• The Journal of the Korea Contents Association
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• v.9 no.2
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• pp.163-172
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• 2009

As cultural contents are rising to the surface, the contents and interests regarding the industries that utilize the culture become higher than any other times. Culture is performed with memory, and the culture that excludes memory cannot exist. The memory exceeds a dimension of the individual and operates with an assembled and social memory. Furthermore the culture requires media to put memories inevitable. Therefore, recent image texts are coming to the attention as new storage media. So this essay analyzed the meaning of 'memory' as social-cultural memory by putting the sixth generation Chinese movies to the center and restoration of image text that puts memory in it. And also, I examined the cultural meanings of 'individual memories' as the 'counter memory' and tried to find the possibility of junction between memory industry and the contents. I focused on the sixth generation Chinese movies because these movies made remarkable progresses in the international film festivals though they were made in 'underground' by objecting to 'official memory' proposed by the Chinese government.

• The Journal of the Korea Contents Association
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• v.12 no.9
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• pp.106-115
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• 2012

This paper focuses on the systematic conceptualization of the 'contents' through the differentiation between the meanings of the work of art and the contents. The 'contents' are referred to as various media products, but they are all the audience-oriented work of art. From the beginning of its birth the film medium turned out to be a kind of contents, which is involved in the specific role of audience. It also implies that the film medium could not exist without the interaction of the media text and audience. In order to understand this context, this paper analyzes the film of Alfred Hitchcock.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.273-282
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• 2022

The narrative of the film, Sweet Smell of Success has a multi-layered structure. In Clifford Odets's scenario work, numerous lines for the main plot and subplots repeated a cycle of creation, decomposition, deletion, and modification to enhance the density of the story. As a result, whenever an actor spoke a line or paused, an action or an event that would trigger another line was created, giving depth and persuasiveness to the character's performance. The music of Sweet Smell of Success has multi-layered elements. The non-diegetic music was covered by the orchestral pieces performed by Elmer Bernstein's big band orchestra and the jazz pieces performed by Fred Katz's combo band. The diegetic music was mostly covered by the jazz pieces performed by the Chico Hamilton Quintet. The practical task of the film music was to reinforce or supplement the effect of the narrative driver, and the additional task was to realize the estrangement effect and the aesthetics of stagnation. The possibility and significance of intertextuality of subplots and double sound of this film are not simply confined to the limits of the film noir genre.

• The Journal of the Convergence on Culture Technology
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• v.5 no.4
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• pp.29-36
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• 2019

Lee Sang's poems and his portraits are being used in various video media. Depending on the characteristics of the medium and genre, the representation of the poet or higher and his poems are selected and variations in different ways. In a modern era where literature communicates with various media, reviewing how a poet's portrait is shaped is also the process of reading what text wants to convey to the public through a single person. This study examined aspects in which representations of poets or higher were utilized in various image media, and compared and analyzed how poet aberrations are represented in each text. In particular, the discussion centered on the movie and the drama . In the movie , the above poem is used as a hidden puzzle. The film uses the popularly known 'genius' representation to track down Yi Sang's secret. Because of this, the film represents its ideal in a way that is faithful to the genre's custom of Thriller In comparison, the drama was about to re-emerge as a young man with a passion for the inner workings. The cynical attitude shown in the above text is also a reflection of the love for the nation and the times. These different typographical methods are worth noting in terms of the literary man's public perception of "Yi-sang" and the strategy of the new portrait attempt.

• Journal of Korea Entertainment Industry Association
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• v.14 no.1
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• pp.75-89
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• 2020

As Marvel Cinematic Universe (MCU) Phase 3 concluded in 2019, it is time to systematically analyze the phenomenal storytelling of the franchise. In order to identify the structure of the continuous stories focusing on 'Iron Man', the central character of MCU Phase 1-3, this study used the "Save the Cat (STC)" paradigm as the tool for narrative analysis. The eight films with 1,066 minute-run time in total was analyzed based on the 15-beat STC paradigm by adjusting the distance ratio between each beat of its prototype originally based on standard films of 110 minute-run time. The results reveal that all 15 beats of the combined texts were fairly properly discovered in the positions suggested by the adjusted STC paradigm. Moreover, through the investigation, the vast text was able to be analyzed in a more comprehensive manner in the process of reconfirming the meaning of the dramatic reversals corresponding to each beat against the entire narrative. As expected, the STC paradigm proved to be a meaningful signpost for plot drives even for such a vast text. Therefore, it is believed that application of this paradigm would help not only analyze but also design other serialized franchises as well. Prior to that, however, it would be necessary to further examine the combined texts for other major characters in MCU or other franchises designed in a similar form to MCU movies through the same paradigm to verify effectiveness of such application.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.117-144
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• 2020

