• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.119-120
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• 2019

이 글은 물질의 본질로 규정한 아리스토텔레스의 색채론과 디지털이미지의 비물질적 특성으로서의 검정을 전제로, <신과 함께>의 서사를 주도하는 인물과 이미지를 구성하는 공간에 채워진 검정의 의미를 분석한다. 할리우드영화에서 검정은 악의 근원이며 공포이다. 검정에 관한 예외적이고 특별한 특성을 성찰하는 철학, 회화, 문학에서의 비유와 달리, 대중영화에서 검정은 가장 보편적인 의미를 표현한다. 삶과 죽음의 경계를 오가는 <신과 함께>에서 검정은 저승의 공간과 차사라는 인물을 구성한다. 한국영화에서 검정은 상상의 공간을 상징화하는 유용한 색이다. 이 글은 한국영화 <신과 함께>에 사용된 검정을 통해 동서양 색채문화의 차이를 살펴보고, 사회문화적 맥락에 따라 상호작용하는 의미를 분석한다.

• The Journal of the Korea Contents Association
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• v.9 no.2
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• pp.163-172
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• 2009

As cultural contents are rising to the surface, the contents and interests regarding the industries that utilize the culture become higher than any other times. Culture is performed with memory, and the culture that excludes memory cannot exist. The memory exceeds a dimension of the individual and operates with an assembled and social memory. Furthermore the culture requires media to put memories inevitable. Therefore, recent image texts are coming to the attention as new storage media. So this essay analyzed the meaning of 'memory' as social-cultural memory by putting the sixth generation Chinese movies to the center and restoration of image text that puts memory in it. And also, I examined the cultural meanings of 'individual memories' as the 'counter memory' and tried to find the possibility of junction between memory industry and the contents. I focused on the sixth generation Chinese movies because these movies made remarkable progresses in the international film festivals though they were made in 'underground' by objecting to 'official memory' proposed by the Chinese government.

• The Journal of the Korea Contents Association
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• v.22 no.2
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• pp.682-694
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• 2022

This study analyzed the characteristics of masculineness reproduced in Korean cop films and their deep meaning, mainly in the 2010s. This analysis work will be a work that embodies the masculine ideal type and true masculinity recognized in Korean society. Also, through this, we will be able to approach the ideals and operations of Korean society. As a result, Korean cop films are mysteriously obsessed with masculinity and masculinity behavior through the main character in the film, which shows off masculinity with mental and physical superiority. Korean cop films also show a desire for patriarchal normality through an ending that shows the moment of masculine recovery through the physical victory of a rough and strong man. And the Korean cop film includes the claim that the implementation of social justice requires the existence of masculineness, which is essential, and that the implementation of social justice must be sacrificed to some extent.

• The Journal of the Korea Contents Association
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• v.17 no.3
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• pp.150-161
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• 2017

The short animation directed by Sang-Ho Yeon has led the sympathy and reflection of audiences through reveling the violence of the military in the form of the social criticism film. The explores the social value of animation by the content of social criticism, not for entertainment uses but for public interest. This research addresses how the function of social criticism implements in animation film, especially, its narratives and direction. In the light of this, firstly, literature will review the general characteristics of social criticism films, Secondly, based on literature reviews, analysis tools will be drew, thirdly, the case study regarding will be processed by focusing on The function of social criticism, the technique of direction and expression of animation. As a result of this research, shows unique traits because of the hierarchical and exclusive characteristics of military culture, which differs from general characteristics of social criticism films dealing with historic and social issues. In addition to this, the function of social criticism is effectively implemented in animation film, by the creative narratives and technique of direction by a director, Sang-Ho Yeon.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.193-203
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• 2019

Family films with insight of the society are now recognized as significant texts to communicate with audience from the beginning of the history of film and to reflect various viewpoints on changes of the times and socio-cultural context. In such aspect, the films of Hirokazu Kore-eda are very significant in that they suggest very sharp view on modern society through family narrative. His family narratives not only presented a profound reflection on the modern society and human relations through themes on death, loss, severance, and alienation, but also formed a public sympathy based on success in the box-office numbers despite his heavy subjects. His such achievement is closely related to the format of spatial representation to record 'time' and 'daily life' as well as the family film as a narrative form to draw the meaning of a family. Therefore, this study analyzes the family narrative and the format of spatial representation in the films of Hirokazu Kore-eda, and could find the film form where life and space closely communicate each other to reach the topic. This study, concentrating on the spatial representation and the roles and meanings of formal factors in family narrative, can find its own value in its expansion out of the previous studies which adopted macro perspectives on the trend of the times.

