• The Korean Publising Journal, Monthly
• /
• s.235
• /
• pp.16-16
• /
• 1998

우리 사회의 문화담론에서 영화가 차지하는 비중은 압도저기다. 그 한 모퉁이에 '영화철학'을 표방하는 책들이 눈길을 끈다. 영화로 보는 철학, 철학으로 보는 영화를 시도한 책들은 영화와 철학적 사유의 만남을 가능케 하고 있다.

• Journal of Korean Philosophical Society
• /
• v.105
• /
• pp.401-421
• /
• 2008

The purpose of this paper is to examine the achieved role of Kant philosophy in restructuring Deleuze philosophy from either a positive or effective perspectives. On top of this foundation, I will demonstrate the major part largely unknown in a composing structural elements of Deleuze philosophy as follows: 1. I will draw a bird's-eye view of the triad of Bergson, Nietsche, and Spinoza regarding Deleuze philosophy. Especially I will spare time in analyzing Deleuze's late works like and then demonstrate the structure of Deleuze movie philosophy. 2. The line of Kant's position in that circumstance will be clarified as well. 3. Through that, the meaning of Kantian attempt and its effect will be examined. Finally the connecting Kant with various levels of Deleuze's Copernicusian revolutions based on will certainly bring about a meaningful fruitification.

• The Journal of the Korea Contents Association
• /
• v.10 no.7
• /
• pp.169-178
• /
• 2010

This paper has conducted a theoretical re-inquiry on Gilles Deleuze' thought about Alfred Hitchcock' film based on the image of thought in relation with the concept and theory about film. So, the purpose of this article is to explore that film can acquire the academic significance as a philosophy including an academic denomination of social science and Arts. According to the findings, Gilles Deleuze appeared that A. Hitchcock used the mental-image which can transform the perception-image, the action-image, and the affection-image in film and make the relation including the way which it is developed between character and event. Also, as the mental-image can change the meaning of film, camera is the essence and mental referent. And the mental-image makes the other images a specific frame, permeates into image and transforms it. This paper sets limits to some problems that Deleuze's thought about film generalizes to filmic theory, but has a importance to inquiry new research as a theoretical introspection for the practical discussion about the relation between film and philosophy.

• Korean journal of communication and information
• /
• v.26
• /
• pp.7-44
• /
• 2004

This paper proposed semiotic model to explain representation process of time in cinema. Limitations of cinematic narratology which explain representation process of time in cinema were indicated, then alternative explanations of Deleuzian philosophy of cinema were proposed. After discussion about articulations of cinematic code, Deleuzian concept of movement-image was suggested as semiotic minimal unit of cinema. In cinema, Movement-image is divided two different aspects ; "normal movement-image" and "abnormal movement-image". Therefore, two different semiotic representation process of time was reconstructed in accordance with Peircean semiosis theory. In this two different semiotic process, modern cinema emphasize the direct representation process of time with "abnormal movement-image". As Deleuze indicated, The "time-image" is presented in this semiotic process. The "time-image" makes it possible to consider "time itself" as philosophical fact which is laid between reality and cinema, This semiotic process more emphasizes pure expressionality than representationality. Deleuzian philosophical journey through cinema was started in this point.

• Journal of Korean Philosophical Society
• /
• v.137
• /
• pp.409-438
• /
• 2016

The movie, Battle of Wits which is based on the cartoon by Morihideki(森秀樹) is directed by Zhang Zhiliang(張之亮), a director from Hong Kong. Morihideki's cartoon is based on the novel by Sakemikenichi(酒見賢一). The movie represents a successful one-source multi-use case. Battle of wits, which deals with the Mozi's propaganda against war, presents the thought of Mozi School(墨家) in spring, autumn, and warring states. The movie criticizes aggressive war by powerful nations. Aggressive war is an extreme form of brutality and worthless action without any benefit. Aggressive war represents 'never each love(buxiangai, 不相愛)' and 'never each benefit(buxiangli, 不相利)' as understood by Mozi. The main character of the movie endeavors and successfully defends the enemy's attack as Mozi did. It is due to the propaganda of Mozi School 'not to attack(feigong, 非攻)' that they can defend themselves from the attack from a powerful nation. It means that 'the universal love(jianai, 兼愛)', the ideology of Mozi, is concretely actualized. The philosophy of Mozi School in the Battle of Wits has its limits as follows: the thought of Mozi School is just suitable during times of war and unnecessary in times of peace, the contradiction between universal love and hatred for one person; the Mozi School's faith in the nature of human beings to confront betrayal. This limit was also proposed in the movie. However, the movie presented how the masculinity of Mozi School, supplemented by the feminity of Daojia(道家), can succeed in achieving genuine communication. When focusing on this point, the movie can be interpreted as biased towards the philosophy of Daojia.

