• 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.

• Journal of Digital Convergence
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• v.17 no.11
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• pp.475-482
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• 2019

Analyzing the inner meaning and expression of philosophy by analyzing the composition, symbolic expression, and style of the film with high artistic perfection, which contains the spirit of the times, considers human beings through society and history, and raises awareness of life and the present generation. It will be a very meaningful and valuable study in film as art. The movie 'Rome' was cut into the rest of the public's mind by being tempered, hidden and omitted, and the color was black and white. Many aesthetic attempts can be found through symbolic images expressing the ironic message of maid's daily life as a race, capital, socially oppressed history. It can be seen that he expresses his own authorism visual language by drawing symbolic expressions through many contrasts and symbolic expressions through objects. The analysis of commercial films containing these artistic values is expected to help in the future production as a measure of the progress of art films and precedents of authorism expression techniques.

• Journal of Broadcast Engineering
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• v.27 no.5
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• pp.665-675
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• 2022

After the COVID-19 pandemic, there has been growing interests in metaverse technology and social use of virtual reality platforms in non-face-to-face environments, but social issues and ethical concerns raised by metaverse have not been sufficiently discussed. In this paper, we discuss the social functions of the metaverse by examining the movie 'Ready Player One', and investigate the ethical problems that may arise in various implementation of metaverse. We identify the potential ethical problems that could occur in the context of metaverse including identity fragmentation, metaverse violence and crime, and mismanagement of personal information. We also propose some promising approaches to tackle these ethical problems ranging over descriptive ethics, normative ethics, and analytical (meta) ethics.

• The Journal of the Korea institute of electronic communication sciences
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• v.10 no.7
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• pp.801-806
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• 2015

Recently, retro music is popular in the domestic music industry. Even in the movie industry, remake or retro movies are made continuously. In this paper, we consider the reason of remake in the viewpoint of mathematics and show that there is a maximum number of lyrics, pictures, music, and movies that human can make due to the characteristics of digital contents. The time that human cannot make new lyrics, new pictures, new music, and new movies any more will be estimated. Therefore, artists will have difficulties to make new contents in the future, and human have to listen and see the previous lyrics, movies, music, or pictures in the future. This study will give a deep philosophical insight for contents industry.

• Cartoon and Animation Studies
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• s.13
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• pp.133-151
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• 2008

This paper was written for the purpose of seeking a radical answer to the reason why we feel an actuality while watching a digital animated film. In the world of digital animation, there exist surrealistic subjects and the objects, which have come been brought into life, play their own role there. Furthermore, objects, which do not exist anywhere in the real world, appear and are closely connected with each other by means of a time discourse. Their world seems to be identical to our world or not. This study defined an actuality of a digital animation world as an actuality of Imaginary reality, an actuality of existent object, an actuality of anonymous object and an actuality time discourse, and examined such actuality. A frame of concept for examining the actuality was borrowed from philosophical statements of phenomenology that understands the nature of an actuality through 'zu den Sachen selbst'. Philosophical statements cited for searching an actuality specifically were those already explained by E. Husserl, M. Heidegger, J.-P. Sartre, G. Bachelard, M. Merleau-Ponty, and P. Ricoeur, Methodologically, this study attempted to understand our existence and recognition of the world in a phenomenological point of view, apply this principle to the world of a digital animation, and subsequently discuss it with the provision of examples. The purpose for this study is to reconsider the fundamental moaning of a digital animated film and evaluate its value.

• Journal of Korean Philosophical Society
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• v.142
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• pp.221-241
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• 2017

I try to elucidate the essence of cinematic art in terms of Nietzsche's physiological philosophy of art. According to Nietzsche, the mise-en-$sc{\grave{e}}nes$ in the film are expressions of willingness to the power of the author, the director. These are not re-imitations of the imitations with Platonic measure, sinker, number, but framing the elan vital Erde, die $urspr{\ddot{u}}ngliche$ Vorstellung with the director's body-camera. In this context, the film is essentially die Kunst des Lebens, in which the body and the earth are mediated by cameras. Therefore, it is not the eyes or the head, but the body that is necessary to appreciate film art. But the body at this time does not mean the heavy body of Hollywood standard audiences manipulated, controlled, or transformed by capital. We should stand in front of the film work with body shaking between trauma and Rausch, a dancing body, and a light and fresh body. Only by watching film with the body, can we achieve the small revolutions in everyday life. For example, if we watch $B{\acute{e}}la$ Tarr's film The Turin Horse in such a way, we can no longer be the dwarfed human beings, der Herde-Mensch. Also, $B{\acute{e}}la$ Tarr's mise-en-scene will make us realize why Nietzsche had said that there is art to us not to be destroyed by the platonic truth.

