• Annual Conference on Human and Language Technology
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• 2019.10a
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• pp.506-509
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• 2019

신문기사나 위키피디아와 같이 정보를 전달하는 텍스트와는 달리 사람의 감정 및 의도를 표현하는 텍스트는 다양한 형태의 노이즈를 포함한다. 본 논문에서는 data-driven 방법을 이용하여 노이즈와 단어들 사이의 관계를 LSTM을 이용하여 하나의 벡터로 요약하는 모델을 제안한다. 노이즈 문장 벡터를 표현하는 방식으로는 단방향 LSTM 인코더과 양방향 LSTM 인코더의 두 가지 모델을 이용하여 노이즈를 포함하는 영화 리뷰 데이터를 가지고 감정 분석 실험을 하였고, 실험 결과 단방향 LSTM 인코더보다 양방향 LSTM인 코더가 우수한 성능을 보여주었다.

• 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.

• 한국체육학회지인문사회과학편
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• v.56 no.1
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• pp.99-110
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• 2017

The purpose of this study was to focus on the social influence of the movie , to review the meaning and symbolism of Koreans living in Japan (ざいにち) and rugby in the movie, and to eventually reveal the messages from the movie. The research method was text analysis. As a result, Koreans living in Japan were represented in 2 ways. Koreans living in Japan were represented as Homo Sacer, the contradictory being, located inside society by Japan's sovereignty but considered as outsiders. Meanwhile, the identity of Koreans living in Japan were represented clearly as Korean and they were acknowledged in Japan as proud and capable. The rugby in the movie has 2 symbolic meanings. First, it was the most important and effective way to prove Korean existence in Japan by representing the struggle for recognition, additionally it also carried an important message about their ideal society.

• Cross-Cultural Studies
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• v.50
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• pp.173-196
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• 2018

This study, which works to develop a method of focusing on A Quiet Dream by Zhang Lu, explored the structural differences of films and the changes in Zhang Lu's aim and perspective as noted in films, by a review to grasp his internal changes in texts and contextual factors. In A Quiet Dream, Zhang Lu made a filmic attempt that had never been made in the world of films prior to that date. He tried an aesthetic experiment on how films could reorganize the world, by using the effect of obscuring the boundary between reality and dream in films and generating a new narrative regarding filmic reality, actual reality, and the life and artistic truth of the Diaspora. Generally speaking, the changes in the narrative in A Quiet Dream seem to be his resistance against himself and the Diaspora. Thus, in the discussion about A Quiet Dream, relying on the external factors intervening in the relationship between the subject of creation and films is not a useful endeavor at this time. Consequently, it is noted that after settling down in Korea, Zhang Lu could directly approach the changes in the cultural position of films in multilayered ways, where films were the most dynamic part of his life. Due to the changes in the Diaspora, he could obscure the boundary for the first time in the world of films and experiment with how films could escape develop an interesting perspective that deviated from reality, and made a new goal to show new ideas regarding the individual's awareness of the world.

• Trans-
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• v.5
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• pp.1-27
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• 2018

What is 'analyzing a movie'? And, what is 'its role in film studies'? The question required a systematic and scholarly answer, and filmologie was making a clear place for itself. Through psychology, aesthetics, text theories and of course semiotics, the conceptualization of 'film' has been formed. Deleuze, who has been continually writing about 'movies' in his philosophical essays, ended the debate in defining the relationship between 'image and essence' when he released 《Movie 1, Movement-Image》 in 1983. 'Film' rapidly became the topic of the century and became a 'device' that leads the way of thinking. The reason why Jean-Louis Boissier labeled this 'film' as 'device (le dispositif)' was not part of film studies. What should be noted is that the mention of 'film' became a key part of the debate of 'reproduction', which was the most popular subject of philosophy and humanities. In the digital era, the film is once again questioned about its definition. In retrospect, themes of core debates of 'History of cinema' have always been driven by simple and superficial technological changes. With the emergence of CG (Computer Graphics), the question of 'cinema' in the 21st century is not only a philosophical discussion on the problem of 'reproduction', but also a crucial change that shifted the focus of the debate on the nature of the film from 'production' to 'distribution'.

• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.51-61
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• 2013

This Paper aims to explore the key factors that drive box-office success in Korean, Chinese and Japanese film market regarding to the storytelling of the movies. At first, I researched the top 20 movies at the box office of Korean, Chinese and Japanese film market from 2007 to 2011.And then I tried to figure out the key factors for the success and the differences among those countries. Usually the purpose of the movie planning in Korea is for the domestic market. In the profit structure of Korean film industry, it is really hard to focus on the overseas film market. In Chinese film market, recently it has been changed a lot especially film genre. The movie liked to watch is melodrama, romantic comedy movie It is being changed to the comedy genre from the war and martial arts movie. And it is emphasized the importance of the scenario in the film production. They want to watch their lives like a real and dreams at the movie and the movie tries to show this trend. In Japanese film market, they made movies in which TV drama, animation and cartoon according to the O.S.M.U. strategy. The movies like to watch are the blockbuster movies, horror movies, thriller movies and melodrama. Comparing with Korea and China, they like movies which show more fantastic and fairy tale imagination.

