• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.143-153
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• 2022

Any kind of animation film are almost inseparable from the role of characters, with distinct personalities, and well-created characters are not only the expressors of narrative and themes, but also the ones who communicate with the audience and form resonance. Nowadays, with the improvement of the public's aesthetics, the production of excellent animation, the characters with a single personality have been almost eliminated. So how to create a profound role has become a topic worthy of study. This paper is based on Freud's theory of personality structure and ego defense mechanism. The main research object is the main character of the animation film "The Tale of The Princess Kaguya". At the end of the thesis, by analyzing Kaguya's image characteristics and individual pursuits, it explores director Isao Takahata's understanding of character shaping. In this way, it also provides a reference to produce animation works.

• Cartoon and Animation Studies
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• s.31
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• pp.227-248
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• 2013

With the advancement of computers, opening title sequences in movies are continuously improving. Initially, titles and opening credits were created using what is called the optical method, whereby text was photographed on separate film and then copied onto the movies film negative. In contemporary movie making, however, the title sequence may be seamlessly integrated into the beginning of the movie by an insertion method that not only allows for more diverse technical expression, including the use of both 2D and 3D graphics, but also for its emergence as an independent art form. As such a title sequence, in as little as 50 seconds or up to 10 minutes, is able to convey the films concept while also suggesting more implicit intricacies of plot and thereby eliciting greater interest in the movie. Moreover, according to the directors intent and for a variety of purposes, the title sequence, while maintaining its autonomy, is inseparable from the movie as an organic whole; therefore, it is possible to create works that are highly original in nature. The purpose of this study is to analyze the kinetic typography that appears in title sequences of ten films produced by the Korean entertainment industry in 2012. Production techniques are analyzed in a variety of ways in order to predict the future direction of opening title sequences, as well as present aesthetic and technical models for their creation.

• 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.

• Journal of the HCI Society of Korea
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• v.9 no.1
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• pp.11-21
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• 2014

We present an experimental framework to analyze the physical reactions and causal factors of Visually Induced Motion Sickness (VIMS) using electroencephalography (EEG) signals and vital signs. We studied eleven subjects who are voluntarily participated in the experiments and conducted online and offline surveys. In order to simulate videos including global motions that could cause the motion sickness, we extracted global motions by optical flow estimation method from hand-held captured video recordings containing intense motions. Then, we applied the extracted global motions to our test videos with action movies and texts. Each genre of video includes three levels of different motions depending on its intensity. EEG signal and vital sign that were measured by a portable electrocorticography device and an electronic monometer in real time while the subjects watch the videos including ones with the extracted motions. We perform an analysis of the EEG signals using Distance Map(DM) calculated by correlation among each channel of brain signal. Analysis using the vital signs and the survey results is also performed to obtain relationship between the VIMS and causal factors. As a result, we clustered subjects into three groups based on the analysis of the physical reaction using the DM and the correlation between vital sign and survey results, which shows high relationships between the VIMS and the intensity of motions.

• Journal of Korea Entertainment Industry Association
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• v.14 no.1
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• pp.97-106
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• 2020

The mainstream of cinema animated film in today's world is the animated film produced by film companies such as Disney, DreamWorks, and 20th Century Fox. These animated films are influenced by Hollywood blockbusters, high cost, and big-budget, which have brought a gorgeous and splendid audio-visual feast to the global audience. DreamWorks Studios founded in 1994 has become noted in just over ten years. It has produced many high-quality animated works which are well-known all over the world. This achievement is no doubt inseparable from its superior external animation industry environment, and benefited from the American animation industry which commercially operated for almost 100 years. However, in addition to these external environmental factors, DreamWorks' achievements have also come from the extraordinary and superior creation of the animated film scripts, strong narrative script ensures the logic and appeal of animated films. This article takes Kung Fu Panda series, Shrek series, The Prince of Egypt, The Croods, Chicken Run, Megamind and other representative films produced by DreamWorks as key analysis object, using Jean Baudrillard's simulation and imaging theory, Syd Field's screenwriting skills, and Hegel's aesthetic point of view, explores the Creative Style of DreamWorks' Animated Film Script which contains the following four aspects. The script is exaggerated and novel, and the subject matter is rich and targeted. The script creation is very imaginative and can fully express the visual beauty. The structure of the story is well controlled, the space comes from reality but full of imagination. The characters have distinctive personality and the dialogue is moderated but forceful.

• Proceedings of the Korea Contents Association Conference
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• 2007.11a
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• pp.238-242
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• 2007

The existent UCC sites display only finalized contents by publisher. It dose not provide any platform for resources of UCC that public users could reorganize. This paper has developed a platform to be able to produce reusable content using the scenes of the contents and produced a 3D animation with multiple story. It is necessary for user to search the provided contents for easy reorganization of the contents. The scene is classified by the description and information of the scene for handy search. It is obscure for a movie clip to be represent with only one word. Therefore, the proposed platform provides the search technique with a overlapping choice for the specific categories that include most of elements for the scene. Then the user can choose a specific range of the selected movie clip, make a new story with reorganizing the order, and put a caption or BGM on the movie clip. The complete movie clip has the search preferences as a category, new clips, and top favorites. With the Multi-Story line concept, we made a 3D animation about episodes of thermal dolls in the Doll World. This attempt will come to the new marketing way for a field of the visual media like as Music Video, Drama, Feature Film, Commercial Film.

