• Journal of Popular Narrative
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• v.25 no.4
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• pp.361-395
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• 2019

This paper take a media archaeological approach to cinema transformed into a narrative medium during its transitional period, 1903-1915. To accomplish this, I will explore the question of as which narrative medium cinema was imagined and also how it was institutionalized as a narrative medium with authorship. I will explain that the imaginary and real ideas and changes on cinema resonated with each other on the foundation of its technological aspects such as indexicality, 23 frames/sec. and montage. It was during the transitional period that cinema was transformed from a medium representing spectacle to a medium of narration. The establishment of the American film copyright law in 1912 was an institutional, real outcome from the contemporary understanding of cinema as a narrative medium. At the same time, various ideas emerged that led to imagining of cinema as a complete narrative medium, incomparable to any other. From a media archaeological perspective, the imaginary ideas of media resonate with their actual course of development. These imaginary ideas are not just imaginary, but rather reflect the contemporary desire for the medium. This paper looks into the transitional period based on this media archaeological point of view. To this end, this paper will briefly introduce the notion of media archaeology as a media theory and then discuss Eric Kluitenberg's concept of 'an archaeology of imaginary media' and its methodologies. Second, it will explore literary and cinematic imagining of cinema as a powerful medium of storytelling, while discussing the ways in which cinema's technological characteristics played a decisive role in these imaginings. Also to show the techno-deterministic role of cinema in the real world, this paper will explore how its technological characteristics were considered as an important element in the processes through which America's first motion picture copyright was institutionalized in 1912 after two historical copyright cases: one is Edison v. Lubin in 1903 and Kalem v. Harper Brothers in 1909. Ultimately, this paper will lead us to an understanding of the history of cinema as a medium and its developments in more multi-layed way, as communication between the real and imaginary, and give us perspectives toward what cinema is.

• The Journal of the Korea Contents Association
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• v.12 no.2
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• pp.116-126
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• 2012

As a film maker, Lee Chang Dong stands out from most Korean film makers who work within the trappings of genre films. To be sure, Lee has also used the trappings of genre films, such as noire and melodrama, but primarily as a tool to communicate with film audience. In his most recent film "Poetry", Lee seems to have even stripped even the minimal trappings of genre film. Lee commands the audience to self-reflect and work towards their own conclusions by denying them the illusory identification on screen. In this way, Lee's works are counter cinema. Lee achieves a distancing effect using such filmic apparatuses as hand-held camera, fantasy, mise en abyme, and returned gaze. Through these filmic apparatuses, Lee exposes the re-presentation of text and compels his audience to see the historical and political contexts of the text. In this study, I make the case that Lee Chang Dong's film making is an act of repetition compulsion that cultivates ethical reflection, through symbolization of the invisible realities.

• Proceedings of the Korea Contents Association Conference
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• 2007.11a
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• pp.698-702
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• 2007

Recently, it isn't hard to find split screen effects in films, TV dramas and commercial films which composes a screen with different frames of images. The TV series '24' which was produced in USA in the year 2001 and is expecting the release of its 7th series next year frequently exhibits such split screen methods. '24' is a TV drama of the events taking place in one day which is produced in the form of real-time mode and consists of 24 episodes which is an hour long. Using split screen method, the drama effectively delivers the events simultaneously taking place at different locations. Moreover, the divided frames of each screen relates to one another by means of collision, synthesis and ect. which captures the vision of the spectators. This study aims at analysing the relationships between the frames which consists split screen scenes in the drama '24' and discover its eye capturing attractions using film montage theories.

• The Journal of the Korea Contents Association
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• v.6 no.11
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• pp.110-117
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• 2006

With the New media of present age we are living at, strongly entice consumers through various sensible technology and give influences on our life. They are visually formed but make us feel them as if formed tactile. The masses of today are meeting media through all the senses in daily life according to the spread of on-line media and in such course they want momentary and tactile share. Since appearance of mass society and cinema following such current, art has appealed to dispersive and tactile perception, and such public way of perception makes it possible to experience 'visual tactility' in daily life in accordance with the development of on-line game culture among others. The shock effects, given by editing of game animations which are produced for epic experience of on-line game, arouse tactility in addition to visibility. Under this assumption and on the basis of visual tactility theory as well as montage theory of image by Walter Benjamin, the research intends to explain that public tactile shock does not result from simple graphic effect but from montage effect and dispersive acceptance.