• The Journal of the Korea Contents Association
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• v.20 no.12
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• pp.13-22
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• 2020

This study aims to find out success factors of crowdfunding on movie projects. For empirical analysis, we collected 583 data of the movie projects from the crowdfunding platform 'Tumblbug'. To figure out the success factors, we examined effects of 10 independent variables on 1 dependent variable. The independent variable includes target amount, project information, reward options, creator funding power, editor recommendation, creator contents power, movie type, number of comments, number of replies, and number of SNS information. The final achievement rate of crowdfunding was set as dependent variable. This study found that the target amount, number of text information, number of video information, editor recommendation, number of backers' reply, and number of SNS information had a significant impact on the achievement rate of the movie crowdfunding project. This study has implications in that it has discovered a variable of editor recommendation and the number of SNS information, and both of them have a positive effect on crowdfunding achievement.

• Trans-
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• v.12
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• pp.245-274
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• 2022

The interactive cinema is based on the interactivity between the cinema and the audience. The discussion of interactive cinema can be divided into two poles. One is to positively look at the possibilities of interactive cinema as a new format and to test with them in various ways. The other is the perspective of a critical warning that the interactivity of interactive cinema risks reinforcing biases while instilling the illusion of freedom and activity in the audience. Considering both of these perspectives, we try to find a way to realize the political and aesthetic possibilities of interactive cinema through characteristic analysis. To this end, we analyzed the interactive film , which has received public and critical attention, based on Brecht's epic theater as a theoretical and practical reference. We analyzed the text/contextual characteristics of this work in three dimensions - an interactive multi-branching structure, a self-reflecting Mise en abyme structure, and an active enjoyment of the audience - and compared them with the epic theater theory. Through this, we examined the conditions and possibilities of interactive cinema as a new epic theater in the new technological/media environment of the 21st century.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.77-114
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• 2020

This article aims to examine the Sinpa of Along With the Gods: The Two Worlds. Along with the Gods: The Two Worlds was a box office hit with a 10 million attendance mark, but it was also criticized as a 'Korean Sinpa' at the time of its release. The original version of Along with the Gods is a Webtoon called Singwahamkke in Korean. The popularity of Singwahamkke and its adaptation, Along with the Gods was enormous, which prompted a very active research to be carried about the work. However there are only a few articles which analyze the Along with the Gods: The Two Worlds focusing on the Sinpa, even though the Sinpa of the Along with the Gods: The Two Worlds was a highly controversial issue when the movie was released. In this regard, this article tries to examine the Sinpa of the Along with the Gods: The Two Worlds closely, especially by comparing it with the original webtoon Singwahamkke Jeoseung. The body part of this article is composed of three major parts: chapters 2, 3, and 4. Chapter 2 contains an in depth explanation about the notion of Sinpa, the main conceptual research tool for this study. In chapter 3, the original webtoon Singwahamkke Jeoseung is examined closely. This chapter analyzes the 'Sinpajeok moment' in Singwahamkke Jeoseung and argues that despite the presence of Sinpa elements, the webtoon cannot be considered a 'Sinpajeok text'. On the other hand the main subject of chapter 4 is discovering what effect the adaptation from webtoon to movie had on this work, with a particular focus on the gender of Sinpa and Kim Ja-hong. Chapter 5, which corresponds to the conclusion, briefly evaluates the social significance of the controversy arisen in South Korea about the Sinpa in Along with the Gods: The Two Worlds. Sinpa is one of the most repeated code in the realm of Korean popular narrative. This is why the Sinpa of contemporary text is examined continuously even though there are already plenty of studies on the Sinpa. Everyone has called Along with the Gods: The Two Worlds Sinpa but no one has properly analyzed it. It is hoped that this article which closesly examined the Sinpa in Along with the Gods: The Two Worlds contribute to the field of Sinpa. It is also expected that this article can find appropriate contextual meaning of the series of Along with the Gods.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.20 no.6
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• pp.1087-1095
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• 2016

The study aims to analyze factors of box office utilizing big data. The film industry has been increasing in the scale, but the discussion on analysis and prediction of box-office hit has not secured reliability because of failing in including all relevant data. 13 films have sold 10 million tickets until the present in Korea. The study demonstrated laughs and tears as an main interior factors of box-office hit films which showed more than 10 milling tickets power. First, the study collected terms relevant to laugh and tear. Next, it schematizes how frequently laugh and tear factors could be found along the 5-film-stage (exposition - Rising action - crisis - climax - ending) and revealed box-office hit films by genre. The results of the analysis would contribute to the construction of comprehensive database for the box office predictions on future scenarios.