• The Journal of the Korea Contents Association
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• v.13 no.6
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• pp.95-107
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• 2013

A linguistic element found in a movie, dialogue, plays a critical role in building up narrative structure. Still, analyses conducted on movies mostly focus on images due to the nature of a movie that conveys a story through its visual images while dialogue has either been underestimated or received less spotlight despite their importance. This study highlights the significance of lines in a movie. This study calls attention to dialogue, which has stayed out of the main focus and been on the periphery thus far when analyzing movies, so as to see how they contribute to constructing a narrative. It then spotlights the significance of dialogue in the movie. To this end, the study sorts out emotional expressions articulated by actors through their dialogues then to make polarity classification into affirmation and negation, followed by a quantitative analysis of how the polarity proportion of emotional expressions changes depending on the narrative structure. The study also suggests a narrative's relevance with emotions by pointing to dynamic emotional changes that shift between affirmation and negation depending on incidents, conflicts and resolution thereof throughout a movie.

• Proceedings of the Korea Contents Association Conference
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• 2011.05a
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• pp.311-312
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• 2011

이번 연구 목적은 배우 대사의 비유창성 비율 증감이 영화 내러티브 흐름과 어떤 상관 관계를 가지는지 전사작업을 통해 정량적으로 분석하는 것이다. 대화체는 잡음,간투어 등의 비유창성(DFs; Disfluencies) 이 나타난다. 배우는 자연스럽게 대사를 발화하려고 비유창성 비율을 인위적으로 높인다. 연구 대상은 박쥐(2009)의 배우 송강호(상현 역) 대사이다. 가톨릭 신부 상현이 뱀파이어가 되는 인물의 대사를 비유창성 특질들과 전사하였다. 그리고 주인공의 정체성에 따라 배우의 대사의 비유창성 비율의 변화 양상을 비교 분석하였다.

• 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.

• Journal of the Korea Society of Computer and Information
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• v.18 no.9
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• pp.131-138
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• 2013

In this paper, I propose and evaluate the method that classifies emotional type of characters with their emotional words. Emotional types are classified as three types such as positive, negative and neutral. They are selected by classification of emotional words that characters speak. I propose the method to extract emotional words based on WordNet, and to represent as emotional vector. WordNet is thesaurus of network structure connected by hypernym, hyponym, synonym, antonym, and so on. Emotion word is extracted by calculating its emotional distance to each emotional category. The number of emotional category is 30. Therefore, emotional vector has 30 levels. When all emotional vectors of some character are accumulated, her/his emotion of a movie can be represented as a emotional vector. Also, thirty emotional categories can be classified as three elements of positive, negative, and neutral. As a result, emotion of some character can be represented by values of three elements. The proposed method was evaluated for 12 characters of four movies. Result of evaluation showed the accuracy of 75%.

• Proceedings of the Korean Society of Computer Information Conference
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• 2013.07a
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• pp.31-32
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• 2013

본 논문에서는 영화의 등장인물의 성향을 파악하기 위해 시나리오의 대사로부터 감정어를 추출하고, 등장인물의 감정어들을 긍정, 부정, 중립의 3개로 단순화하여 등장인물의 성향을 가시화 시켜주는 방법을 제안한다. 대사로부터 감정어를 추출하기 위해 WordNet 기반의 감정어 추출 방법을 제안한다. WordNet은 단어 간에 상위어와 하위어, 유사어 등의 관계로 연결된 네트워크 구조의 사전이다. 이 네트워크 구조에서 최상위의 감정 항목과의 거리를 계산하여 단어별 감정량을 계산하여 대사를 30 차원의 감정 벡터로 표현한다. 등장인물별로 추출된 감정 벡터를 긍정, 부정, 중립의 3개의 차원으로 단순화 하여 등장인물의 성향을 표현한다.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.11
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• pp.437-442
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• 2016

The marriage between music and film, both temporal art forms, demands that the inherent aspects of note in each medium are brought into correspondence within a dramatic context. In film-making, the most crucial and difficult problem a film composer faces is finding the music that seems absolutely right for the film and its characters, sequences and dramatic lines. When writing a film score, composers become musical dramatists; some have a special instinct that enables them to find the right kind of melodic line, orchestral texture, rhythmic device and musical style to bring out what they intuitively recognize as the essential aspect of the drama. In this study, several examples are cited - Alex North, Hugo Friedhofer, Bernard Herrmann and David Raksin - that underline this kinetic function of music in film. Effort is made to uncover as many possibilities as possible, so as to arrive at a better understanding of how the two media interrelate for the purpose of emphasizing the dramatic lines.

