• Proceedings of the Korea Fashion and Costume Design Association Conference
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• 2004.06a
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• pp.26-30
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• 2004

본 연구는 영화의상과 메이크업 및 헤어스타일이 갖는 토탈 코디네이션으로서의 중요성을 인식하고, 이들이 영화의 주요 구성요소로서 갖는 의미와 역할 및 효과를 살펴봄으로써, 특정한 시대적, 문화적 상황에 기반을 둔 연출자의 의도가 영화 속에서 어떠한 신체 이미지로 구현되는지 분석하는 것을 그 목적으로 한다. 그리고 그 결과 어느 시기의 의상과 메이크업 및 헤어스타일이 어떻게 영화에 대해 영향을 미치고, 나아가 그 영화가 다시 동 시기에 대해 어떤 영향력을 발휘하게 되는지를 알아보고자 하는 것이다.(중략)

• Proceedings of the Costume Culture Conference
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• 2004.04a
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• pp.84-86
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• 2004

21세기를 대표하는 종합예술 중의 하나인 영화는 독자적인 문화권을 형성하여 거대한 산업으로 성장하였다. 영화는 패션산업과 밀접한 관계를 가지고 있다. 영화의상은 영화의 극적인 효과를 위하여 사용하는 모든 종류의 복식을 뜻하며 배우가 착용하는 의상과 헤어스타일, 머리장식, 액세서리, 신발, 분장 등은 영화의 내용 전개에 있어서 중요한 역할을 한다. 본 연구에서는 영화 속 주인공들의 스타일이 여성 패션의 흐름을 주도하기 시작한 1950년대에 유행하였던 영화들을 중심으로 영화의상이 담당하고 있는 역할과 한국인의 일상복이 전통적인 의상에서 현대적이고 서구화된 의상으로 변하는데 영향을 미친 요인들을 분석하기 위하여 1950년대에 유행한 미국영화의 분석과 1950년대에 우리나라에서 유행한 복식을 분석하고자 한다. (중략)

• The Journal of the Korea Contents Association
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• v.16 no.7
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• pp.541-551
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• 2016

In order to attain 'reality', technology, style and narrative have developed throughout the history of cinema. The projection of digital image necessitated a new perspective beyond the conventional relationship between film and reality. In the SF film, DISTRICT 9, strong realism elements are evident despite its genre. Advanced technologies enabled the digital images to vividly reproduce the realm of imagination. The encounter of the realistic approaches embedded in the style and narrative with the digital images emphasizes the social context of the cinematic background, as well as extending the potentialities of verisimilitude and perceptual realism. The amount of freedom in editing process derived from this film's documentary-like style opened a possibility for the effective delivery of the vast information-furthermore contributing to the realism of the film by encompassing the diversity that exists in the reality.

• The Journal of the Korea Contents Association
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• v.14 no.10
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• pp.486-505
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• 2014

is the winner of Grand Jury Prize in World Cinema-Dramatic at Sundance Film Festival 2013 and made high Box Office performance in Korean Indie Film distribution. tells the story of the horrific massacre of 30,000 civilians at Jeju Island in Korea in 1948. Civilians were killed by Korean Army under the supervision of U. S. Army and by the Korean Communist partisan. From the Statistical Style Analysis, has a lot in common with Ming-liang Tsai's movies and similar traits of art cinema. According to David Boardwell, Art Cinema is intensify the traditional continuity through selection and concentration rather than become the Alternative, Oppositional film practice of Mainstream Classical Hollywood Cinema.

• The Journal of the Korea Contents Association
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• v.10 no.6
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• pp.236-248
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• 2010

Through this thesis, I analyzed Coen brothers's directing style centering around Crime movies: Blood simple, Barton Fink, Fargo, The man who wasn't thers, No country for old man. About directing style of Coen brothers, plot is an epic depiction, habitual use of narration, refusal of happy ending. They concern subject matters about human original nature and tragedy by greed. And as motifs, they often use misunderstanding, crossing over, chase. Also they likes characters of ordinary people who is destroyed by greed. How about their technical style? They usually use steady-cam and wide lens in camera, and in his early crime movies he used expressionistic lights, but after that they usually used realistic natural lights. About sound, they likes more sound effects than music. Also they directed realistic acting and emphasized actor's personality. Coen brothers has been directed many crime movies and comedy films. But their unique directing style was particularly outstanding in the crime movies

• Journal of Digital Convergence
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• v.19 no.3
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• pp.345-352
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• 2021

