• The Journal of the Korea Contents Association
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• v.16 no.12
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• pp.151-159
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• 2016

The discussion was started from the question about how literary linguistic expressions are reproduced in the movies. This study focuses on the cinematized version of Jelinek's "Die Klavierspielerin", the by Michael Haneke. and looking for cinematization of literary works and these aesthetic values. The original delicately describes the life of Erika who has been living under the supervision and control by her mother. The topic of the is the conflict between the controlling mother and the desires of the heroin Erika who has been living under the suppression. The world of suppression symbolized by her mother is described as closed and dark space while the world of Erika and her desires, represented by Walter is described as open and bright space. The life of Erika living under control symbolized by prison-like double doors, iron-barred window, darkness and shadow is abnormally distorted. Even the piano that must be the center of her life as a pianist is also one of the symbols of dark world of suppression.

• The Journal of the Korea Contents Association
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• v.16 no.7
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• pp.541-551
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• 2016

In order to attain 'reality', technology, style and narrative have developed throughout the history of cinema. The projection of digital image necessitated a new perspective beyond the conventional relationship between film and reality. In the SF film, DISTRICT 9, strong realism elements are evident despite its genre. Advanced technologies enabled the digital images to vividly reproduce the realm of imagination. The encounter of the realistic approaches embedded in the style and narrative with the digital images emphasizes the social context of the cinematic background, as well as extending the potentialities of verisimilitude and perceptual realism. The amount of freedom in editing process derived from this film's documentary-like style opened a possibility for the effective delivery of the vast information-furthermore contributing to the realism of the film by encompassing the diversity that exists in the reality.

• Proceedings of the Korea Contents Association Conference
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• 2016.05a
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• pp.137-138
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• 2016

<2001 스페이스 오디세이(2001 : A Space Odyssey, 1968)>는 인간이 달에 도달하기 이전에 만들어진 영화임에도 불구하고 우주에서의 사운드를 현실적으로 표현하려고 노력했다. 우주에서 주인공이 우주복을 입었을 때 숨소리가 과장되게 들리게 함으로서 청자들에게 새로운 공간에 대한 사운드를 제시했고 소리가 전달되지 않는 우주의 특성을 활용해 과감하게 '사일런스(침묵)'를 앰비언스 개념으로 사용함으로서 이후에 나온 우주를 배경으로 한 SF영화에 음향적으로 많은 영향을 끼쳤다.

• Proceedings of the Korea Contents Association Conference
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• 2013.05a
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• pp.329-330
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• 2013

초기의 영화는 그 당시에 현실을 있는 그대로 보여주는 도구로서, 인간의 현실을 표현하고자 했던 많은 도구들 중에서 유일했던 것이다. 하지만 시간이 지나고 TV의 발달과 더 나아가 케이블TV, 현재에는 인터넷과 개인 스마트모바일 디스플레이의 등장으로 그 기능이 상쇄되어 갔고, 이에 따른 영화 자체의 생존전략을 찾아가기 위해 공간적 측면에서는 '새로운 스크린'을, 구현하는 방식과 현실을 재현하는 측면에서는 영상처리의 '신기술'을 과거에서부터 현재까지 계속 이어진다. 하지만 현재 영화와 비슷한 기능을 하는 매체들이 많은 가운데, 이러한 신기술들이 공유하고자 하는 매체들도 늘어나게 되었고, 이제는 하나의 신기술을 누가 먼저 시현, 선점하느냐가 큰 관건인 상태에서 '영화'가 선택할 수 있는 향후 10년 후 기술들은 현재 진화하고 있는 디스플레이 측면에서 'UD(Ultra-Definition)'와 영상기술 측면에서는 'Head Tracking 3D' 일 것이다. 본 연구는 이 두 가지 기술에 의해 영화산업의 미래를 기능적, 경제적인 측면으로 전망해 보았다.

• Cartoon and Animation Studies
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• s.43
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• pp.343-362
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• 2016

The purpose of this study is to analyze the 'depth of the film image' and to discuss its aesthetic implications in the Wes Anderson's films. In this study, I have analysed his two recent representative films, (2014) and (2012). As a result, it is found that Wes Anderson created a symmetrical composition with the depth by placing symmetrically things on the Z axis or using one-point perspective. In general, symmetrical composition is a two-dimensional form. The symmetrical composition in these two films, however, has the depth perception. It gives a sense of the fantastic world, not the real world. Thus, it is the unique way of Wes Anderson's expressing the world of the fairy tale on his films. It is also found that he used the camera work, emphasizing the depth of the image. Through these devices, Wes Anderson has created his own sensational mise-en-scene for a storyline like a fairy tale.

