• Cartoon and Animation Studies
• /
• s.42
• /
• pp.125-150
• /
• 2016

In the 2000s, Korean cinema maintained the industrial growth on the strength of 10 million audiences and the successful Korean blockbuster. A variety of film materials such as history, politics, social issues, and the division between North and South Korea ideology were addressed in the movies, and one of the movies based on a true story was popular. Accordingly, external size of the film industry has been gradually expanding. Korean public movies have a firm position in the film market, and a diversity of discussion is made as the movies spontaneously get attention. Also, the influence of social media and media which recognized far-reaching powers of public films causes a political and social change, but it also provokes ideology controversy. Objectivity of this study is first to discuss factors and initiating causes that Korean movies have firmly settled as public movies since late 1990s. Secondly, this study considers relation among media, social media. and Korean public film that aroused more arguments on politics, society, and history in 2000s. The powerful influence of films on society not only leads political change but also affects awareness change of audience and the role of social media.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.42 no.2
• /
• pp.1-9
• /
• 2014

This study is the renovation plan for BIFF(Busan International Film Festival) street themed movies, which is an internationally known film festival. The aim of this is the regional economic vitalization. The first step of the plan sets up position through the case study of the Theme Street. The theme for each road space is related with movies and realizes the unificative images for each road. Images between the Busan Cinema Center and BUSAN MARINA are introduction of the road and the subject of this road is greeting with movies. The history of movies are printed on the pavement, some sections are made with red blocks for recollecting the red carpet. The next section from the BUSAN MARINA to MARINE CITY is set up being close with movies. In this section, sculptures of filmmaking and theme benches are installed for indirect experiences. The theme from MARINE CITY to DONGBAEK ISLANDS is playing and enjoying with movies. It is made more fun with the installation of super graphic and trick art. The theme from DONGBAEK ISLANDS to HAEUNDAE is farewell with movies. It is expressed by music on pavement and musical fountain. The last section in the theme road from HAEUNDAE to MOONTAN ROAD shows the concept memories after farewell. It is a half way to Moonten Road. The Milky Way pavement and Milky Way square are made by installing the optical fibers.

• Journal of Popular Narrative
• /
• v.27 no.1
• /
• pp.301-338
• /
• 2021

John Woo's A Better Tomorrow arrived at the turning point of Korean society between 1987 and 1988. The Hong Kong movie boom that started here reached its peak around the 1990s. What does this phenomenon mean? Hong Kong action films have functioned as an important resource for Korean young male subculture since the late 1960s. The audience of A Better Tomorrow matches the audience of previous Hong Kong films in a generational and gendered way. The fascination of Hong Kong action films by young Korean men from 1987 to 1991 has nothing to do with Hong Kong's political context. However, a certain affect is shared between Korean and Hong Kong audiences. It could be said to be the brotherhood within the struggling group. The affective economies of this fraternity embodies the broad solidarity of 1987, the solidarity of comrades seeking to resist the violence of the world. It also works on symbolic and practical gender bias. In other words, this loyalty is nothing but loyalty between the (male) brothers who are confronting the injustice of the world. This is the "translational possibility" of A Better Tomorrow.

• Journal of Digital Convergence
• /
• v.16 no.5
• /
• pp.425-433
• /
• 2018

Korea's film industry structure is focused on commercial movies centering on large companies, and its diversity and artistry are relatively overlooked. In addition to trends in the digital media age, the flood of consumable contents on the basis of special effects such as C.G, And is losing popularity as a popular art. The popular art should lead the mature social culture with the educational enlightenment character which induces the indirect experience and the wide insight of the world through the material and expression about the humanities study of the individual and the society. The analysis of the society's artistry and artistry about the movie "(2017)" can be a measure of the definition and kind of artistry in commercial movies and methodology about the manifestation of artistry. As a research methodology, we try to measure the future of the film industry by analyzing the status of the film as popular art, such as intellectual exploration and logical completeness of the essence of society, Through analyzing and criticizing the artistic characteristics in commercial films, I would like to suggest some improvement points by deriving the indicators of the artistic nature of commercial films. The film "1987" is a good example of an ideal commercial film with an artistry that cultivates cultural literacy, promotes civic consciousness through enlightenment messages, and plays a role of self-reflection through art experience. In other words, it shows the possibilities of commercial film with artistry in popular culture, such as a humanistic examination of true history and society, and an introspective gaze of the director expressed through the film society.

• The Journal of the Korea Contents Association
• /
• v.6 no.11
• /
• pp.56-64
• /
• 2006

It seems that there has been a tendency of faction film which reveals imagination of state/nation. As typical examples, & would show the relationship between some factional imagination and the project of blockbuster. In this regard, I've researched the tradition of cinematic representation of state/nation and some historical aspects which reveal the being of official films ruled by oppressive political intention. As a kind of discourse dealing with state/nation, & have specific strategy of representation. The analysis about that process might enable us to understand what is nationalism and what is the nature of ideological discourse consumed by faction-related products.

