• Journal of Korea Entertainment Industry Association
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• v.15 no.5
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• pp.85-98
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• 2021

The present thesis is a study about a character actor's characterization from the concept of 'star persona'. Conducted in 2020, this is a follow-up study about a personality actor's characterization. Lee Sung-min was selected due to his wide acting spectrum among domestic actors and his brilliant expression of differing characters as a character actor. The study discusses characterization methods for character actors on the basis of his role of high-ranking North Korean bureaucrat 'Ri Myung-un' in the film 'The Spy Gone North'. Stanislavski claimed that character building or characterization was the pinnacle of the acting art. However, such an expression of personality requires hard work and devotion from an actor. The actor Lee Sung-min practiced the North Korean dialect in order to act the role, and added the way the elite speak in North Korea to this dialect. He achieves a style of acting that raises tensions within the drama by spitting out lines in one breath and by making the audience fixate their gaze within character solo shots for which the character's emotions and lines serve as the core, with the purpose of maximizing dramatic tension and situational reality. Continuity and angle also serve extremely important roles in terms of expressing a character's personality development, affect, and emotions. The present thesis discussed the character development methods for a character actor's role of 'Ri Myung-un' in the film 'The Spy Gone North'.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2018.10a
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• pp.126-127
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• 2018

Whether it is an online game or a stand alone game, research will ultimately never stop to increase the degree of realistic expression of visual effects. Recently, realistic characters are appearing in games. Particularly, due to the development of virtual reality technology, RPG games with simulation-based realistic images are becoming popular. The player can experience the story of the game in the game and experience difficulty level by level. As other players, teammates, or enemy characters appear as realistic characters, and the episode of the game expands, the importance of realistic game characters is growing so that they can play more. Adding a realistic game character to a game based on a classic movie character gives the player a more realistic and interesting visual experience. The purpose of this study is to investigate the effect of realistic character style on the fun and visual effects of games.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.325-334
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• 2019

Director Lee Chang Dong said that it is the most important point for revealing the invisible beauty so that the audience could feel the unseen beauty through the . Discussing about how to find beauty that is not only visible but also invisible through the main character Mi-ja from the film, who makes a decision and reactions on her daily life by her perception that are difficult for others to take same. The film tells that how Mi-ja's ideal of a beauty can be taken the role for writing a poetry at the moment of the dead poet society, making a movie in the age of dying emotion and also when it lost fundamental values and about movie media. This study analyzed the performances of the main character Mi-ja in the film, and actress Yoon Jung Hee based on Director Lee Chang Dong's directed performance. The audience will be self-questioning and reflecting their life through the Mi-ja's an unidentifiable characteristic which something that someone cannot say, something that someone cannot express, something that tells something through Mi-ja's poem and actress herself finds the character's feelings.

• Trans-
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• v.2
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• pp.75-94
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• 2017

The film director is the responsible for artistic quality of the film. In Hollywood, the director considered as a technician only visualizes the given scenario. In the 1950s, young critics of the Cahiers du cinéma, who were at the center of Nouvelle Vague, re-qualified some Hollywood directors, for example Alfred Hitchcock, Howard Hawks and John Ford. They are considered "auteurs(authors)" because their films have their own styles. In France, the word "auteur-directoir" is often used in the film production. It refers to the person who writes the original screenplay of a movie. Auteur's legal definition of copyright is set out in Article L.111-1 of the Intellectual Property Code: "the auteur of a work of the mind enjoys the work by reason only of its creation, of an exclusive intangible property right and opposable to all. On the other hand, in the definition of producer, it is the natural or legal person who takes the initiative and responsibility for the realization of the work according to Article L. 132-23 of the same code. We study here the competence and responsibility of the French director as an "auteur" by consulting the two types of contract: director-technician and author-director. We rant to offer a reflection on the position of the film director and the relationship between the director and the producer.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.239-249
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• 2020

Ne Zha: I am the destiny(2019)and Ne Zha Conquers the Dragon King(1979)as animated films based on the theme of Ne zha in different eras and contexts, reflecting the value and significance of different artistic images of Ne zha, The study of the value turn in the character image of Ne zha reflects the different styles of artistic images of Ne zha. This thesis attempts to interpret the changing values behind the different artistic expressions of the Ne zha character in different films. The transformation of Ne zha's image from good to evil, and the shift from the idea of "submit to the will of heaven" to the idea of "taking one's destiny into one's own hands" reflect the different values and meanings of Ne zha's image in different eras. Each film is distinctly contemporary, and Ne Zha: I am the destiny is an innovative and in-depth look at the character of Ne zha in the new era of cinema. There are many forms of artistic expression, and these differences greatly increase the appeal of Ne zha's artistic image, making Chinese animation films more space and value for development.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.169-186
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• 2020

