• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.502-511
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• 2016

This article reviews the film acting studies of Kracauer presenting the basic approach of traditional film theory. It is to provide a foundation for film acting theory in order to activate the domestic acting studies. While Kracauer explaines the difference between traditional stage actor and film actor in 'Remarks on the Actor' of Theory of Film(1960), he suggests the characteristics of the cinema acting and its media technical meanings. He emphasizes the acting forms presenting the postwar new realism in his film acting studies. His approach takes the perspective of 'physical reality' or 'camera reality' which is the basic premise of film theory. Kracauer insists the naturalness of the actors, listing the features of professional actors, non-professional actors and Hollywood stars as they are a familiar classification for the types of actors. He does not prefer the Hollywood stars, whether it is fiction or documentary, professional or non-professional actors, but he emphasizes negative acting, the ability to express words by doing nothing, based on indeterminacy or indefiniteness of the film. Kracauer's film acting studies has affected later film theory and media-related acting, and has become the principles of cinema textbook and acting.

• The Journal of the Korea Contents Association
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• v.21 no.2
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• pp.718-726
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• 2021

A musical that combines singing, dancing, and acting is a popular musical drama created by the development of opera. These musicals are the cultural and industrial sectors that are commercially compatible with artistry and popularity. Musicals remind you of exciting and colorful live performances. This musical industry has been loved by the public as it was created not only on stage but also as a musical film. The film industry has been striving to express the musical's unique originality through film screens. In terms of acting, acting in musical films should be implemented to suit musical films. In order to do so, the characteristics of movie acting and musical acting will be understood at the same time and true musical film acting can be implemented on the screen when each genre is fused. In order to act as a musical film, it is necessary to understand the functional characteristics of each genre and apply the necessary functions on the spot.

• The Journal of the Korea Contents Association
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• v.10 no.9
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• pp.155-175
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• 2010

The purpose of this thesis is to introduce the alternative method of the new training program for film acting and directing. Recently in Korea, acting in movies has become a trend and broadcasting still depicts reality. But men of the theater is usually privileged getting the most acting education offered by the theater training program. They also is hardly teach about acting's directing for film directors. So I thought of establishing a new training program for film acting and acting's directing. I made two short films , that I had practical training program for film acting as practical text. This program applied partially 'Atude' that Stanislavsky devised for theater acting practice, and referred to 'Method Acting System' that Lee Strasberg made for film acting at the Actors Studio. Another main point of this program is camera use. That training program can be attended not only by actors but also by director and film staff. Through this thesis, I wish to prove my new training program for film acting and acting directing. The focus of this training is to target a better execution according to the group you belong to whether amateur group, associate professionals, professional actors.

• Cartoon and Animation Studies
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• s.41
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• pp.169-185
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• 2015

This thesis will observe and study the acting pattern and subtext of Ahn, Sung-kee who is known to be "The Nation's Actor" in South Korea's movie industry and currently has been on the screen with multiple different characters in about 120 films. He started his career as a child actor in Kim, Ki-young's movie at the age of five. Ahn is exceptional at communicating through solely on screen in terms of delivering characters' characteristics to audience with variety of characters. We provided some of the acting patterns he has shown in different roles of characters that he played such as in comedic, mellow and extraordinary acting. Following will be analysis on subtext of Professor Kim, Kyung-ho the role Ahn played in Jung, Ji-young's movie in terms of what type of factors was prepared and how it has delivered in each important scene. Generally, acting's basic skills and talents are similar between theater and movie. However, in movies, understanding of shots and preparation is needed. To deliver this well, a depth study of those characteristics such as expression method of subtext and continuous practice is necessary. Based on researches, we will talk about how important screen actors need to understand and prepare those characteristics when they act their roles and express the subtext of each character.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.131-138
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• 2019

In general, film acting refers to American method or Hollywood method. Hollywood method is a term to denominate collectively actors from Group Theatre of Lee Strasberg which accepted Russian Stanislavski's system as American acting. We can find out the origins of Korean acting in the attitude of actors who imitate Hollywood. Hollywood method, which seem to be more systematic and rational in the previous Sin-pa, has begun to be accepted in the fields of actors, directors, critics, and educators. The perception of Hollywood method in Korea is part of the search for the identity of Korean film acting. This article approaches from the perspective of four fields. First, it is Korean actors' perceptions about Hollywood methods. Second, I examine the attitude of the direction of staff and technical aesthetics regarding Hollywood method. Third, it is evaluation aspect in criticism area. Fourth, it is an aspect of education.

