• The Journal of the Korea Contents Association
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• v.10 no.2
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• pp.381-393
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• 2010

The purpose of this research is to identify the different determinants according to the types of motion pictures; art film and commercial film. We found that the regression equations of two types of motions pictures are structurally different. More specifically, we identified that the number of screens, viewers' evaluation, and genres have a significant relationship with the performance of motion pictures both in the commercial and art film. However, director, ratings, critics, power of agency, nationality, and the timing of release affect the performance of motion pictures just on the art films.

• Trans-
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• v.3
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• pp.55-86
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• 2017

This study begins with the necessity of the concept of reincarnation of film media and the inclusion of specific tendencies of contemporary films as post - cinema comes. Variable movements around recent films Challenging and experimental films show aesthetics that are difficult to approach with the analysis of classical mise en scene and montage. In this way, I review the dispositif proposed by Martin in films that are puzzling to criticize with the classical conceptual framework. This is because the concept of dispositive is a conceptual pile that extends more than a mise en scene and a montage. Dispositif films tend to be non-reproducible and non-narrative, but not all non-narrativef tendencies are dispositif films. Only the dispositif film is included in the flow. Dispositif movement has increased dramatically in the modern environment on which digital technology is based, but it is not a tendency to be found in any particular age. The movement has been detected in classical films, and the dispositif tendency has continued to exist in avant-garde films in the 1920s and some modernist films. First, for clear conceptualization of cinematic dispositif, this study examines the sources of dispositif debates that are being introduced into film theory today. In this process, the theory of Jean Louis Baudry, Michel Foucault, Agamben, Flusser, and Deleuze will help. The concept of dispositif was discussed by several scholars, including Baudry and Foucault, and today the notion of dispositif is defined across all these definitions. However, these various discussions are distinctly different from the cinematic dispositif or dispositif films that Martin advocates. Martin's proposed concept reminds us of the fundamentals of cinematic aesthetics that have distinguished between the mise-en-scene and the montage. And it will be able to reconsider those concepts and make it possible to view a thing a new light or create new films. The basic implications of dispositif are apparatus as devices, disposition and arrangement, the combination of heterogeneity. Thus, if you define a dispositif film in a word, it is a new 'constraint' consisting of rearrangement and arrangement of the heterogeneous elements that make up the conditions of the classical film. In order for something to become a new design, changes must be made in the arrangement and arrangement of the elements, forces, and forces that make up it. Naturally, the elements encompass both internal and external factors. These dispositif films have a variety of possibilities, such as reflection on the archival possibilities and the role of supervision, the reestablishment of active and creative audience, the reason for the film medium, and the ideological reflection. films can also 'network' quickly and easily with other media faster than any medium and create a new 'devised' aesthetic style. And the dispositif film that makes use of this will be a key keyword in reading the films that present the new trend of modern film. Because dispositif are so comprehensive and have a broad implication, there are certainly areas that are difficult to sophisticate. However this will have a positive effect on the future activation of dispositif studies end for end. Dispositif is difficult to elaborate the concept clearly, so it can be accessed from a wide range of dimensions and has theoretically infinite extensibility. At the beginning and end of the 21st century film, the concept of cinematic dispositif will become a decisive factor to dismantle old film aesthetics.

• The Journal of the Korea Contents Association
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• v.18 no.6
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• pp.617-627
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• 2018

Baroque music was the birth and growth era of modern music, but it was not composed for movies. Baroque music, however, is a feature that is inserted into the movies in many different forms, leading to the overall mood and narrative, and the ability to express the characters' feeling and inner word. Therefore, in this study, five Baroque music works, including the main theme song 'Vivaldi Cantata RV.684' in the movie , are produced, and analyzed through tonal, tempo, dynamics, musical notes, tones, rhythms, musical instrument, and genre. Through analysis, we will study what epic functions and roles Baroque music plays in movies.

• Proceedings of the Korean Information Science Society Conference
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• 2012.06c
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• pp.201-203
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• 2012

전 세계적으로 인터넷 보급률이 높아지고 소셜 미디어 등의 인기로 여러 사람의 의견을 한눈에 볼 수 있는 기회가 많아 졌다. 영화의 경우도 마찬가지다 관객들의 영화평은 다른 잠재적인 관객들의 동일 영화의 관람을 이끌어 내는데 큰 동기가 된다. 하지만 개개인이 영화에 대한 느낌이 다르기 때문에 관객이 영화의 결정을 위하여 수많은 영화평에 포함된 의견들을 효과적으로 검토하기 쉽지 않다. 따라서 관객들이 특정 장르에 대해 느끼는 정도를 여러 영화평 속에서 추출해 수치화하여 좀더 신뢰도가 높은 장르에 대한 정보를 얻고자 한다.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.337-338
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• 2019