• Journal of the Korea Society of Computer and Information
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• v.26 no.10
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• pp.9-17
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• 2021

Humans are social animals that have gained information or social interaction through dialogue. In conversation, the mood of the word can change depending on the sensibility of one person to another. Relationships between characters in films are essential for understanding stories and lines between characters, but methods to extract this information from films have not been investigated. Therefore, we need a model that automatically analyzes the relationship aspects in the movie. In this paper, we propose a method to analyze the relationship between characters in the movie by utilizing deep learning techniques to measure the emotion of each character pair. The proposed method first extracts main characters from the movie script and finds the dialogue between the main characters. Then, to analyze the relationship between the main characters, it performs a sentiment analysis, weights them according to the positions of the metabolites in the entire time intervals and gathers their scores. Experimental results with real data sets demonstrate that the proposed scheme is able to effectively measure the emotional relationship between the main characters.

• Journal of Digital Convergence
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• v.17 no.11
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• pp.441-450
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• 2019

The research of this paper is aimed at finding out the meaning of the literary rhetoric technique of metaphor in film, and understanding the difference between metaphor and symbol. It is also worth reference to the study of metaphor in the future. This paper will read the related paper to organize the relevant concepts and look at the classical film repeatedly, and find the expression element of the metaphor in it. Finally, look at Truman Show and analyze it and find a conclusion. Through related research, we have found that metaphor in movies is always built together through various aspects of themes, titles, lines, and plays. It provides clues through the screen and induces the audience to think. Metaphor not only helps improve the movie's content, but it is also the most important feature in the movie to influence the audience and induce thinking.

• The Journal of the Korea Contents Association
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• v.15 no.4
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• pp.65-74
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• 2015

This study is dealing with sound of Hitchcock's movie <The Man Who Knew Too Much (1956)> from Peirce's semiotic perspective. This paper examined Peirce's theory prior to semiotic discussion, and analyzed the three elements of sound(speech, noise, music) depending on the type of sign that he presented. Music is possible to express emotions as an index through intervals. The instrument sound under firstness works as the element of narrative and it may be a dynamic object, transferred to the dicisign of secondness. Also, a word in speech is possible to represent an object allusively through an icon in the film. Noise and music as an index are serving to increase the tension of film. Meanwhile, two different genres of music on the juxtaposition are in charge of narrative function as a dicisign. Thus, Hitchcock's sound has various semiotic qualities of signification depending on the context.

• The Journal of the Korea Contents Association
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• v.21 no.6
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• pp.779-790
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• 2021

Film literacy comprises the process of producing a new creation through understanding the elements that make up a film, the content of a film, and a critical and creative thinking process. Film literacy is employed in fields such as composition, science, social studies, and geography, and, additionally, it is used to cultivate humanities literacy and critical thinking skills. Yet despite the large proportion of the film script in the movie, it is not easy to find literacy education cases that use film English as a teaching method. Film English is a practical and authentic material, and is suitable as an English learning material in an EFL context like Korea. However, the approach of using films to teach and learn differs according to the content and genre of a film. Thus, the teacher may have a difficult time organizing and preparing for class. This study suggests six class activities that can be commonly applied to English classes using films based on the areas of critical, cultural, and creative (3Cs) activities. Four hundred and five college students taking Movie English classes participated in the present study and frequency analysis was conducted to find out their preferences through a questionnaire survey. The results from conducting class activities in university liberal arts classes suggest that the most preferred activities of students are related to cultural, critical, and creative, in that order. Creative activities that are far beyond English instruction utilizing various digital tools or providing additional reading materials can be a burden on learners.