Based on the exploration of the reasons why Shunji Iwai is called "Wong Kar-wai of Japan", this paper compared and studied the image style of two directors films, and explored the theoretical characteristics of their similarities and differences, so as to provide inspiration for the development of Chinese national films. This is the purpose of this paper. Through the search of literature, cultural background analysis of the two directors, film style comparison and film aesthetics comparative analysis and other research methods, this paper made a more in-depth theoretical research on the films of the two directors. It was found that the films of the two directors showed the characteristics of narrative abstraction and image beautification, but there were also some differences in the choice of narrative subjects. The research of this paper provided a new train of thought and starting point for us to study and explore the films of two directors, and pointed out a new direction for us to explore the trend of national films.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.375-376
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• 2019

영화는 현대 사회에서 가장 환영을 받고, 가장 영향력을 가진 문화 산업 중 하나로, 우수한 영화 장면 디자인은 영화 스토리 효과의 발전에 빛을 한층 더한다. <삼국-무 영자>는 장예모 감독이 연출하여 2018년에 개봉한 최신 영화로, 이것은 동양의 수묵 스타일 영화로, 주로 흑백으로 나타난다.[1] 이 영화는 2018년 제75회 베니스영화제 비경쟁 상영부문, 토론토국제영화제 상영부문, 런던영화제 경쟁부문에 진출했다. 장예모 감독은 민족문화의 내용을 표현할 때, 중국 문화에 대한 이해와 자신의 문화적 가치관을 자신의 촬영방식으로 풀어냈다. 그의 작품으로 보면, 이 영화의 주제는 주로 중국 고대의 역사문화와 수묵문화에 근거해 표현되며, 중국 전통문화의 독특한 매력에 대한 찬양이기도 하다. 본 논문은 연출 스타일과 동양의 심미적 측면에서 영화가 지닌 예술적 특징, 영화에 담긴 인문정신을 탐구하고, 세계를 향해 중국 수묵문화의 문화적 의미를 소개하는 동시에, 영화의 발전에 도움이 되기를 바란다.

• Proceedings of the KAIS Fall Conference
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• 2010.05b
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• pp.876-879
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• 2010

본 논문에서는 음악이 음악 아닌 다른 대상의 이미지나 분위기를 의미 있는 구조로 만들어주는 연상 작용을 전제로 하여 하나의 음악적 아이디어, 선율 라인, 또는 음악 스타일이 영화 속 캐릭터와 결합되는 예들을 실제 작품에 근거해 고찰하였다. 여기에 포함된 음악 자료는 1950년대를 전후한 미국 영화의 주요 작가들의 작품들로서, 영화의 결합력에 기여하는 음악이 주로 어떤 방식으로 특정 인물이나 집단, 상징적 의미 등을 캐릭터화 하는가를 분석하였다.

• The Journal of Korean Philosophical History
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• no.39
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• pp.221-235
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• 2013

Through the comparative analysisand inductive research on main creation styles of Chinese, American and Japanese animation films, a conclusion can be given out, which means that the animation film style of each country can hardly be formed without their own traditional painting art, aesthetics habits and ways of thinking. It is these characteristics that form their unique animation film style. America emphasizes realism art, development and utilization of new technology, Japan pays sepcial attention totraditional painting art and comic stories. In business aspect, they bring about different business models relying on the experience of satisfying the diverse needs of domestic and global entertainment markets. When it comes to the content field, they carry forward universal values and meet the individualistic heroismso that a variety of business animation films and art animation films find their ways into the global market and acquire great popularity among audiences from all over the world. Through the comparasion of American and Japanese animation films, a new view to analyze the animation films of China is created. Animation creation is largely based on the need of socialist ideology from 50s to 80s. Even though the purposes of animation film creations returned to satisfying the diverse requirements of commercial markets and audiences, the consequences, such as the break gap of creations and talents, the lack of diverse creative styles and commercial market operation mechanism, sitll affect China's animation films today. Japan found thier position from the American model and became successful. Nowadays, China need find our own creative style and position from American model and Japanese model. And the systematic reformings that are detailed in the government managements, industry standards, internationalized talents cultivation and accumulation are the essential point.

• The Journal of the Korea Contents Association
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• v.18 no.8
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• pp.227-239
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• 2018

The style of a film is the element that makes audience realize director's purpose directly. As the film's spectacular background have became important it's hard to find non-wide screen film, and audience and theaters are very familiar to 1.85:1 film ratio and even wider. Nevertheless, did not follow this trend but to chose narrow film ratio and shallow focus. This film, of which the background is Nazi's concentration camp, does not allow audience to catch more information than main character Saul. It's because the director aims to make audience Saul's position in the film. This paper discuss how the style of reflects the director's intention.