• Cross-Cultural Studies
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• v.50
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• pp.53-75
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• 2018

It is commonly emphasized that the metaphor of the monster is a rhetoric universally used to identify the "main enemy" of a society, for its effective function is seen as useful for the uniting of citizens to bend together to survive or succeed before the external threat. The problem of this metaphor is that it homogenizes and dehumanizes the heterogeneous individual members of the subsequently identified enemy group. This study emphasizes the importance of some traits of the posthuman subject, such as the flexibility and the multiplicity of consciousness, to overcome the otherizing binary perspective which is commonly held regarding the concepts of good and evil. To observe specific dimensions of the posthuman consciousness, we analyze three films based on Spanish history and reality: The Spirit of the Beehive, The Day of the Beast and Pan's Labyrinth. All of these films progress around the figure of the enemy-monster(s), showing how to transgress the dichotomous structure of consciousness that defines the self/good dividing it from the other/evil. The heroes in the films seek to overcome the fear about the monster, and approach him to discover new ethical horizons, that can emerge only when an individual's consciousness chooses to stay on the border between the established beliefs and the unfamiliar voice of the dangerous stranger(s).

• Journal of Popular Narrative
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• v.25 no.4
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• pp.429-465
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• 2019

This paper analyzed the ways in which "others" were reproduced in Korean movies in the 1970s. In the midst of the social changes of the era, such as urbanization due to rapid industrial modernization, many people became laborers for industry in order to obtain the fruits of modernization.But the landscape of others, which was inevitably produced in the process of constructing such subjects, has been limited to analysis that is focused on gender and youth discourse. This article aims to extract the landscape of others in the 1970s by adopting a different perspective. The way in which the other is present can be divided into the following two categories. First, in 1970s film, the family community, in contrast with 1960s film, has disintegrated and cracked, due to the inability of others to enter or leave the community. The desperate perception that the family community can no longer function as a stable foundation or center of the constitution, and that it cannot have a sense of security and belonging,is revealed through the way the others are wandering in and out of the community. Second, 'Death' is an element of social life in the violence of the national ideology of the 1970s, and the everyday exceptional state. The way in which the 'other' is completely eliminated from the normal subjectivity requested by the state and is deported in film reflectshow everyday death or potential death is part of life of the 1970s. Normal life pursued through rapid urbanization and industrialization leads to the death of the other beings, but the way of existence of others is the desperate reality of the 1970s, when the boundaries of the state that provide stability and belonging are broken. As a result, the landscape of others in the 1970s reveals a violent reality that destroys the perfect middle class family discourse that industrial modernization was oriented around in the 1970s, and that produced masses of others who caused numerous deaths. In spite of regime censorship, Korean films were popularly revealing the violence of life brought in by the 1970s, following a detour of representation.

• 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.

• The Journal of the Korea Contents Association
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• v.22 no.2
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• pp.665-681
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• 2022

This article compared and analyzed the SF films Snowpiercer and Space Sweepers, which embody the imagination of disaster for the future dystopian society. In common, the two films represent the future society as a society with a serious climate crisis and an extremely widening gap between the rich and the poor. Both films use similar narrative strategies: representing a isolated, twisted-willed scientist figure, building a main stage as catastrophic hierarchical capitalist society, and focusing on the conflicts between a dominant group possessing the science-capital-power and a resistant but ordinary subjects. However, there is the different framing on the future society in terms of representing nature, science technology, and human-nonhuman agency. This distinction is shaped by the narrative function of the objects represented by two films.