• Journal of Korean Philosophical Society
• /
• v.117
• /
• pp.355-372
• /
• 2011

G. Deleuze a $exerc{\acute{e}}$ sa philosophie $cin{\acute{e}}mathographique$ dans ses œuvres essentielles $Cin{\acute{e}}ma$ 1: l'Image-Mouvement(Minuit:1983) et $Cin{\acute{e}}ma$ 2: l'Image-Temps(Minuit:1985) qui n'indiquent pas l'histoire $cin{\acute{e}}mathographique$ mais la taxinomie, et par $cons{\acute{e}}quent$, de l'image et du code. Cette ${\acute{e}}tude$ consiste donc $\grave{a}$ rendre compte la de l'image que G. Deleuze touche dans cette $d{\acute{e}}finition$ et $\grave{a}$ $v{\acute{e}}rifier$ quelles images peuvent ${\hat{e}}tre$ $cat{\acute{e}}goris{\acute{e}}es$: comment. Nous distinguons l'image-mouvement et l'image-temps qui sont les $cat{\acute{e}}gories$ essentielles chez $Cin{\acute{e}}ma$. C'est surtout sur ce point que nous insistons. Dans ce cas, nous discutons aussi de la question des spectateurs du film qui conduit. Cette question permet susciter de la $mani{\grave{e}}re$ $d^{\prime}{\hat{e}}tre$ des spectateurs entre le film qui est $compos{\acute{e}}$ de l'image-mouvement dont G. Deleuze decrit comme 'classique' et le film qui est $trait{\acute{e}}$ de l'lmage-temps dont il $d{\acute{e}}finit$ comme 'moderne': quelle variation. Dans ce point $d^{\prime}{\acute{e}}tude$, G. Deuleuze ecrit cette question $mentionn{\acute{e}}e$ $\grave{a}$ travers son oeuvre $Cin{\acute{e}}ma$($\grave{a}$ voir ch.7, Volume2).

• Trans-
• /
• v.5
• /
• pp.1-27
• /
• 2018

What is 'analyzing a movie'? And, what is 'its role in film studies'? The question required a systematic and scholarly answer, and filmologie was making a clear place for itself. Through psychology, aesthetics, text theories and of course semiotics, the conceptualization of 'film' has been formed. Deleuze, who has been continually writing about 'movies' in his philosophical essays, ended the debate in defining the relationship between 'image and essence' when he released 《Movie 1, Movement-Image》 in 1983. 'Film' rapidly became the topic of the century and became a 'device' that leads the way of thinking. The reason why Jean-Louis Boissier labeled this 'film' as 'device (le dispositif)' was not part of film studies. What should be noted is that the mention of 'film' became a key part of the debate of 'reproduction', which was the most popular subject of philosophy and humanities. In the digital era, the film is once again questioned about its definition. In retrospect, themes of core debates of 'History of cinema' have always been driven by simple and superficial technological changes. With the emergence of CG (Computer Graphics), the question of 'cinema' in the 21st century is not only a philosophical discussion on the problem of 'reproduction', but also a crucial change that shifted the focus of the debate on the nature of the film from 'production' to 'distribution'.

• Proceedings of the Korea Contents Association Conference
• /
• 2019.05a
• /
• pp.119-120
• /
• 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
• /
• v.11 no.1
• /
• pp.123-133
• /
• 2011

Rapid development of life sciences about human cloning in real world is reflected alternately ahead and behind in the movies and it brings up the conversation topics about the scenario of diverse human life in the near future. This study is the consideration of the characteristic of the human cloning motif in movies, focused on the feature film which consider human cloning a philosophical point of view. The emergence and evolution of somatic cell cloning conclude the problem of philosophical anthropology. And identity and un-naturality of human clone boils down to desire and dilemma of character in . The dramatize to the exclusion of genre's attribution and the setting of twofold relationship between original and clone as well as real mother and daughter prove the critical mind of as stated above. This study also reported it reinforces the characteristic of the human cloning motif in movies that plotting with parallel narrative and the consistent attitudes with various cinematic expression and techniques.

• Trans-
• /
• v.4
• /
• pp.65-86
• /
• 2018

In this paper, I chose one of various agenda for life in a philosophical film world view and explored the core of dialectical relation between free will and responsibility. Freedom and responsibility, Existential and inferiority, etc, The conflict of humanity on the crisis of faith have been A comparative study based on the discussions of East Asian religious philosophy and Western philosophy. Including compare the three commonalities and differences with Jean Paul Sartre's 'subjectivity ideology due to the existence of free will' on existentialism in contemporary Western philosophy and The theory of the 'moral autonomy originating in the good will' of the Enlightenment philosopher Immanuel Kant and Concept of 'consciousness' of the life essence of Keiji Nishitani Based on the analysis of the film. In addition, the problem of free will in the viewpoint of nature, along with the individual's point of view, is comprehensively supplemented by the idea of the "nothingness" of the philosopher Zhuang Zhou. A selection of the Polish film Dekalog: Eight and make a basic conclusion of the final by argumentation and analysis as a case of the dialectical relation between the free will and responsibility.