The film Burning (Lee Chang-dong, 2018) is one of the most noted Korean films in recent years as a work that unfolds an elaborate narrative in a delicate visualization. This film is a multi-vocal text in which different types of characters appear and scattered objective facts and ambiguous subjective desires are intertwined, so it is a text that has room for diverse interpretations. This article attempts to read Burning as an ethical discourse centered on the protagonist Jong-su, noting that the film raises universal and significant ethical issues that transcend the specific social and historical conditions of a contemporary Korean youth. I would like to examine the situation in which Jong-su is facing and his reaction to it, above all, from the perspective of Jong-su's ethical awakening and leap forward. Jong-su, a young South Korean non-regular man living in the present, encounters and connects with Hae-mi and Ben and attempts to understand the mysteries of the world. His trajectory, which the film shows closely, inevitably intersects the social and historical dimension of confusion and frustration of a young man graduated from the Department of Creative Writing, the reality of family dissolution and the individual psychological dimension of the sudden disappearance of his lover Hae-mi. Burning is a magistrate film that depicts Jong-su as an ethical subject oriented toward 'communal togetherness' while confronting the world and exploring its mysteries despite all his unfavorable conditions, such as his social position of the precariat youth and the epistemological uncertainty of reality perception. It is read as a story of his painful growth, in which Jong-su is becoming a 'writer', who once was a helpless non-regular delivery worker.

• The Journal of Bigdata
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• v.5 no.1
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• pp.29-39
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• 2020

Purpose The atmosphere of respect for individual tastes that have spread throughout society has changed the consumption trend. As a result, the travel industry is also seeing customized travel as a new trend that reflects consumers' personal tastes. In particular, there is a growing interest in 'film-induced tourism', one of the areas of travel industry. We hope to satisfy the individual's motivation for traveling while watching movies with customized travel proposals, which we expect to be a catalyst for the continued development of the 'film-induced tourism industry'. Design/methodology/approach In this study, we implemented a methodology through 'OCR' of extracting and suggesting film location information that viewers want to visit. First, we extract a scene from a movie selected by a user by using 'OpenCV', a real-time image processing library. In addition, we detected the location of characters in the scene image by using 'EAST model', a deep learning-based text area detection model. The detected images are preprocessed by using 'OpenCV built-in function' to increase recognition accuracy. Finally, after converting characters in images into recognizable text using 'Tesseract', an optical character recognition engine, the 'Google Map API' returns actual location information. Significance This research is significant in that it provides personalized tourism content using fourth industrial technology, in addition to existing film tourism. This could be used in the development of film-induced tourism packages with travel agencies in the future. It also implies the possibility of being used for inflow from abroad as well as to abroad.

• Annual Conference of KIPS
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• 2018.05a
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• pp.358-361
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• 2018

비정형 데이터 증가로 텍스트 마이닝을 사용해 데이터를 분석하는 연구가 주목받고 있다. 감성분석은 단어와 문맥을 분석하여 텍스트의 감정을 파악하는 기술이다. 본 논문에서는 감성분석 연구 동향, 적용분야, 방법론에 관해 분석하고 기술하려 한다. 감성분석은 2001년 채팅의 감정을 분석하면서 시작되었고, 2008년부터 본격적으로 연구가 진행되었다. 감성분석은 SNS, 상품 후기, 영화평, 뉴스 기사 등 다양한 데이터에 적용되고 있으며, 사회이슈 찬반 분석과 장소 선호도 분석 등 다양한 연구에서 사용되었다. 감성분석 방법은 감성사전을 이용하는 방식과 기계학습을 사용하는 방식으로 나누어지며 분석 방법을 발전시키기 위한 연구가 진행되고 있다.

• The Journal of the Korea Contents Association
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• v.11 no.3
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• pp.147-156
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• 2011

Double meaning inherent in the film is interpreted in the same context as it's called ambiguity in the literature. Ambiguity means that one word or one sentence can be interpreted in two or more meanings. In the movie, one behavior of a character, a prop or a costume with two or more meanings faces the audience. A famous French direct Francois Ozon said "The director has always made movie contrary to his/her latest movie." This means that the film should seek to reform and it's his philosophy about the movie. Actually, it's the film's basis that a movie breaks the taboo. The film has always challenged taboos and led the progressivism. Taboos of western films are more intense than our country's moral and ethical level. Their taboos are to deny the sacred and legitimacy of Christianity. Particularly, as many people talk about the film to deny the divinity of Jesus Christ, it's sufficient to elicit an argument pro and con. This study is to choose the movie "Perfume"of director Tom Tykwer as a text, examine the highly elaborate and strategical double meaning in the movie and analyze the western taboos to deceive the audience skillfully.

• The Journal of the Korea Contents Association
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• v.14 no.5
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• pp.18-29
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• 2014

was somewhat of a turning point for Godard, allowing the Novelle Vague auteur to address for the first time the current political climate of the world in one of his film, and this film is a film of constant questioning and is, in the truest sense, a 'talking film'. In this paper, I attempt to analyse the sound of this film to interpret the complicated sound structure in . Godard was aware of the power of sound and experimented diverse methods such as 'direct sound', interviewing using the effect of on-sound and off-sound, multiple narration, reading a text aloud, sound effect and music which are controled and selected by himself in this film. , with its largely improvised dialogue, was a work of journalism which was recorded a generation of Marx Coca-Cola.