• The Journal of the Korea Contents Association
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• v.16 no.7
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• pp.609-621
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• 2016

A close-up shot, capturing all the fine details of an actor's face by filling up the frame, expresses an actor's performance more realistically than a stage where a living actor performs on. This is because a close-up generates an impact with its specific images and meanings seizing the attention of the audience and conjures up a psychological effect as if an actor's face is directly communicating with the audience at a minimum distance. Therefore, this study analyzed the film to examine the photographic effect and acting effect of close-up shots and recommend the need for acting training thereof. The film was selected since Song Kang-ho, to add more realism to his character acted going back and forth 20 years of age with a special makeup on face, his facial expressions, gestures, props in close-up successfully helped deliver the actor's performance by revealing the character's personality and emotions of the film, and generated an array of linguistic, visual and emotional meanings which are the key to film acting. This study is expected to contribute to helping actors to learn about the effect of close-ups and the key to film acting and find effective ways to express themselves in front of the camera.

• Cartoon and Animation Studies
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• s.45
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• pp.177-195
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• 2016

This article analyzes Sergei Eisenstein's acting theory, which is famous for his Russian montage. According to the existing discussions, he avoids the psychological realism through the concept of cut acting. It is a method like montage from the viewpoint that the practice of the cut action is segmented into shots. While Vsevolod Pudovkin, who asserts a connection montage, is looking for performance to portray a gradual change of emotion adopted by Konstantin Stanislavsky's psychological realism, Eisenstein prefers the acting of Vsevolod Meyerhold's masks in the same manner as the collision montage. This article traces the viewpoints on acting and actor that Eisenstein posed throughout his montage theory. It focuses on Film Sense(1942) and Film Form(1949), which are a collection of articles written by Eisenstein. As a result of examining the domestic and foreign literatures centering on Korean and English, it is hard to find the discussions on the analysis of Eisenstein's acting theory. Almost all of them are concentrated in his montage, among which the mention of acting is extremely limited. The cut acting, the typage, the inner techniques and processes of actor that express and induce the living emotions, and the acting of the integrating into diversity as one of the inner language are useful concepts in the creation and case analysis of contemporary films. Especially, his acting theory can be applied in the creation process of cartoons, webtoons, and animations which can meet the most decisive and impressive montage technique of Eisenstein. It is also possible to find many related cases for the analysis. This is why I look back on Eisenstein's film acting theory, and the results of the discussion will be a sufficient foundation for the derivation of related research.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.131-140
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• 2020

This article attempted to apply the methodology of film acting as a performance oriented towards socio-cultural meaning to Min-sik Choi's acting. Specifically, the relationship between the body, the face, the audio, the direction and the attitude toward film technology mentioned in the interview dictation of actor Choi Min-sik was analyzed. In conclusion, Min-sik Choi's acting cannot be defined only by method acting, but implies or integrates the typical or avant-garde acting theories such as Stanislavsky, Strasberg, Mayerhold, Brecht and Grotovski. Above all, it is the presentation that expresses the flow of life through movement suggested by S. Kracauer. The feeling of compassion that Choi Min-sik himself emphasizes is in contact with the essence of the film that reproduces the flow of life, and it expands to an intended screen performance with a certain purpose. The screen performance that can be compressed with compassion and the flow of life is expressed by Min-sik Choi's various personas. His persona, transcending good and evil, reflects the present of Korean society.

• The Journal of the Korea Contents Association
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• v.18 no.11
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• pp.205-212
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• 2018

Learning how to express and express the characteristics of acting expressions required by different media is easy to express the acting required in various mediums. The style of acting required by each medium is different depending on the characteristics of the medium. In particular, digital acting using computer graphics technology expresses actors as if they are in the space by imagining the imaginary space. Through computer graphics post-production, the actual space that will be visible on the final screen is completed and creates a story based on the actual situation. The role of digital actors in applying motion capture to movies is becoming increasingly important. Natural cross-reaction acting between live-action actors and digital character actors has become a trend in animation films where only digital actors appear. In animation films, a real actor plays a major role in connecting the characters of a digital actor. The core of a digital actor is the realization of a unique character performance. In the era of trans-media, the importance of digital acting is increasing day by day.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.108-116
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• 2013

Park Jung-hoon started his acting career in movie since undergraduate year at Chungang University, Drama and Cinema school, and till now he is a very active and nationally beloved actor in Korea. However, to this day there isn't any study about him, so this study might be the right time to take a look at his acting style again. This report will find and review his distinctive patterns in acting, and roughly assess the character expression from character, Dong-chul, in the movie, My Dear Desperado; which has been evaluated as the best movie to show the inner side of character. His acting pattern is segmented by 3 parts; Park Jung-hoon style comical acting, expression of macho side of masculinity, and subtle inner emotion expression acting. Then his acting technique is analyzed from character Dong-chul in the movie, My Dear Desperado, which he acted out change in character from low-class nonsense gangster to a good-hearted man flawlessly. In addition this report will try to find his acting technique that made impossible distance between the characters possible. This study hopes to start and continue other studies that discuss many movie actors' and actresses' different character expression method and their training technique, also wish many actors and actresses could find helpful in their acting training.