• The Journal of the Korea Contents Association
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• v.13 no.2
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• pp.100-107
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• 2013

Agn$\grave{e}$s Varda is a French representative female film director. In particular, the method combining subjectivity and objectivity is the most outstanding characteristics. However, it can be said that the method to support this is not only theme of the film but also creation of structure including the exploration for the filmic form different from classical film form. Such an approach accords with No$\ddot{e}$l Burch's refined analysis of filmic form. Therefore, This study aims to aesthetical analysis of the form of producing the structure in modern movies through which is one of the representative work by Agn$\grave{e}$sVarda and won the Golden Lion award in 1985 Venice Film Festival. The theme of the film, the recovery of relationships among people and contacts through the tragic death of drifting life, created a new filmic structure by formative experiment of the film. The formative experiment is the fragmented and repetitive construction with the introductory voice-over, and consists of movement and editing of camera and specific use of flashback and sound through the representation of figures and situations, mixture of narrative and non-narrative style.

• The Journal of the Korea Contents Association
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• v.18 no.8
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• pp.227-239
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• 2018

The style of a film is the element that makes audience realize director's purpose directly. As the film's spectacular background have became important it's hard to find non-wide screen film, and audience and theaters are very familiar to 1.85:1 film ratio and even wider. Nevertheless, did not follow this trend but to chose narrow film ratio and shallow focus. This film, of which the background is Nazi's concentration camp, does not allow audience to catch more information than main character Saul. It's because the director aims to make audience Saul's position in the film. This paper discuss how the style of reflects the director's intention.

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.494-496
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• 2010

영화의 리듬은 최종적으로 편집 테이블 위에서 이루어지며 편집 시에는 주요하게 형식상으로 리듬을 처리한다. 형식상 영화 리듬은 내적 리듬과 외적 리듬으로 분류하며 따라서 이 글에서는 주로 영화 내적 리듬과 외적 리듬을 분석하는 각도에서 영화 리듬을 연구하고자 한다.

• The Journal of the Korea Contents Association
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• v.19 no.7
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• pp.110-119
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• 2019

is a movie about the frustration and the despair of young people in Korean society today. It is different from the previous Lee Chang-dong's film in that it provides the main character's perception and feelings about the world as the ultimate cause of the protagonist's actions. Lee Chang-dong's characters begin to change from . The main character of Burning goes one step further. He seems to believe that the main character's only weapon to overcome the logic and constraints of reality is obsessive and compulsive behaviors. Unlike previous movies, the character in Burning is a person who practices awareness and proves his character through action. I will analyze characters in to suggest the change of film form. Especially I will look at how the character's actions and the writer's own voice can meet and what results it bring about in this movie. It will lead to his changes in film form and an idea on the young people in Korean society today.

• The Journal of the Korea Contents Association
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• v.9 no.12
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• pp.138-145
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• 2009

Humanism connotes dignity and esteem with the essential idea of human and more human. This paper has conducted a inquiry of the understanding about human and humanism represented by visual image of film. Especially, this study investigated the way to adhere to reflective attitude about human and society. It is based on theoretical discussion of formalism and auteurism and analyzed the way of constructing time-space structure of (by Lars von Trier) which is known the typical formalism film. According to the findings, appeared to appropriate the ocularcentrism aesthetic to film form and give the self-regulation to definite the idea of film art through picturesque imagination of dramatic stage. Such a result means that it converts the filmic time-space to the virtual things and practicalize the classification of the ethical doctrine of innate goodness and innate sin of human and the definition of humanism. Also it means formalism film overturns the existing institutional mode of representation.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.101-102
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• 2019

열린 결말은 예술 영화에서는 물론, 상업 영화에서도 부각되고 있는 결말의 형식이다. 이러한 형식은 '수용자의 참여'를 유도함으로써 다양한 해석의 가능성과 함께 작품이 회자되는 긍정적 효과를 거두고 있다. 특히 범죄영화에서 열린 결말은 영화의 소재에 대한 해석의 폭을 넓힘으로써 작품성을 제고하고 있다. 이에 연구자는 범죄 영화에서의 열린 결말에 대한 분류와 연구를 통해 범죄영화의 제작과 해석에 기여하고자 한다.

• The Journal of the Korea Contents Association
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• v.17 no.7
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• pp.22-30
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• 2017

CGI not only performed a crucial role to make cinema and animation evolved into digital cinema and digital animation but also CGI, an important visual format, settled realism-centric spectacle image culture in public commercial cinema and animation. The fact that CGI visual format could be structuralized in three different view points is discovered through Iconicity, photorealism, verisimilitude, uncanny valley, hyperrealism, and spectacular realism discourse research which explain image culture. First, a formative viewpoint that comes up in an iconic difference between drawing and photograph. Secondly, a cognitive viewpoint that sees visually perceived naturalness and abnormality as a realistic probability issue. Lastly, a customary viewpoint which is rooted in aesthetic tradition of cinema and animation. After that, the features of CGI which is used in the movie 'jungle book'(2016) were analyzed using the structured visual format. Consequently, this movie has hyper-realistic photographic iconicity on the base of realistic probability. Also, by following image-aesthetic convention which uses overstated and amplified narrative as a visual format, at the same time, the movie also has sufficient image-aesthetic convention in animation by personified animal character.

• Proceedings of the Korean Society for Information Management Conference
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• 1994.12a
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• pp.155-158
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• 1994

본 연구는 영화자료의 목록상의 문제를 해결하기 위해 KORMARC형식을 확장 설계하였다. 영화자료를 위한 적절한 목록요소를 선정하기 위해서 국제필름보관소연맹이 권고한 데이터요소와 각국 필름 보관소에서 목록하는 영화자료 데이터요소를 함께 분석하였고 선정된 데이터요소는 영화자료의 확장 기술과 자원공유를 위해 MARC으로 설계하였다.

• Journal of Digital Convergence
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• v.12 no.9
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• pp.325-333
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• 2014

The purpose of this research is to analyse the structural aspect of storytelling in contemporary cinema which is focused on the Apichatpong Weerasethakul's film. The structural/materialist filmmakers insisted the formal experiment of film form itself and the methodology to create meaning by using it. Apichatpong Weerasethakul accepted and recreated aesthetic result of the structural/materialist film to transform his own cinematic style. As a result, he expanded his film aesthetic to post-modern film aesthetics. For this, he created the structure of film by using diegetic and non-diegetic sound and image creatively. The conventional storytelling method of contemporary cinema is based on the classic theory of 'poetica' of Aristoteles, which creates illusory diegesis of cinema. but Apichatpong Weerasethakul seeks and re-constructs storytelling methodology based on the product of structural/materialist film.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.1
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• pp.62-69
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• 2015

This study examined the effects of the level of narrativity of a culture content on the level of preference of a related culture content. The culture contents were categorized into novels, cartoons and TV programs according to the content type, and into dramas, comedies, and actions by the contents genre because previous studies found a high level of narrativity in novels and dramas. Based on the survey data on the movie preference, the following were found. First, when people prefer novels with high-level narrativity, rather than TV programs, which have low-level narrativity in a certain genre, they prefer watching movies in the same genre. Second, this relationship is even more reinforced when the genre of the original of the movie is drama, which has high-level narrativity, rather than comedies or actions, which have low-level narrativity. Narrativity plays an important role in the movie preference, especially when it comes to movie originals.