• The Journal of the Korea Contents Association
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• v.19 no.1
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• pp.117-124
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• 2019

This paper investigates how digital technology innovates the aesthetic ontology of film images. The modern civilization of computer and internet bring about the new ontology of film images. Digital hybrid image expands the contradictory combination of physical reality and filmic fantasy. It is inevitable to recount Walter Benjamin' s concept of mechanical reproduction in the age of digital cinema. The modern condition of image arts changes the concept of mechanical reproduction to the logic of digital configuration. In addition, computer simulation innovates the film aesthetics of montage to the aesthetics of digital collage. The technological and aesthetical development of computer simulation and internet network leads to the new ontology of digital hybrid images. This study suggests a new theoretic point that the aesthetic ontology of digital hybrid images leads to the expansion of filmic fantasy and expression.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.145-159
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• 2021

is a contemporary experimental film that forms ambiguity in the narrative and the psychological motivation of the characters, destroys linear temporality, and reminds of manipulation possibilities in digital images through varied techniques, and it carries implication by the fact that the transformation process of human subjects and self-awareness are connected to social trauma and makes way to infer by comparing it to the historical contexts of other nations or societies. centers on the space outside the screen, absent space, and the intrinsic meaning within the space and the frame and shares the information in the visible space and the space outside the screen and arouses an active perceptual process so that the audience can deduce the information that is not presented. The film visualized the historical meaning without describing the background of the times in detail and aimed to express the conflicts and worries between the god, a transcendental existence, with humans, which are marginal beings, within the conflicting structure among humans. Moreover, attempted to resolve the sadness of loss and absence through the spatial aesthetics and the film presented the progression of the situation through the contrast of the characters and also the comparison between light and darkness. This study intends to make an attempt of interpreting the realm involving personal (characters) stories and the social and historical backgrounds together with the religious sphere and discuss the visualization of the semantic context. In addition, this study analyzed the sequence of the scenes in , which reconstructs identity and historical cases and religious values to observe the meaning and characteristics and closely analyze the general meaning pursued by the film. discussed the issues of trauma that individuals, regions, and nations confront as a representation and interpretation of the trauma connoted in the film, and consideration can be provided about the implication concerning the situation and context in South Korea. Furthermore, the film placidly discusses the growth and agony in humans and the society without expressing it excessively, so it will be a valuable research result to inspire the trend of creating films that incorporate new imaging technology and original visualization techniques.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.10 no.6
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• pp.177-186
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• 2015

This study is related to determination of the intention to watch a movie, which is affected by various emotional, environmental, and behavioral factors. In case of personal factors, personal taste formed on the basis of previously experienced movie related information affects selection of movies, while environmental factors are affected mostly by residental community experience, cognitive attitude, subjective norms, as well as the view of values. In this study, the determinants on decision to watch movie have been analyzed applying the theory of planned behavior. Taking into consideration that the determination, based on either personal factors or environmental factors, of consuming movie products stars from reasonable information collecting and that movie poster has been the primary source of information on movie products since the inception of the movie industry, this study analyzed tastes of movie watchers and many variables of movie poster format on determination of intention to watch movie. The results from this empirical study indicate that movie poster is effective means of low cost marketing inducing movie watching in terms of consuming minimum time and space with high speed of delivery while satisfying primary interest on the movie product. It is suggested movie posters should be prepared to make appeal to each generation of target consumers and be put on the market as a product of artistic work.

• The Journal of the Korea Contents Association
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• v.19 no.3
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• pp.213-222
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• 2019

This article aimed at change patterns of representations of male character and cinematic space in 2000s korean division films. The concept of division film is the unique particularity film in the narrative and representation about Korean division. The Gancheop is the special character of korean films and have been reproduced in a variety of ways. In the past, Korean films have been dealt with Korean Civil War and 'special nature' of inter-korean ties. But in the 2000s, the representation of Gancheop in films has begun to change and filmed in a variety of genres such like comedy, thriller, romance and so on. , , are consistent with close relationship of male characters. The relationship is represented as friend, brother, partner. The meaning of these changes symbolizes our concept of national unification.

• The Journal of the Korea Contents Association
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• v.14 no.5
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• pp.74-84
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• 2014

The places of the movie are not a just backdrop, are discribed by the character. Imagetelling movie is a character movie by itself. One of the famous korean director which made a imagetelling movie is a Kim-kiduk. Most of his movies are the lonely people who lives a insulated locale like a island. The is also lonely people who lives in insulated area in Seoul, Korea. The is the best movie of all his film life. This Thesis will explain how to make a narrative using a chunggye industrial tools center more effectively and define the power of the locale in the movie.