• Journal of Popular Narrative
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• v.25 no.1
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• pp.393-425
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• 2019

This paper focuses on Alain Resnais's representative works (1955), (1959), and (1963), and analyzes how he implements a representation of memory though cinematic apparatus. These three films deal with horrific memories that seem impossible to reproduce aesthetically such as the Holocaust, the Hiroshima Atomic Bomb, World War II, and the war in Algeria. The reappearance of events that stripped humans of even their minimum dignity can naturally be associated with ethical issues. These events can never be reproduced because they cannot be explained in the human language. It is also impossible to reproduce in a way that doesn't invade other peoples' sufferings, nor displays the pain of others as spectacles. Alain Resnais was a director who realized that if factual representation was not possible from the beginning, truthfulness would have to be approached through cinematic form. Therefore, he tries to overcome these problems through cinematic forms. First, he shifts to action films to avoid the obscenity of documentary. shows the records of camps captured by German forces in the past, while shows the pain of others in a fictional form of representation. Next, he describes how the trauma affects the identity of the main character through a flashback in , but also shows a main character who is experiencing trauma without a flashback in Flashbacks have the effect of showing the effects of trauma on the main character, but at the same time they involve the obscenity of enjoying the suffering of others. Nonetheless, the absence of flashbacks highlights the impossibility of representation. This is because it is not silent in the impossibility of representation but is constantly approaching. The attitude that repeatedly circles around impossibility is an ethical form that maximizes the impossibility of representation. In conclusion, this is the ethics of representation that Alain Resnais showed in his films.

• Cartoon and Animation Studies
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• s.32
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• pp.263-288
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• 2013

This research is about effects which frontal-flat cameras have on narrative films. This kind of confined camera angles make the audience have a sense of tension which is barely defined logically. I think the tension comes from aleatorism. The paper is a research on how aleatorism is working on what kind of value, and what kind of effects it has on narrative films. Russian Formalism had argued they had to meet aesthetic values by totally excluding narratives. It can be said that this was a practice for Brecht's estrangement that a sensitive arousal prohibits the audience immersing into excessive empathy and then make them have a reflective thought. But occasionally, optical arousals in narrative films induce deeper immersion into contemplation rather than reflective thought. I intend to find cases regarding this textualising Front-flat camera angles in narrative films and analysing their contents. To do this, I suggest a more specified definition of 'aleatorism'. Because the concept of the aleatorism is different between an aspect of static image like paintings or photographs and narrative contents like cinema. It is divided into approach through form and approach through content. And I also suggest an operative definition about 'Frontal-flat camera angle' with a several confinements because its formal definition is very flexible depending on audience. The case analysis will be done with a form of discourse discerning two aspects of form and content. Conclusively, Frontal-flat camera angle in narrative film is basically have an effect of attention by optical stimuli. But it cannot be said that this always means deterioration of narrative value. Depending on causality of episodes in the whole story, aleatorism which Frontal-flat camera angle has can support immersed contemplation regarding following narrative rather than reflective thought regarding amusing aesthetics.

• The Journal of the Korea Contents Association
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• v.10 no.7
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• pp.169-178
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• 2010

This paper has conducted a theoretical re-inquiry on Gilles Deleuze' thought about Alfred Hitchcock' film based on the image of thought in relation with the concept and theory about film. So, the purpose of this article is to explore that film can acquire the academic significance as a philosophy including an academic denomination of social science and Arts. According to the findings, Gilles Deleuze appeared that A. Hitchcock used the mental-image which can transform the perception-image, the action-image, and the affection-image in film and make the relation including the way which it is developed between character and event. Also, as the mental-image can change the meaning of film, camera is the essence and mental referent. And the mental-image makes the other images a specific frame, permeates into image and transforms it. This paper sets limits to some problems that Deleuze's thought about film generalizes to filmic theory, but has a importance to inquiry new research as a theoretical introspection for the practical discussion about the relation between film and philosophy.

• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.361-366
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• 2020

The Korean movies, and are suitable for "B-movie" for spending low budget and utilizing subculture factors such as kitsch, parody. Using surrealistic space and arbitrary language is the most prior element in constituting 'B-affection'. In that sense, Behind the Dark Night, Super Margin have characteristics overcrossing the media from comics to film. Despite absurd story, Behind the Dark Night has a realistic and concrete sense of what is the making films. The hero in Super Margin was swindled, so he strikes a blow the breeding-place of crime himself. In conclusion, showing comics characteristic aspects has been increasing comedy effects. But, on the other hand, Behind the Dark Night, Super Margin have pointed out that there are many kind of social problems such like career, fraud etc. In addition, they introspect the meaning what is that to making films.

