• The Journal of the Korea Contents Association
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• v.16 no.10
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• pp.636-644
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• 2016

The actress of the movie is an operating system called Samantha. She only has a voice in the movie. Theodore, the main actor writes letters for his clients. He got married Katherin after dating for years but they failed to maintain their relationship. It was hard for them to grow with distance. On the contrary, the learning OS doesn't have any fixed pattern and any limits, so it becomes the ideal partner for him. Since she was accessed by him, Samantha has expanded her ability rhizomatically. She could have sex with human and philosophical debates with a departed philosopher. While they have relationship, Theodore experiences the expansion of his conscience. Love cannot be confined in a small box. After realizing how to love people around him, he sends a love letter to Katherine with all his heart. The meaning of co-existing with A.I. and human is to have a chance to introspect our inner side of mind more deeply.

• The Journal of the Korea Contents Association
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• v.16 no.12
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• pp.233-243
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• 2016

The movie offers a chance to observe the social signifier and the sensitivity of audiences who feel sympathy with the tragic history of crown prince Sado. While watching the movie, the audience halts between ideas whether to go back to "primary ego", or to play the unconscious hypocrisy or the ingrained social behavior which is to resolve the internal conflicts while they face two contrary opinions; one is the obedient subject to obey fatherness, as a symbol of historic value and convention in a society, and the other is the resistant body to break the bond of convention. The audience may feel some ambivalent feelings of the moral values between the paternal authority and the existential philosophical value of 'self'. This study will observe the audience's response of Sado toward the moral norms of the society when they face the signifier of father in the movie with experience the conflict between their resistant ego and madness. Also the study will discuss that the social landscape such as norms, order, and legal system is ever-changing and open to be subverted by the future even though audience hope that the present moral value with which we are content ever-last.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.109-114
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• 2008

We have long kept our Cartesian tradition in which Mind privileges over Body; the invention of printing technology has accelerated the tradition in which the intelligence and legibility of media were considered as a higher human value. However, the development of media and technology are supporting the multisensory mechanisms of the body as it was in preliterate era when we communicated with our whole bodily experiences. The development and spread of mass-media and new technologies have broaden the boundary of human sensory that are largely dominated by visual information and expanded it to auditory, olfactory and even gustatory sensation. Since 1960's, some philosophers and artists have recognized the human body as a subjective matter, starting the movement in which the body plays a role as an essential factor in study of human perception and cognition, aesthetics in art, and sociology, and the changed perspectives are practiced vigorously in the field of new media art; the theory of Maurice Merleau-Ponty who clarified the body as a general means for the body's possession of world, so that recognize the importance of cognition of one's body and approved the embodiment could be applied and practiced here. Therefore, we discuss how Merleau-Ponty's philosophical theory can be practiced and how McLuhan's perspective could be applied on the notion of body's extension in media by analysing some new media art cases.

• The Journal of the Korea Contents Association
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• v.11 no.10
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• pp.137-146
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• 2011

In Jane Campion's Stewart, Ada's husband, as like modern people, manifests the infinite lust of conquest. But Banes has a humanistic relation with the New Zealand's tribe and doesn't have a deep attachment of his own land. Stewart represents the ruling reason in that he disregards his wife's desire and acts only for his desire to possess and conquest. In contrast with him, in order to satisfy her desire of the piano and hold her own inner world in common, Banes proposes the extraordinary deal, that is to say, to exchange her piano and his land and to learn playing the piano from her. Like this Banes represents the caring reason in that he regards Ada's desire and cares her in according to her purpose and himself.

• Journal of the Korea Convergence Society
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• v.12 no.9
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• pp.127-136
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• 2021

Using the perspective of cultural philosophy, this paper aims to consider the possibility that the future metaverse will be developed into a cultural space for human beings. The redirection of the approach to understanding the metaverse space is necessary. And, this paper critically reviews the dangers of understanding the dichotomous space of reality and virtuality, and mobilized humanistic imagination through the film Ready Player One. Ultimately, the space the future metaverse grows into will be a cultural space run by both homo fabre and homo ludens.

• The Journal of the Convergence on Culture Technology
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• v.8 no.1
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• pp.379-384
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• 2022

The year 2021 is a monumental year for the history of Korean cinema that inferiority of the sci-fi genre, by the appearance of two sci-fi blockbuster films- produced by Netflix and produced by TVing-at the same time. Coincidentally, both of movies are sci-fi films which appear post-human such as robot and clone. As can be seen in 『Frankenstein』 story, the progenitor of science fictions, the mankind have imagined beings similar to humen or post-human who are another human being for a long time. deals with the unusual subject matter of a space scavenger and a space janitor, and the main character is a robot that very familiar with human. is the story of a man who lives for a limited life protects and accompanies a clone named Seobok who was created as a test subject. This film deals with the philosophical themes like death and eternal life through the existential concerns of two characters. use Korean Shinpa -Korean specific senimental code-sentiment on narrative, and has the character of a road movie set in Korea's geographical space.