This study selected 127 powerful Korean film producers, directors, and actors whose stable audience drawing power has been proven over the past seven years from 2013 to 2019, and viewed their network through social network analysis(SNA) to explain their power structure. It also explained the changes compared to the results of previous studies conducted on box office hits from 1998 to 2012. The producers who showed the highest audience drawing power over the past seven years were KANG Hae-jung, JANG Won-seok, LEE Eugene, HAN Jae-duk. BONG Joon-ho, KIM Yong-hwa, and RYOO Seung-wan as directors and SONG Kang-ho, HA Jung-woo, and HWANG Jung-min as actors were confirmed to exhibit the most stable audience drawing power. Meanwhile, the network formed by the 127 leading producers, filmmakers, and actors was analyzed based on closeness/ degree/eigenvector/betwenness centrality, and the result discovered a strong network involving JANG Won-seok, HAN Jae-duk, CHO Jin-woong, Don LEE, and HWANG Jung-min. This study is meaningful in that it included producers, the position which has never been discussed in previous local studies to analyze the network influencing star casting, and selected accurate box office hits by checking whether the concerned films actually reached break-even point rather than simply relying on the number of audiences or total revenue they garnered. Nonetheless, it left a hole to be filled in that it did not include the role of the management companies in the network. Therefore, a relevant follow-up discussion would be needed.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.165-172
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• 2019

Signs of the street and scenes of the nature(tree) popping up like a still screen in a monotonously repeated routine, as if waiting for something by chance, characters appearing and disappearing without special meaning, advise you to get away from cliché meetings and breakups while repeating it. The images of people returning to their places without presenting any conclusions highlights the coincidences and unexpectedness of everyday life, but are so familiar that it is easy to be overlooked, it brings us to experience the potential of everyday unfamiliarity in such moments. The actor's performance, which deviates from the practice of well-organized characters, is improvised (unplanned and uncoordinated) emphasized on the scene and expresses the everyday nature of his differentiated character freely like the reality as if he were locked up in a film structure but not confined to it, and as if he got used to the everyday life. Also the repeated words and actions of characters, and unpredictable changes of emotions, centered by the encounters and conversations of this film of Hong Sang-soo, everything that is presented in the background of everyday life in its form, let's us pay attention to the meaning and what to be found in the film. In addition, director Hong Sang-soo, who creates a story after selecting actors to reproduce this daily process in a realistic manner, sets new relationships between the characters and the actors, presenting a new method of realistic expression, through the actor who repeatedly appears in the film. This study analyzes the everyday characters and acting of the film based on director Hong Sang-soo's directing style.

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.123-133
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• 2019

Director Lee Chang-dong saying that the most important thing is to let the audience experience, find its meaning, interpret, and feel the pure sensation (whether it's image, sound or music) that the film has instead of narrative giving you the answers, through the film presenting the pure natural landscape as it is, but all the familiar things that can be taken as a riddle are conveyed in images, and all the elements that make up the film share its presence with each other and let us experience a mysterious weight of reality that cannot be defined through its strange symbolism and metaphors, and it reflects various human emotions, reflecting curiosity of reality, the words that are hardly spoken, meanings of life that we were not being aware of. Rather than having one definitive figure, through the character's personality expressing an imperfect character with a complex ambiguous behavior asks about the things that can't be explained logically and the fact of life that can't be divided into truth or lie. Also, the acting approaches emotionally and primitively rather than using artificial expressions, showing the invisible elements of emotions that are latent inside humans through temperate acting style, leads the audience to distant themselves and reflect more deeply into life. This study analyzed the characters and acting of the film based on director Lee Chang-dong's directing style.

• 월간 기계설비
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• s.287
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• pp.58-64
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• 2014

현대인들은 바쁘다. 그래서 가족과 함께 외식을 하거나 쇼핑, 헬스, 영화, 공연관람, 예식장, 호텔 등에서의 용무를 한 공간에서 해결 가능한 원스톱 라이프를 갈망하게 된다. 이렇게 바쁜 현대인의 라이프 스타일에 착안, '아빠의 하루'라는 컨셉트를 기획하여 대박 난 복합단지가 있다. 고려개발이 시행한 경남 김해시 부원역사 근처에 3만여$m^2$의 대지, 연면적 20만여$m^2$ 규모의 아이스퀘어 복합단지이다. 이러한 컨셉트가 맞아 떨어져 부원역 푸르지오 915세대 아파트는 지난 2011년 11월부터 분양이 시작되자 25:1의 최고 경쟁률을 기록하며 100% 분양되었다. 침체된 김해지역 부동산 시장에 활력을 불어넣음과 동시에 경남지역 최초의 역세권 개발사업을 성공으로 이끈 신호탄이 된 셈이다.

• The Journal of the Korea Contents Association
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• v.18 no.8
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• pp.586-593
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• 2018

When newsreel was organized in 1967, it was a small but strong revolution. New York newsreel became the third world newsreel in 1972. The third world newsreel clearly stated that the purpose of the organization should be the alternative provision of the Television news. They also notified the revolution of the production system and the distribution system. Christine Choy who actively worked at the Third world newsreel succeeded the spirit of the organization through her works. Through the third world newsreel and Christine Choy who was the representative of the organization, this article is dealing with the mode of production and the style and the aesthetics of the Newsreel. Their activities were originally political and always controversial. They agonized who should be the film maker, how should be the distribution system. Through the strong arguments, the group had acquired not only collective identity but also collective production. Those collaborations had become the foundation of their works. Christine Choy has been a key figure of the Third world newsreel and her films has focused on the racial problem and gender problem. Her works have always been political and historical.