• Proceedings of the Korea Information Processing Society Conference
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• 2002.04a
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• pp.205-208
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• 2002

출판, 영화, 방송, 인터넷 등 멀티미디어 정보통신 분야에서는 새로운 영상 매체인 3차원 입체 영상 및 가상현실을 차세대 영상정보의 현실감 부여와 정보전달의 리얼리티를 제공하기 위해 다양한 기술들이 활발히 연구되고 있다. 또한 현대의 정보 통신 분야는 방송, 통신 및 컴퓨터가 통합되고, 무선과 유선이 융합되는 새로운 정보 통신 기술로 진화하고 있다. 이러한 변화의 영향으로 영상 서비스에 대한 기술 개발 경향도 영상 정보의 효율적인 전달 및 저장이라는 기존의 동영상 압축 표준이 갖는 기능 이외에, 보다 더 향상된 기능을 제공하는 방향으로 나아가고 있다. MPEG-4는 현재 각광받고 있는 인터넷 등의 멀티미디어 서비스에 있어서 필수적인 핵심기술이다. 본 논문에서는 MPEG-4 표준을 기반으로 하여, Dual 스트림이 입력되는 멀티미디어 데이터 즉, 입체 영상 재현을 위한 데이터를 효율적으로 인코딩하는 방식을 제안하고, 이에 대한 인코더를 분석, 설계하였다. 제안하는 방식은 MPEG-4를 이용한 입체영상 관련 응용에 적용될 수 있다.

• Cross-Cultural Studies
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• v.48
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• pp.289-323
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• 2017

L'Espoir, a novel by Andre Malraux, contains traits of the genre of literacy reportage that depicts the full account of the Spanish Civil War as non-fiction based on his personal experience of participating in war; the novel has been dramatized into a semi-documentary film that corresponds to reportage literature. A semi-documentary film is the genre of film that pursues realistic illustration of social incidents or phenomenon. Despite difference in types of genre of the novel and the film L'Espoir, such creative activities deserve close relevance and considerable narrative connectivity. Therefore, $G{\acute{e}}rard$ Genette's narrative discourse of novel and film based on narrative theory carries value of research. Every kind of story, in a narrative message, has duplicate times in which story time and discourse time are different. This is because, in a narrative message, one event may occur before or later than another, told lengthily or concisely, and aroused once or repeatedly. Accordingly, analyzing differing timeliness of the actual event occurring and of recording that event is in terms of order, duration, and frequency. Since timeliness of order, duration, and frequency indicates dramatic pace that controls the passage of a story, it appears as an editorial notion in the novel and the film L'Espoir. It is an aesthetic discourse raising curiosity and shock, the correspondence of time in arranging, summarizing, deleting the story. In addition, Genette mentions notions of speech and voice to clearly distinguish position and focalization of a narrator or a speaker in text. The necessity to discriminate 'who speaks' and 'who sees' comes from difference in views of the narrator of text and the text. The matter of 'who speaks' is about who portrays narrator of the story. However, 'who sees' is related to from whose stance the story is being narrated. In the novel L'Espoir, change of focalization was ushered through zero focalization and internal focalization, and pertains to the multicamera in the film. Also, the frame story was commonly taken as metadiegetic type of voice in both film and novel of L'Espoir. In sum, narrative discourse in the novel and the film L'Espoir is the dimension of story communication among text, the narrator, and recipient.

• Cartoon and Animation Studies
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• s.10
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• pp.137-148
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• 2006

The purpose of this article is to study the aspects of transformation of Treasure Island(1883), Robert Louis Stevenson's novel in two feature animations (1987) of Osamu Dezaki and (2002) of Ron Clements and John Musker by analyzing characters. In the original novel, as a typical wicked villain and traitor, Long John Silver functioned as an obstacle in Jim Hawkins' Bildungsroman. And Osamu Dezaki laid great emphasis on the friendship between Jim and Stiver His might be an excellent example of the faithful adaptation. But in Disney's , from initial mistrust, to friendly co-worker, to mentor and protege, and finally, to mutual rescuers, Jim and Silver have created a permanent bond that can never be broken - their coming together has changed both their lives forever. Jim's voyage of searching for treasure is not just for the discovery of material riches unimaginable but also for the discovery of his own true worth. Making the Sliver/Jim relationship more focused, Jim ends up discovering not just an obvious treasure; he discovers an inner treasure. From this viewpoint, this feature film could be an outstanding transformative adaptation.