• Trans-
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• v.12
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• pp.81-106
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• 2022

The possibility of metaverse system to be a catalyst for hyper-connected society will be dependent on the speed of connected technological development and its social utilization in the same manner as AI technology. Putting these technical realization processes in brackets, this paper focus on some philosophical-political issues in connection with cognitive-ecological changes in the future cinema which will be influenced by the complexive techno-socio couples of accelerated development of metaverse system. Generally speaking, essence of metaverse system seems to be the degree of immersion by technical accuracy, but is not true. In perspective of cognitive-ecology, flow degree of a picture or photograph is relied not on 'accuracy of representation' but on its message's contextual link-up. In this aspect, real potentiality of metaverse system shall be understood in the context of cognitive-ecological changes of human brain's multi-intelligence networking abilities(intersection of augmentation-simulation and outside-inside) which will be activated in the new structure of natural-social-technological coupling of metaverse system. These cognitive-ecological potentialities have been partially actualized in the cinematic process of tripod mimesis for the longest time, [real contradiction/conflicts (Mimesis-1) -->fictional solutions of cinema (Mimesis-2) --> selective interpretation of spectator's wish fulfillment (Mimesis-3) --> real change (Mimesis-1')]. Therefore metaverse's real potentiality must be considered to be dependent on the possibility of deepening and extending of cinematic circulation between real seperation/problems and ideal connection/solutions. In this context, advanced metaverse system can be compared as a modern technical version of ideal circulation of physics and metaphysics

• The Journal of the Korea Contents Association
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• v.8 no.3
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• pp.67-74
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• 2008

Various image media such as game, animation, movie is developing. Goods called Figure as extension that use contents source of one kind in several forms were made, and is drawing a lot of popularity today. However, is handled as simple toy of children in the Korea. So, development of allied industry is slow. In case of overseas recognized the importance by means of marketing in contents industry. In this paper, explain meaning about figure and kinds of figure and through philosophical thought and theory, analyzed personality which figure has through scientific investigation(theory of Walter Benjamin, Freud and psychologists). Nowaday, figure industry of the Korea and other foreign country is continuing development. Especially the contents of Hanryu(Korea) star figure has lots of value and possibility of future growth.

• The Journal of the Korea Contents Association
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• v.20 no.3
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• pp.275-285
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• 2020

The purpose of this study is to explore the Iranian Woman Film Director Samira Makhmalbaf and her cinema world. Samira represents Iranian Islamic social problem base on her woman identity, and She is a symbolic director who is working Iranian new wave at the 21th. She has directed five movies as (1998), (2000), (2002), (2003), (2008). For this study, explore traits of esthetics, subject and context meaning by analyzing representative three movies. Lastly examines significance of his movies in Iranian film history. In terms of esthetics, she tends to combinate between metaphor and reality, And, In thematic consciousness, consistently describes Islamic women's lives and liberty, anti-war and peace, sympathy for the under-privileged, etc. She inherits the tradition of Iranian third wave 'Children Cinema', and simultaneously tries to overcome Iranian art film tradition. Director Samira Makhmalbaf is a symbol of progress and change in Iranian film history, and is opening the new future of Iranian film.

• Journal of Digital Convergence
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• v.15 no.2
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• pp.301-307
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• 2017

Once, the faster the digital technology developed, the more provocative obscure commercial film has spread like a trend. Researching the aspect of the successful films, about 10 million audience in 2016, we can find the similarities that only social phenomenon, stands itself without real-existence, which makes public sentiment. I will list up all the problems that I mention above with audience's review and analyze the famous film "the wailing" with big social attention, having 6.8 million audience. I will seek the better way to developthis movie, in terms of artistic dignity and depth as an public-art. With great depth, the realistic application of cultural inheritance, holding mankind common, such as culture, philosophy, religion, history, would be an essential proposition for obtaining cultural emotional empathy from the people in the society. Based on this, the theme and massage from a director, should be expressed in order to be a master piece work beyond time and space in the film history.