162
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• pp.52-58
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• 2006

미디어는 끊임없이 다른 미디어들과 영향을 주고받으며 변화한다. 하늘 아래 새 것이 없듯, 뉴미디어는 견고한 올드미디어를 벤치마킹 하면서 고유한 가치와 질서를 정립해 나간다. 회화에서 사진으로, 사진에서 영화로, 다시 영화에서 게임으로, 미디어의 계보는 끝없이 이어진다. 이번 호에서는 디지털 게임의 스토리텔링이 다양한 미디어를 넘나들면서 재매개되는 현상을 팩션ㆍ리얼리티쇼ㆍ드라마 등 선형적 스토리텔링장르를 통해서 분석해보고, 그 법칙성과 의의를 찾아본다.

• The Journal of the Korea Contents Association
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• v.17 no.11
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• pp.501-514
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• 2017

The 1920s 'cinema-novel' is composed of various media effects based on cinematic imagination, and it is designed to constantly evoke the image of the film during the reading process. This article focuses on 'cinema-novel' as an example of an unprecedented genre experiment. It is because the process of formation and development of this unique genre is filled with contemporary characteristics of the 1920s art that strived to create a content suitable for the modern art medium.

• The Journal of the Convergence on Culture Technology
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• v.10 no.3
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• pp.723-730
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• 2024

In order to trace the changes in the concept and understanding of automatically generated images, this study analogously explores the creative methods of photography and cinema, which represent the existing image fields, in terms of AI-based image creation methods and 'automaticity', and discusses the understanding and possibilities of new automatic image creation. At the time of the invention of photography and cinema, the field of 'automatic creation' was established for them in comparison to traditional art genres such as painting. Recently, as AI has been applied to video production, the concept of 'automatic creation' has been expanded, and experimental creations that freely cross the boundaries of literature, art, photography, and film are active. By utilizing technologies such as machine learning and deep learning, AI automated creation allows AI to perform the creative process independently. Automated creation using AI can greatly improve efficiency, but it also risks compromising the personal and subjective nature of art. The problem stems from the fact that AI cannot completely replace human creativity.

• The Korean Publising Journal, Monthly
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• s.332
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• pp.82-82
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• 2003

• Digital Contents
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• no.2 s.117
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• pp.88-97
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• 2003

새로운 기술의 도입은 저작권 제도를 변화시키고 있다. 인쇄술의 발전에 따라 저작권의 보호에 대한 법제화가 이루어 졌고, 방송기술의 도입에 따라 방송권, 영화기술의 발전에 따라 영화에 대한 권리, 사진기술의 발전에 따른 사진에 대한 권리, 인터넷 등 정보통신 기술의 발전에 따라 전송권이 새로운 저작권자의 저작재산권의 한 유형으로 편입되고 있다. 이렇듯 저작권법은 기술의 발전에 따라 새로운 유형의 권리를 정책적 견지에서 수용하고 있으며, 앞으로도 예견되지 못한 기술의 출현에 따라 법의 개정은 이루어질 개연성이 크다.

• The Journal of the Convergence on Culture Technology
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• v.9 no.3
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• pp.461-470
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• 2023

This paper analyzes the spatial representations constructed by reality, filming, and narrative in the works of Hong Kong film director Wong Kar-wai, and how these spaces influence Hong Kong's urban culture, perception, and interpersonal relationships. To analyze Wong Kar-wai's films, Charles Sanders Peirce's semiotics concepts and Paul Virilio's spatial concepts were applied. Through this, we examined how the meaning embedded in the spatial representations of Wong Kar-wai's films could become a crucial factor in their success. Wong Kar-wai focused on the values of human relationships formed by society in his subject expression, directly representing the human inner world and prompting audiences to think about it. In this paper, we categorized the spaces depicted in Wong Kar-wai's films as public, private, and connective spaces, and analyzed them as a means to show the living environment and emotions of Hong Kong's youth. Through this, we determined that the spatial representations in Wong Kar-wai's films effectively demonstrate the cultural interpretation function of Hong Kong's citizen consciousness at the junction of Eastern and Western cultures and social connections. In conclusion, Wong Kar-wai's works provide a rich understanding of contemporary people's lives, emotions, and urban spaces, offering valuable insights into Hong Kong's film industry and cultural values.

• 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.