• Archives of design research
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• v.19 no.2 s.64
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• pp.313-322
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• 2006

In this paper, we introduce 'Contents Based Image Retrieval' which helps a user find the images he or she needs more easily and reconfigures the images automatically. With this system, we try to realize the language of (motion) picture, that is, the Montage from the viewpoint of the user. The Real-time Montage System introduced in this paper uses 'Discrete Fourier Transform'. Through this, the user can find the feature of the image selected and compare the analogousness with the image in the database. This kind of system leads to the user's speedy and effective retrieving, Also, we can acquire the movement image of the user by Camera Tracking in Real-time. The movement image acquired is to be reconfigured automatically with the image of the user. In this way, we can get an easy and speedy image reconfiguration which sets to the user's intention. This system is a New Media Design tool(entertainment) which induces a user enjoy participating in it. In this system, Thus, the user is not just a passive consumer of one-way image channels but an active subject of image reproduction in this system. It is expected to be a foundation for a new style of user-centered movie (media based entertainment).

• Journal of Korea Entertainment Industry Association
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• v.13 no.1
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• pp.59-67
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• 2019

This article examines how Brecht's Gestus is borrowed and transformed into the film. I examined the critical debates on the film's use of Brecht and the style of Brecht's acting adopted in radical experimental films and Hollywood films. In addition, through the case of Korean film actor/ress, I sought to apply the Brechtian theory. First, despite the criticism that the film's acceptance of Brecht is overly formal and mechanical, film theory and practice reflect Brecht's ideas. In particular, regardless of the socio-political situation of Brecht's day, his Gestus is suitable and useful for film acting. Brecht's thought was realized by technological innovations such as montage and computer special effects, and above all, the social attitude of the actor was popularized through the education of the audience. Second, his strategy on performance is no longer unfamiliar, and goes beyond the boundaries of contradictory daily life and art, and becomes the pleasure of popular film. Although the intentions of naturalism and anti-naturalism in acting arts are different, the process and effects look at the same point. Third, through the case of Korean film actor/ress as an attempt of popular understanding about Brecht strategy, I could confirm the possibility of searching identity of Korean film actor/ress.

• Journal of Korea Multimedia Society
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• v.21 no.8
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• pp.991-1001
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• 2018

In the context of the 4th Industrial Revolution, IoT, Big Data, and VR are rapidly emerging as core sectors of future industries. In particular, the VR has been under the limelight as a new media content appealing to new generation. And the VR user is not merely a 'spectator', but the 'actor'. In other words, the newness of VR is not in the 'more likely representation of the virtual reality', but in the 'making it act more virtual (more technically, 'interactive')' in the virtual world. In this paper, we examine the VR cinema in terms of film composition unit, montage, cinematic space, mise-en-$sc{\grave{e}}ne$ and perspective. The VR cinema, which is in the early stage of evolution, is basically based on $360^{\circ}$ image that strengthens the autonomy of the audience's point of view, but other factors like haptic or sonic immersion are becoming increasingly important. In addition, the VR cinema will be combined with AR, MR, SR, and Interactive technologies, and will expand its horizon as it is produced in various forms. Therefore, it is expected that more detailed viewpoint will be applied in the subsequent study on VR cinema.

• The Journal of the Korea Contents Association
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• v.16 no.11
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• pp.776-783
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• 2016

Discussion of facial image of the movie starts is recognized as an art movie that started from silent film period. Critical discussions on the facial image initiated with the emergence of 'close-up' are performed in the context to claim the superiority of close-up format. Therefore, the trend of critical discussion on the facial image differs from two perspectives to perceive close-up in this era. The first perspective is to privilege both face and close-up since close-up is recognized as the unique tool to realize the face considering close-up as the independent body to have new aesthetic feasibility of the movie. The second perspective is to consider close-up as one of the plots in the movie language to complete its narration. In this case, it is perceived as just a short, which has no differentiation from the others, as long as the facial image does not interfere the completeness of the narration, because the characteristics of close-up to highlight the subject more than the other short is not recognized as the unique form to complete the movie, and because it has the meaning only when the subject and the format aim to maintain the completeness of the narration.