• Proceedings of the KAIS Fall Conference
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• 2010.05b
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• pp.784-787
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• 2010

상담심리학적으로 미디어 치료에는 매체를 보고 듣고 느끼며 자아를 성장시켜 가는 감상주의적 치료와 매체를 직접 만들어가면서 자신의 감정과 생각을 매체에 투사하는 표현주의적 치료가 있다. 감상주의적 치료 예로는 사진보기, 영화, 미술관람, 책읽기 등이 있는데 내담자 스스로의 해석력이나 해석방법에 따라 심리학적 영향력의 유무가 결정되어서 이해력과 집중력이 부족한 내담자에게는 상담결과의 정확성이라는 한계가 있다. 표현주의적 치료 예로는 춤, 노래, 미술창작활동, 모래놀이, 연기활동, 영상제작 등이 있으며 이는 무의식의 발산을 가능케 하고 적극적 자기의사 표현하는 등의 장점이 있지만 창작활동의 특성상 개별 작업의 형태가 많고 제작기반 획득 등의 한계가 있다. 본 논문에서는 이 두 한계를 극복하기 위하여 표현주의적인 치료와 감상주의적 치료가 동시에 가능한 게임 미디어를 이용한 치료 가능성을 제안한다. 이를 위하여 이 치료에 적합한 게임의 구성요소와 게임의 시각 요소를 기술한다.

• Proceedings of the Korea Information Processing Society Conference
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• 2010.11a
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• pp.1339-1341
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• 2010

디지털 TV 시대를 맞아 다양한 형태의 사용자와 상호작용할 수 있는 콘텐츠의 개발이 활성화되고 있고, 이에 따른 IPTV 의 활성화와 함께 방송 콘텐츠의 2 차 이용에 사용되는 VOD 의 제작과 활용이 높아지고 있다. 제작되는 VOD 는 2 차 이용을 위해 영화, 드라마, 다큐 등 다양한 콘텐츠를 포함하고 있는데, 이를 시청하기 위해서는 반드시 다운로드를 받아야 한다. 이러한 다운로드는 1 차적인 사용자 인증 및 기기 인증 후에는 일방적인 전송을 수행하고, 이미 다운로드 되어 있는 파일은 별도의 처리 없이 재생이 가능하기 때문에 VOD 의 불법적인 배포에 대응하기 어렵다. 따라서 VOD 콘텐츠가 다운로드 된 후, 반복 재생 시에 영상에 포함된 인증 정보를 통해 콘텐츠의 보호를 위한 모델을 제안한다.

• (The) Research of the performance art and culture
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• no.25
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• pp.5-30
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• 2012

I. Identity of Yeonsegeuk as total arts. The purpose of the thesis is to arrange the identy of Yeonsegeuk(Kino-Drama) which is theatre or film. The process of study is tried to discuss on the aethetic of Yeonsegeuk. II. Appearance of Yeonsegeuk and negative disputation of yeonsegeuk The first imported Yeonsegeuk from Japanese in Korea is made by the group of Mizuno Ganggetsu(水野觀月) on Oct. 16. 1915 at Pusan and also to run in Seoul at Hwanggeumgwan. The first of Korean Yeonsegeuk is by Kim, Dosan, a leader of Singeukjwa(theare group) on Oct. 27. 1919 at Danseongsa. Before the liberation of Korea from Japan all made korean Yeonsegeuk are 28 works. III. Dramatic form of Yeonsegeuk I study on the relation between Yeonsegeuik and Sinpageuik(new theatre of modern drama in 1920's). I find that Yeonsegeuik admitted the thechnics of the Sinpageuik and the contents. If We think that the theatre is synthetic art which genealize all arts, we can insist that the Yeonsegeuk is valued the total art as new performance to comply with film art to theatre. Conclusionly Yeonsegeuk is called 'Expanded Theatre' as the new performance which must be dicussed in the view of total art. VI. Discussion on the the aethetic of Yeonsegeuk When we compare the structure of film with the structure of theatre, we can't find a diffrent element between the structure of two art in art semiotic. But we find a fact that film art has special elements in mechanics character which are camera working and motage. These technics influence on the audience's mind. It is different point between Japan and Korean's Kino-drama and Germany's that is to admit the aethetic of total art or not. V. Yeonsegeuk as new performance During Korean modern times Kino-drama was first a kind of total art with stage and screen. But it is regretable that Kino-drama didn't have the background of theory which discourse on the comprehension of total art. As the result Kino-drama bring the confusion of argument that Kino-drama is total art or expanded theatre. This confusion will be disputed on film art as performing arts or future art as expanded film and total art.

• Electronics and Telecommunications Trends
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• v.25 no.1
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• pp.156-167
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• 2010

3D 영상 기술은 사용자에게 현실감과 몰입감을 극대화 해줄 수 있는 차세대 멀티미디어 시장의 핵심 기술로서 최근 3D 실험 방송 및 3D 영화 제작과 같은 상용화를 위한 시도가 진행되고 있다. 이러한 흐름과 맞물려 유럽에서는 차세대 멀티미디어 시장을 선점하기 위해 3D 영상의 획득, 처리, 전송, 디스플레이 등 여러 분야에 걸쳐 다양한 3D 관련 프로젝트를 진행하고 있으며 이를 통해 새로운 3D 기술 개발 및 표준화를 진행하고 있다. 본 고에서는 유럽의 3D 관련 프로젝트 현황과 최신 기술을 살펴본다.