• The Journal of the Korea Contents Association
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• v.17 no.6
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• pp.153-168
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• 2017

Existing researches on movie genre have been focusing on the relationship between a specific genre and performance of a movie. However, most of films cross into multiple genres and new approach is needed for analyzing a genre network. In this study social network analysis was used to analyze the genre centrality and its relationship with movie performance by developing a genre network, i.e. network among multiple genres constructed via genre co-occurrence pattern in a specific movie. Three index of genre centrality, eigenvector centrality, degree centrality, and bonacich power centrality, were tested for the valued genre network. Results showed that the relationship between genre centrality and movie performance appeared to be inverted U-shaped. This empirical finding is in line with the theory of ambidexterity which emphasizes the balance of exploration and exploitation. In addition, this study can provide practical implications for movie producers, distributors, and theaters that need to develop genre strategies.

• The Journal of the Korea Contents Association
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• v.10 no.7
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• pp.420-428
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• 2010

The advancement of the Science for complex systems enables the analysis of many social networks. We constructed and analyzed a Korean movie star network as one of social networks, based on the 100 Korean movie selection for a main data source. Until now, the research trend has been the structural analysis of network, focused on link numbers, such as degree, betweenness and clustering coefficient. But it is time that the research is not limited by the structural analysis of networks only. Rather, the research goal should be aimed to an information analysis, performed by identifying and analyzing central modules that are regarded as the core of complex networks, using k-core analysis method. In this research, we constructed a network of movie stars who have appeared in 100 Korean movie selection, provided by Korean movie database, also we analyzed its core modules with and without weights, and the trend of seasonal expansion of the network. We expect our findings can be used as the basic data applicable to a model for understanding of the expansion and evolution of networks.

• The Journal of the Korea Contents Association
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• v.16 no.5
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• pp.172-179
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• 2016

Korea society in the 1980s is the timing of the hybrid intermingled with the continuous industrialization in the 1970s and the democratic aspirations of the 1990s. Korean films in the '80s codified a tension and conflict patterns of the industrialization and democratization in the style such as film space. The purpose of this study is to consider how this aspect of industrialization and democratization in the '80s was codified in Korean films of the '80s. Specifically, it focuses on the style representing the urban space in Korean films of the '80s. This study looks at the changing pattern of the Korea Society through the 1980s by analyzing the space configuration form of Good Windy Day(1980) and Chil-su And Man-su(1988). Good Windy Day to finalize the '70s and Chil-su And Man-su to greet the '90s show the hybrid aspect of the '80s. In particular, the urban space style of the two films codified the political, economic and social culture of Korea as a whole.

• The Journal of the Korea Contents Association
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• v.20 no.9
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• pp.424-429
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• 2020

This study explored the simulation of film in the post-modern society through Jean Baudrillard's theory of simulation. The 21st century can be said to be in a simulated world in which representational images dominate and can be said to be the era of images, where reality and imagination cannot be distinguished. In this world, movies are created under the premise of 'fictional' as a work of art created by man, but in the present post-modern society, the audience responds to and ignores the movie according to the expression of this simulation. In this aspect, we looked at the trends according to the expression method of Simulation, and found that successful film works express the cold reality in various and diverse ways and express it with positive 'stimulating' elements. Through this, in order to develop more deeply and systematically in the production of domestic films, various humanistic values, which are double tracks that can systematically compose a simulation that contains a didactic message about the real world and draw the audience's response, It was concluded that an attempt to express 'stimulating' in a positive sense was necessary.

• Journal of the Korea Society of Computer and Information
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• v.26 no.10
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• pp.9-17
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• 2021

Humans are social animals that have gained information or social interaction through dialogue. In conversation, the mood of the word can change depending on the sensibility of one person to another. Relationships between characters in films are essential for understanding stories and lines between characters, but methods to extract this information from films have not been investigated. Therefore, we need a model that automatically analyzes the relationship aspects in the movie. In this paper, we propose a method to analyze the relationship between characters in the movie by utilizing deep learning techniques to measure the emotion of each character pair. The proposed method first extracts main characters from the movie script and finds the dialogue between the main characters. Then, to analyze the relationship between the main characters, it performs a sentiment analysis, weights them according to the positions of the metabolites in the entire time intervals and gathers their scores. Experimental results with real data sets demonstrate that the proposed scheme is able to effectively measure the emotional relationship between the main characters.