• Cartoon and Animation Studies
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• s.22
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• pp.17-30
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• 2011

This paper analyzes Blood: the Last Vampire (2009) in comparison with the original Blood: the Last Vampire (2000). This digital movie, released in 2009, faithfully re-presents the visual of the original animation using more budget and more developed technology. Though these two movies share very similar visual style, they have slightly different modes of expression that can be easily detected in their opening scenes. The original Blood chooses to tell its story in more indirect way. Some shots are intentionally vague and forcefully separated by black credit screen, leaving audience guessing exactly what happened. The remake version of Blood provides faster, more diverse, and more sophisticated images. It also uses invisible and slick editing, leaving no room to guess. These differences comes mainly from the difference of media. However, since the differences between two movies lie mainly in their narratives, we can ascribe the box office slump of the digital movie version of Blood: the Last Vampire to its narrative flaws. The heroin's inner conflicts were not convincing enough, supporting roles were not probable enough, and the whole story was not unique enough. As a result, the new Blood: the Last Vampire became another bad example that shows the importance of narrative in films.

• Trans-
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• v.3
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• pp.55-86
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• 2017

This study begins with the necessity of the concept of reincarnation of film media and the inclusion of specific tendencies of contemporary films as post - cinema comes. Variable movements around recent films Challenging and experimental films show aesthetics that are difficult to approach with the analysis of classical mise en scene and montage. In this way, I review the dispositif proposed by Martin in films that are puzzling to criticize with the classical conceptual framework. This is because the concept of dispositive is a conceptual pile that extends more than a mise en scene and a montage. Dispositif films tend to be non-reproducible and non-narrative, but not all non-narrativef tendencies are dispositif films. Only the dispositif film is included in the flow. Dispositif movement has increased dramatically in the modern environment on which digital technology is based, but it is not a tendency to be found in any particular age. The movement has been detected in classical films, and the dispositif tendency has continued to exist in avant-garde films in the 1920s and some modernist films. First, for clear conceptualization of cinematic dispositif, this study examines the sources of dispositif debates that are being introduced into film theory today. In this process, the theory of Jean Louis Baudry, Michel Foucault, Agamben, Flusser, and Deleuze will help. The concept of dispositif was discussed by several scholars, including Baudry and Foucault, and today the notion of dispositif is defined across all these definitions. However, these various discussions are distinctly different from the cinematic dispositif or dispositif films that Martin advocates. Martin's proposed concept reminds us of the fundamentals of cinematic aesthetics that have distinguished between the mise-en-scene and the montage. And it will be able to reconsider those concepts and make it possible to view a thing a new light or create new films. The basic implications of dispositif are apparatus as devices, disposition and arrangement, the combination of heterogeneity. Thus, if you define a dispositif film in a word, it is a new 'constraint' consisting of rearrangement and arrangement of the heterogeneous elements that make up the conditions of the classical film. In order for something to become a new design, changes must be made in the arrangement and arrangement of the elements, forces, and forces that make up it. Naturally, the elements encompass both internal and external factors. These dispositif films have a variety of possibilities, such as reflection on the archival possibilities and the role of supervision, the reestablishment of active and creative audience, the reason for the film medium, and the ideological reflection. films can also 'network' quickly and easily with other media faster than any medium and create a new 'devised' aesthetic style. And the dispositif film that makes use of this will be a key keyword in reading the films that present the new trend of modern film. Because dispositif are so comprehensive and have a broad implication, there are certainly areas that are difficult to sophisticate. However this will have a positive effect on the future activation of dispositif studies end for end. Dispositif is difficult to elaborate the concept clearly, so it can be accessed from a wide range of dimensions and has theoretically infinite extensibility. At the beginning and end of the 21st century film, the concept of cinematic dispositif will become a decisive factor to dismantle old film aesthetics.