• The Journal of the Korea Contents Association
• /
• v.12 no.1
• /
• pp.154-165
• /
• 2012

In this paper, I examine the history of split screens, primarily seek to explain types of them, and explore the narrative meaning of each type in feature films. In short, I try to categorize the types of split screens and present a figure of them according to events and characters, focusing the relations between/among simultaneous images and narrative meanings. In addition, I assert that split screen have altered some methods of filmic storytelling and the ontology of screen. Story lines no longer have to be linear and the screen need not to remain a window through which we can see another world. The screen has come to be a canvas upon which several images can be arranged for narrative purposes.

• Digital Contents
• /
• no.1 s.116
• /
• pp.66-71
• /
• 2003

레스페스트 디지털 영화제(www.resfest.co.kr)가 지난해 11월 29일부터 12월 5일까지 연세대 백주년 기념관에서 열렸다. 레스페스트 디지털영화제는 최신 디지털 영화를 미국, 유럽, 일본 등의 주요 도시를 순회하며 소개하는 영화제로 지난 2000년 한국에서 처음 열린 이후 3회째를 맞고 있다. 지난 행사에서는 국내 공모에서 뽑힌 39편을 포함 전세게 250편의 장,단편 지지털 영화 '영화같은 인생','운수없는 날', '감독클럽' 등 19개 섹션에 걸쳐 소개됐다. 개막작으로는 크리스커닝햄 감독의 뮤직 비디오 단편들을 모은 크리스 커닝햄 특별전이 상영되었고, 폐막작은 비트박스의 역사와 뮤지션들의 일상을 담은 음악 다큐멘터리 <브레스 컨트롤>이 선정됐다.

• Journal of Popular Narrative
• /
• v.26 no.2
• /
• pp.87-122
• /
• 2020

This study explores the method of representation of traumatic history in 2D horror game Detention developed by Taiwan game production company Red Candle through an analysis of its method of storytelling. Unlike conventional public media, video/digital games are based on interactivity, in which game players engage in the narratives. Thus, the relationship between players and the history in the game world may also change. This research investigates how the players build their way of remembering and recognizing the past in a different relationship. Detention, which was well received, not only in Taiwan but also around the world upon its launch in 2017, is set in a middle school during the martial law era in Taiwan in the 1960s. In the game, the main character encounters her lost memories in the process of following clues and game rules, and finally realizes she is implicated in the 1960s' event. Detention was cinematized after the success of the game. The film achieved enormous popularity both in terms of box office success and criticism. In this paper, the strategy of the game's storytelling is introduced in comparison to the film's approach in the representation of historical events. In particular, the paper explores elements such as the interactivity of the game medium, narrative fragmentation, quests, hints and cues, and the horror genre, that asks users to understand history beyond the game world differently from the point of view of other media. Though this study, it can be considered that the digital game is a medium exploring history in a serious manner. In particular, Detention invokes the matter of game-mnemonics as well as cine-mnemonics. Compared to plentiful research in cine-mnemonics, game-mnemonics has not been extensively studied to date. Therefore, through the analysis of Detention, this paper explores the relationship between digital games, history and memory.

• The Journal of the Korea Contents Association
• /
• v.12 no.11
• /
• pp.100-109
• /
• 2012

The history of war is the interesting theme to every group because it presents the identity of nation and social aspects of the age. The war was a subject matter in culture industry, and the war films represented a battlefield with various phases. Thus, it provided important description to understand our society. The purpose of the study is to identify the phases and representation of war in films through analyzing a pattern of war films. For the comparison study on a type of war and its social effect, we need to approach the concept of inclusive representation. Thus, I categorize war films to suit the subject of research and select the objects among the various war films. On the basis of these films, this paper studies how the representations and phases of war is reflected and described in contents of films.

• The Journal of the Korea Contents Association
• /
• v.13 no.10
• /
• pp.234-255
• /
• 2013

Korean Academy of Film Arts (KAFA) is the film school run by Korean Film Council (KOFIC). KAFA was established in 1984, benchmarking American Film Institute (AFA) and in order to foster manpower for Korean Movie under the US's pressure of domestic movie market opening in Korea. The Korean Movie market was open to the world by 1987 and suffered from the low Korean-produced movie market share of around 20% in the domestic market from 1987 to 1998. During the last 30 years, KAFA plays the key role in the Korean movie making industry. Of 520 of number of their alumni, the number of directors is 101, 33 of cinematographers, 18 of producers and 21 of professors in universities' film departments. Korean Directors, Bong Joon-ho of (2013) and topped over 10 million domestic admissions to become the most-watched Korean films of all time. Now, with KAFA's relocation to Busan following with KOFIC, their new roles are promotion of the film industry in Busan, recruiting and educating new talented Korean and foreign student filmmakers, becoming an international film school.