중국 저예산 영화는 다년간의 탐색하에 영화예술창작에서나 시장에서의 상업성적인 측면에서 비교적 좋은 발전을 가져왔다. 예술창작 측면에서 말하면 최초의 '개인 서사'부터 상업유형 영화의 축제로 또 서사 방식의 다원화까지 이미 점점 성숙에 나아가고 독특한 풍격을 형성하였다. 상업적으로는 입소문 마케팅과 차별화를 널리 보급하는 것이 저예산 영화에 새로운 경험과 결실을 가져다주었다. 본 연구는 영화의 예술성과 상업성 두 가지 측면에서 <나는 약신이 아니다>라는 영화에 대해 분석연구를 하고 또 성공 경험을 정리하여 신인 감독들의 작품을 위해 참고할만한 방향을 제시하고자 한다.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.89-90
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• 2019

시각효과에 의한 스펙터클 요소는 영상콘텐츠에서 관객의 몰입감을 향상시키고, 작품성을 높인다. 특히 재난영화는 스펙터클 요소를 주된 연출 방법의 하나로 사용하여 관객의 기대와 감동을 키운다. 또한 영화제작기법과 함께 스펙터클 장면을 표현하기 위한 CGI기술의 발전이 영화 장르의 확장과 학문적 발전을 이끌어왔다. 그러나 스펙터클 요소가 내러티브에 영향을 끼친 연구는 지금까지 매우 미비하다. 본 논문은 스펙터클 요소가 재난영화의 내러티브에 끼치는 연구를 분석하기 위해 2019년에 개봉된 재난 영화 <유랑지구>를 분석하였다. 이를 위해 스펙터클과 내러티브의 개념과 특징을 이론적 배경으로 제시하고, <유랑지구>의 스펙터클 요소 분석과 극중의 내러티브와의 관계를 연구하였다. 본 연구를 통해 스펙터클 요소를 활용해 영화의 내러티브 강화에 도움이 되길 기대한다.

• The Journal of the Korea Contents Association
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• v.15 no.3
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• pp.48-56
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• 2015

The film music in the 1940s is characteristic of its functional role of afterward crime movie and for expressed theme of scene to causing tension by encompassing the situational description of the scenes as well as psychological struggles of characters within the realm of musical techniques. This study demonstrates the process of change of theme music that expresses time-dependent plot development in Double Indemnity in which Miklos Rozsa participated as a music director and the result verifies the hypothesis that stimulate the senses and induces increased for the absorbed in the scene musical elements can be adopted as a symbolic means to emotions in movies.

• The Journal of the Korea Contents Association
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• v.14 no.6
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• pp.63-72
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• 2014

This study focused on the determinants of the use of Caligraphy in the movie posters, which may have impacts on movie promotion. Caligraphy has been of interest as a tool to carry emotional factors of movies to potential movie-goers. Movies have characteristics of experience goods of which consumers may not know the value of the products before they actually experience the products. This study collected data of the top 200 movies during 2003 and 2013 from Korian Film Council database and analyzed the relations between the characteristics of movies and the use of Caligraphy design in the posters. As a result, we found that history-based movies and drama-genre movies have adopted Caligraphy. We confirmed that the Caligraphy design have functioned effectively in Korean movie posters.

• Cartoon and Animation Studies
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• s.49
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• pp.399-423
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• 2017

When thinking about the essence of color, green is the image that is settled on the plant itself, and it is also the color shining by the sun. Physics tries to explain green of plants in the correlation of sun and moon, and the history of art contemplates how it is expressed on the canvas. The film attempts to represent a realistic green using camera or computer specific to the medium. Many color theorists who explore the essence of color do not trust the mechanical and reductive scientific colorism that began in Newton and seek a completely different way of exploring in psychology and aesthetics. Like Goethe, who opposed Newton, they do not distinguish the human as subject and the color as object, but focus on the internal grounds of the relationship between subject and color. The representation of color in film is a combination of physics and art. Film color can be expanded to the spiritual dimension beyond the previous emotional and aesthetic, even beyond the physical and mental domains.

• Trans-
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• v.3
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• pp.29-53
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• 2017

The film scholar Vincent Amiel divides into three types of montage through his book The Aesthetics of Montage ; Montage narratif, Montage discursif, and Montage decorrespondances. These three categories are the concept that encompasses the aesthetic class to which most movies belong. Early films pursued the essential and basic functions of editing, which tend to be modified in the direction of enhancing the director's goals over time. In this way, "Expressive Montage" is one of most important concepts of montage, not as a 'methodology' that combines narrative but as a 'purpose'. In the montage stage, the expressive montage work is done through three steps of decision. The process of 'combining' to combine the selected films in a certain order, after the process of 'selection' which selects only necessary parts of the rush film, and 'connection' to determine the scene connection considering the duration of the shot. The connection is the final stage of the montage. There are exceptions, of course. When fiction films of classical narratives use close-ups, or when using models or objects of neutered animals, the film induces the tendency of a "montage decorrespondances" rather than a "montage narratif" or "montage discursif". This study attempts to analyze the tendency of montage of works with 'uncertain connection' through 'collage' used by close-ups and montage decorrespondances as 'fragmentation tendency of modern films'. The fragmentation of the montage in contemporary film breaks the continuous and structural nature of the film, and confuses the narration structure that is visible on the surface of the film. The tendency of the fragmentation of the montage, which started from this close-up, seems to give an answer to the extensibility of the modern image.