• Korean Architects
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• no.9 s.353
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• pp.59-59
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• 1998

이 고장을 대표하는 3개의 도시 전주, 익산, 군산은 지리적 특성과 역사적 특성으로 인해 동일 문화권이지만 지켜온 현상들에서 서로 다르며 격리된 느낌의 단부소외성을 지니고 있다. 전북은 우선 완주, 익산, 고창에 이르는 백제, 마한의 평야와 해안의 문화권과 이씨왕조의 본향으로 고도의 특색을 지닌 도시문화권인 전주권, 거대한 산세를 자랑하는 지리산의 자연과 맥을 같이하는 남원권역으로 크게 대별 되어진다. 전북지방의 건축문화적 토대는 여타의 문화와 동일하게 백제의 숨결속에서 느낄 수 있다. 화려함도, 아기자기함도 없지만 있는 그대로, 한국의 정서를 압축한 듯 절박함을 바탕으로 한 백제의 문화적 속성을 지니고 있다. 한편 지나간 시절의 영화가 현재에 재현되거나 지속되고 있지는 못하나 지난 삶의 자취에서, 이곳 사람들의 인정에서 맛의 문화에서 그 깊이와 멋의 가닥을 찾을 수 있다. 현대의 도시들은 이러한 도시형성상의 문화적 지혜나 건축적 혜안을 관철하여 이루어지고 있지는 못하다. 우리의 최근의 역사들은 연약하지도, 섬세하지도 않고 오히려 일시에 옛 자취를 휩쓸어 버리는 강성을 지녀 혼이 담긴 과거의 흔적을 유지하기 쉽지 않다. 우리는 이러한 현상을 주시하였고, 옛 백제 문화의 정신을 토대로 성장하고 있는 현재의 모습들을 관찰하며 반성도 했고, 이어지고 남겨져야 할 이 고장의 특성을 헤아렸다. 마지막으로 이 고장의 미래가 발전적이기를 염원해 본다.

• Journal of the Daesoon Academy of Sciences
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• v.48
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• pp.239-268
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• 2024

Video content is often used as a means of education due to the characteristics of the medium: representation, information delivery, immersion, and experience. In particular, religious films are being used more often in public schools and religious communities to promote understanding and inspiration. The purpose of this study is to examine how Daesoon Jinrihoe utilizes video content via the film, The Road to Peace and Harmony, and the videos that were made for the Museum of Daesoon Jinrihoe Museum. The study will also make suggestions regarding the future use of such contents. In Section 2 of this study, the status of the video contents as currently used by Daesoon Jinrihoe will be examined and analyzed in terms of how the film, The Road to Peace and Harmony, and the videos produced for the Museum of Daesoon Jinrihoe are being utilized. In Section 3, the limitations of Daesoon Jinrihoe's video contents will be considered in that these materials in terms of how these videos are only used within the religious order. There is the potential that such materials could be used in broader society. Lastly, in Section 4, it is proposed that video materials produced by Daesoon Jinrihoe could be used within multicultural religious education in a public setting beyond mere in-group religious education. Through this, it is hoped that Daesoon Jinrihoe will be able to expand as a world religion in a more timely manner than what would otherwise be achieved.

• Journal of Korea Multimedia Society
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• v.17 no.3
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• pp.373-384
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• 2014

Humankind longed for an image like the sense of sight and has developed history of image on the basis of the will toward record and reproduction. A long period of time was required for accumulation of technology for reproduction of an object, but directing point has always been impression experienced by the 'eyes.' But it has not all been pointing in the realistic image. This study aimed to discuss about its process and directing point of the paradigm of image creation that has been continued together with progress of humankind based on the academic outcomes achieved by Platon. 'Mimesis' classified by Plato required techne how far it may be distant from 'Idea.' Techne went forward in the direction of securing rationality according to accumulation of civilization in the end and reality, the history of mimesis was the process toward 'realistic image' and 'fantastic image'.