• Cartoon and Animation Studies
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• s.41
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• pp.511-531
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• 2015

The underlying impetus of the birth of animated film is attraction about a moving image. And the animation image occurs from the process of performative relationship between an animator and apparatus. Therefore, analysing the method how the moving image is constructed will be the focal starting point to deal with an animated film as a text. In this context, that conveys the theme in more sensuous way will be examined in a dimension of the material, technique and image-making method. KIM Jin-man's is a Stop Motion Animated Film with Noodlescreen about a journey of a fish that wishes to go outside of the water. KIM created original and friendly images out of plain thin noodle which is a common ingredient in Korea, and dealt with the ontological introspection based of the concept of Nondualism. Nondualism based on the interconnected and cyclical eastern philosophy which is different from the western dualistic theory points to the idea that the universe and all its multiplicity are ultimately expressions or appearances of one essential reality. This paper focuses on KIM's recent work and sees how Nondualism is applied throughout the animated film by analysing the performative method of mediums, technique, and structure. First of all, the form of Noodlescreen will be reviewed in Chapter Two. Pinscreen Animation which was invented by Alexander Alexeieff and Claire Parker will be also compared with Noodlescreen in the aesthetic viewpoint here. In Chapter Three, it will be analysed how the description of the image of binary opposition itself provides expanded sense and rich metaphor. Lastly, the format of Mise-en-abyme going constantly towards outer space will be dealt how it exposes the cinematic illusion and spatiality in Chapter Four. Throughout the whole chapters, it will reviewed how the concept of Nondualism relates the images of and deactivate the boundary of binary opposition in terms of both the story development and the visualization method. By this methodology, it will be confirmed that image of animated film not only explains the narrative but also activates the perception about the theme and provides integrated sensory experiences in the independent and expanded dimension.

• Journal of Korean Philosophical Society
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• v.139
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• pp.213-238
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• 2016

This paper examines how Dasan Jeong Yak-yong developed self-healing and his perspective of happiness during the hardest point of his political and social career. Just after the death of King Jeongjo (正祖, reign. 1766-1800) the arrest and persecution of those who accepted Christian knowledge from the West began. Among them were Jeong's family members and friends. Jeong, who had learned but had not accepted Christianity as a religious belief, was exiled to Ganggin 康津 in southern Jeolla Province where he was to spend the next 18 years. The two things that helped Jeong through his exile were the Book of Changes 易經 and his commitment to the study of Confucian thought, political, and social reforms. His life-long commitment to writing and his progressive understanding of the principle of changes of the universe in the Book of Changes, represented processes of self-healing and cultivation, depriving Jeong of self-pity and enabling him to attain the highest level in self-realization. According to Jeong, there are two kinds of happiness; "secular happiness" (yeolbok 熱福) related to power and wealth, and "pure happiness" (cheongbok 淸福), a free and idyllic life. For Jeong, the latter was more valuable than the former. Jeong believed that life pursing ethical virtues only could bring authentic joy to people. Furthermore, his devotion to the issues of systematic, social reforms was out of his desire to bring the public happiness by "practical learning", silhak 實學.

• Journal of Korean Philosophical Society
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• v.143
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• pp.245-266
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• 2017

Walter Benjamin's unique concept of the aura is mainly presented in his three essays, Little History of Photography(1931), The Work of Art in the Age of Mechanical Reproduction(1935-1939), and On Some Motifs in Baudelaire(1939), whereas the studies on this concept are principally conducted on the basis of the first two essays. But considering Benjamin elaborated the concept through Baudelaire studies, the aura needs to be reexamined on the axis of "On Some Motifs in Baudelaire". He approached Baudelaire studies in one of the essential items for The Arcades Project at first. These studies acquired a new prospect soon after he mapped out these studies for an independent book in 1938. His Baudelaire studies come to fruition in On Some Motifs in Baudelaire, written one year after The Paris of the Second Empire in Baudelaire(1938). For Benjamin, Baudelaire is not only a poet who sharply testified to the age of the decay of aura, but also the one who elaborated new poetic motifs such as the metropolis, the crowd: the poet searched for his poems in the crowd of the metropolis, by accepting as poetic nourishment all sorts of experiences of the impact of daily occurrunces in Paris. In On Some Motifs in Baudelaire, the aura is defined as the response of a gaze, that is, the capability to gaze on something. It is principally a poetic capacity to give the capability of opening the eyes to an animal, or even to an inanimate object. If a gaze is responded by the other for which the gaze is placed upon, we experience the other's own aura. The media of the mechanical reproduction (such as the photography, the film) give rise to the decay of aura, because the expectation of returning one's gaze becomes frustrated from the outset.

• Journal of Korea Entertainment Industry Association
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• v.13 no.1
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• pp.89-98
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• 2019

Performing arts, for instance, theatre and dance that perform on the stage, should recognize the contemporary characters and also emphasize the trend of the times. Thus, the subject of those varies and provides the audience diversity contents and style. People who perform those try to put the contemporary characteristic and sociality into their stage by utilizing new technology for their stage to be more sophisticated in aesthetic and philosophic aspects. According to the trend of the times, science and technology have been making great progress. As a result, the stage technology continues to develop, contributing to enhance the aesthetic and philosophical completeness of the performing arts. Also, there are technical and formal researches or methods constantly that make the performing arts new and diverse. Therefore, it can be said that it is very important to widen a category of the performing arts that amplify the actor's acting and emotions on the stage and then give the audience an experience. This paper will analyze in the way which various image techniques utilize to widen the actor's technique in the performing arts and the actor's technique progresses in the era called the Fourth Industrial Revolution era that grafts the art onto new media. Through this paper, in the era of the Fourth Industrial Revolution, a new paradigm in actor's acting which is becoming a hot topic in performing arts is predicted and anticipated.