• Journal of KIISE:Computer Systems and Theory
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• v.27 no.1
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• pp.1-12
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• 2000

비디오 데이타 스트림을 tit (shot) 혹은 장면 (scene) 단위로 나누는 자동 비디오 인덱싱 기법은 VoD나 디지털 비디오 라이브러리와 같이 비디오 데이타를 이용하는 응용 분야를 개발하기 위하여 꼭 필요한 기능이다. 본 논문에서는 줄거리(stary line)를 갖는 영화나 드라마와 같은 비디오 데이타에서의 장면 단위 인덱싱을 위해 장면의 경계를 자동으로 검출하는 방법을 제안한다. 일반적으로 영화에서 시간적으로 인접한 두 샷이 유사할 때 샷의 중간 부분은 움직임에 따라 변하는데 똑같은 움직임이 반복되지 않는다는 특성을 가진다. 제안한 검출 방법에서는 이러한 특성을 이용하여 각 샷의 처음과 마지막 프레임을 대표 프레임으로 선택하고 이들의 칼라 히스토그램으로 샷을 추상화한다. 이렇게 추상화한 샷에 대하여 영화에서의 장면은 일반적으로 비슷한 내용의 샷이 반복된다는 특성을 이용하여 장면의 경계를 검출하였는데， 하나의 장면에 해당하는 샷들을 묶어줄 때 시간적으로 인접한 이전 샷들과의 유사도만 측정하는 간단한 방법을 사용하였다. 본 논문에서 제안한 영화나 드라마에 대한 장면 경계 검출 방법은 MPEG 형식의 비디오 데이타를 이용한 디지털 라이브러리 등의 구축에 유용하게 사용될 수 있을 것이다.

• Proceedings of the Korea Contents Association Conference
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• 2013.05a
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• pp.85-86
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• 2013

이 연구는 더글라스 서크(Douglas Sirk) 감독의 <천국이 허락한 모든 것> (1955)과 이용주 감독의 <건축학 개론>(2012)에서 집에 대한 '재현' 공간을 고찰하였다. 두 멜로드라마 장르 영화는 등장인물들이 대사로 직접 표현한 수 없는 것들을 가구, 소품 등의 미장센, 특히 리모델링을 하는 집을 통해서 보여준다. 집은 욕망을 스타일과 형식을 통해 산출한다는 점에서 멜로드라마 장르의 공간을 특징짓는 서술적 사건과 모티프를 담고 있는 구체적 장소의 역할을 한다. 이러한 맥락에서 이 연구는 멜로드라마 장르에서 집과 풍경들이 어떻게 영화적 공간(cinematic space)을 구성하고 그 재현공간이 갖는 사회적인 의미를 고찰한다.

• The Journal of the Korea Contents Association
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• v.14 no.1
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• pp.48-55
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• 2014

A new relation between technological changes and arts is begins to create by the modernization of the West. Because the arts in the past that were enjoyed by specific individuals and small number of people are now massively produced via technological development, public acceptance of such arts is now possible. In this study, movement between each frame, which can be the core in animation, is investigated. We can see that the animation's cinematic movement cannot be identified with motions reproduced in live action films, let alone the motions in real world, no matter how the reproduced motions in animation are faithfully made. In the end, while crating the detailed expressions of movement of animation, along with cinema factors, and the continuity of such expressions, we can gradually exert the power of animation art form with enlivened reality that only animation has.

• The Journal of the Korea Contents Association
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• v.15 no.12
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• pp.121-128
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• 2015

This study analyzes the space in A Brighter Summer Day, covering the meaning of space from inside to outside of the film extended. A violent spaces in the inside causes Xiao Si'r's homicide, including society, house, and school. In the external space, the film's form presents director's attitude and will resisting against dominant system of society with an audience's space. The audience join the space being the director's intention, actively interpreting this film, doing self-reflection and taking an opportunity for social participation.

• Journal of Korea Entertainment Industry Association
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• v.14 no.1
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• pp.91-96
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• 2020

Superhero movies are an important part of the Hollywood film industry. The Superman series is the most important of them, bringing high box office receipts and profits of surrounding goods to the Hollywood film industry. The Superman series of live-action movies is an adaptation and secondary creation of superhero comics. With the development of the times, the narrative content, narrative form and aesthetic design of the Superman series have changed with the times. The film "Superman: The Body of Steel" is the latest in the series, and it is also the re-launch of the Superman series of movies after seven years. The film has innovated and subverted the story and aesthetic design of the previous film.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.111-119
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• 2019

Time and space are the foundations of all the narrative. As the aim and content of narrative, spatial narrative plays an increasingly important role in the narrative movies. With the development and application of digital technique, the expressiveness of movie space is enhancing, and spatial narrative has become the focus of directors and critics. As a developing cinematic narrative form, spatial narrative is taking advantage in many aspects, including narrative structure, narrative effect, creative skills and audience acceptance, which can bring breakthrough and innovation to the creation of cinematic narrative. Based on the spatial theory in movies, the paper analyzes the space presentation approaches in the movie Hugo. Combined with the motivating factors, structure factors, symbolic significance and psychological factors of narrative space, the paper specifically analyzes the significance of spatial narrative in American movie Hugo. By researching the glamour of narrative space in the movie, the paper intends to provide certain reference value to the narrative expression of the movies today.