• 월간산업보건
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• s.382
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• pp.58-59
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• 2020

영화 <버닝>의 주인공 종수(유아인 분)는 소설가를 꿈꾸며 택배기사 아르바이트로 생계를 이어간다. 시간에 관계없이 다양한 물건을 배달해야 하는 종수는 항상 지친 표정이다. 종수처럼 매일 무거운 물건을 나르다 보면 요추 주위의 근육, 인대가 늘어나는 요추 염좌에 걸리기 쉽다.

• 월간산업보건
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• s.383
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• pp.62-63
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• 2020

영화 <기생충>의 주인공 기택(송강호 분)은 만년백수에서 벗어나 동익(이선균 분)의 운전기사로 취직한다. 기택은 침수 피해로 대피소에서 쪽잠을 잔 다음날에도 동익의 전화 한 통에 출근을 해야 하는 고된 삶을 산다. 기택처럼 오랜 시간 앉아서 차를 모는 운전기사는 소변을 무리하게 참는 경우가 잦아 방광염에 걸릴 가능성이 높다.

• 월간산업보건
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• s.385
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• pp.38-39
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• 2020

영화 <힘을 내요, 미스터 리>에서 주인공 철수(차승원 분)는 한때 소방관이었다. 그러나 불의의 사고를 당해 정신지체를 갖게 되면서 소방관을 그만 두고 만다. 치명적인 위험 속으로 뛰어드는 소방관들이 가장 많이 앓는 질병으로 난청이 있다. 출동 시 사이렌이 울리는 등 심한 소음을 들을 수밖에 없기 때문이다.

• The Science & Technology
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• v.34 no.12 s.391
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• pp.84-85
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• 2001

• Design Convergence Study
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• v.14 no.4
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• pp.193-208
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• 2015

This study is to search a meaning of treagedy to show by the 6th generation through charecter's tragedy in the 6'th Generation Chinese film. For this, it examined an inner characteristic behind of the tragedy's moment and externalized ending in directors' films of the 6'th Generation's representation. The 6'th Generation of Chinese film reorganized newly Chinese film's cultural topography in the 1990s. The 6'th Generation films, which rebelled against the primary melody and the 5'th Generation on the system, is expressed commonly a tragedy moment with the time and space by character's tragedy. Characters of the 6'th Generation in the tragedy moment attempts various efforts to escape from the tragedy moment. However, no one can overcome the wall of reality, and their concealed emotion as keeping it out of the public eye lead that play. The moment that the 6th generation film meets a tragedy, the main character's accumulated tragedy situations begin to unfold all together. A tragedy embodied through : a collapsed tragedy due to the past's wound, a tragedy due to loss of jobs, a tragedy due to a family's departure, a tragedy from a time of chaos, a tragedy of a woman who became a head of a household and other tragedies.

• The Journal of the Korea Contents Association
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• v.16 no.3
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• pp.61-71
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• 2016

This paper intends to prove that the props in movies can be used to communicate messages ans themes to the audience very usefully. I selected the movie "her" to investigate by the use of props. The props in the film can communicate with the audiences without a dialogue and visual. At the same time, the props can make a audiences sympathy as a role playing like a main character. As a result, the props used in the movie were explained to study their relevancy to the narratives of the movie. The props in the movie is so useful and powerful, and then image is more important than any other things in the movie as a narrative tool and storytelling.

• Proceedings of the KAIS Fall Conference
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• 2012.05a
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• pp.289-292
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• 2012

본 논문에서는 1940년대 할리우드 영화 <우리 생애 최고의 해>의 '귀향 장면'의 주제를 연구하였다. 그 장면 속에 제시되는 몇 개의 주제의 음악적 성격과 그 주제가 반복되고 변형되는 스타일을 분석함으로써 작곡가가 영화의 장면에 대응하는 방법을 밝히고자 하였다. 여기서 작곡가 프리드호퍼는 주제의 반복과 변형, 특정 음정과 분산화음의 빈번한 사용, 조성구조에서의 해결 지연과 화음의 연장이라는 방법을 주인공들의 심리 묘사에 사용한다.

• Proceedings of the Korea Contents Association Conference
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• 2016.05a
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• pp.137-138
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• 2016

<2001 스페이스 오디세이(2001 : A Space Odyssey, 1968)>는 인간이 달에 도달하기 이전에 만들어진 영화임에도 불구하고 우주에서의 사운드를 현실적으로 표현하려고 노력했다. 우주에서 주인공이 우주복을 입었을 때 숨소리가 과장되게 들리게 함으로서 청자들에게 새로운 공간에 대한 사운드를 제시했고 소리가 전달되지 않는 우주의 특성을 활용해 과감하게 '사일런스(침묵)'를 앰비언스 개념으로 사용함으로서 이후에 나온 우주를 배경으로 한 SF영화에 음향적으로 많은 영향을 끼쳤다.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.65-73
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• 2021

This research analyzes the characteristics of Chinese tragic films with Chinese traditional ethical ideology as the core, analyzes its specific performance in the plot and ending setting of the film , and analyzes the director's tragic narrative strategy of cultural reconciliation in the face of political environment to understand the characteristics of Chinese contemporary tragic films.The film is a Chinese contemporary tragic film with The Great Cultural Revolution as its historical background. This film is a representative film of Chinese contemporary tragic films. The classic plot has played a certain role in the expression of Chinese traditional ethical ideology such as fatalism and optimistic attitude to life. The male lead's thought changes interpret the Chinese-style tragedy characteristics containing Chinese traditional ethical ideology. In the setting of the ending, the film broke through the "happy ending" model of Chinese traditional tragedies, and chose the open ending of "one tragedy to the end", further showing the time feature of Chinese contemporary tragic film. The euphemism and tenderness of the film as a tragic film is not only due to the compromise with the political culture of power, but also the result of the director's in-depth understanding of the aesthetics of Chinese tragedy. Through the use of symbolic signs in the film language, it has formed the implicit characteristics of the film narrative in the tragic aesthetic experience. In this paper, the author conducts text analysis for the film and discusses presentation of Director Yimou Zhang's tragic feelings and using the tragic narrative strategy of cultural reconciliation to show his creative wisdom in pursuing artistic breakthroughs under political pressure.

• Cartoon and Animation Studies
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• s.40
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• pp.315-336
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• 2015

Since it is imperative to share the values with the spectators to convince the public of the era, the main characters of a story that underwent numerous adaptation through time would change gradually. This paper examined changes of the main characters in various versions of Cinderella. Until the mid-20th century, Cinderella would be portrayed as a meek, passive and obedient girl as in the original fairy tale version of Perrault. As moving to 70s, a heroine who acts with her own feelings and thoughts began to appear. In the 90s, spectators could meet a protagonist who fought fiercely to be the owner of her own fate, and in the recent Disney movie, Cinderella stood up for herself while accepting herself as she was. The prince character also underwent similar transition. In the early versions of Cinderella, the prince would be a vague figure with a title who was desired by all maids in the country. It is in the 70s that the prince began to be portrayed as a person who has his own problems. In the recent years, the spectators could see the process that the prince transformed from a naive aristocrat to a man with responsibilities. In modern society, women have more social opportunities compared to the past, and women's social statuses do not need to be secured by relationship with men any longer. Thus Cinderella story is not as popular nowadays, moreover somebody whose dream is becoming Cinderella would subject to social reproach. However, beside the gender, the story could be the only hope for people who feel a sense of helplessness that there is no chance in their lives. As result variations of Cinderella story will go on as long as people of social deprivation exist.