• The Journal of the Korea Contents Association
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• v.14 no.3
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• pp.80-93
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• 2014

This paper examines how split-screen technique works to meet the goals and strategies of the narrative in the romantic comedy films which deal with love and sex. The plot of romantic comedy films aims to the union and marriage of the couple, but is structured to delay the union as much as possible through comical situations and episodes. Usually split-screen scenes are placed before plot point 2 and serve to make a laugh and humor. Besides, it helps focusing on two main characters. Comedy related to love and sex comes from information gap between two main characters which can cause a tension, double meaning of spoken words and combination of split-screen images. Michael Gordon's Pillow Talk(1959) and Peyton Reed's Down with Love(2003) are reviewed in this study.

• 프린팅코리아
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• v.13 no.8
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• pp.86-89
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• 2014

"니 내랑 부산접수 할래?" 영화 친구2에 나오는 대사다. 영화 속 주인공이 힘으로 부산을 장악하려 했다면 디자인글꼴은 '귀여운 캐릭터'와 '짱짱한 인쇄빨'로 부산을 접수했다. 디자인글꼴(대표 서무성)은 우리나라 제2의 도시 부산에서 독자 개발한 브랜드와 캐릭터로 성장한 디자인전문회사다. 최근에는 부산 지역 최초로 고모리 H-UV 인쇄기 GL-540을 도입하는 등 잇따라 최신 인쇄 설비를 도입하면서 부산 경남지역 최대 '디자인 인쇄전문회사'로 우뚝 섰다.

• The Journal of the Korea Contents Association
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• v.14 no.4
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• pp.47-57
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• 2014

The horro movie which was released in 2003, was a box office hit drawing audiences totaling 3,140,000 people. Then, there were partial opinions that it was difficult to understand the content of the movie. However, it was most favorably received in the horror movies which were released before and after 2003. The 4 main characters in the movie are a family. The family conflicts begin as the dad has an affair. Muhyeon(the dad)'s infidelity leads his wife to kill herself. The suicide of the wife and mom again leads Suyeon(the younger sister) to be dead. At this moment, Suyeon's death is related to Eunju(the step mom). Sumi(the older sister) is deeply hurt by the fact that Eunju left her younger sister's death after she was dead. But at the same time, she realizes that she is also related to Eunju's act. And she felt guilty about her younger sister's death. Eunju was also hurt by Sumi's biting remarks. However, she feels guilty about the fact that she made Suyeon be dead. Director Jiun Kim said in the interview when it was released, "this movie is about hurts and guilt among families." These hurts and guilt are expressed by horror images that imagination and reality are mixed. Hurts are expressed by virtual images and guilt is done by real images. This paper presented still pictures which explain the virtual and real images and examined what hurts and guilt mean. And it described the symbolic meanings of three media which cause conflicts among main characters.

• Proceedings of the Korean Society of Computer Information Conference
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• 2019.01a
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• pp.51-52
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• 2019

본 연구는 영화에 대한 정량적 분석을 위해 MRCNN을 활용한 영화 속 등장인물의 얼굴 면적을 검출하였다. MRCNN을 선택한 이유는 기존 얼굴 인식 시스템이 갖는 한계(뒷모습, 누워있는 모습의 측정 오류)의 개선과 면밀한 계산을 하고자 함이었다. 영화 한편에서 주인공과 상대주인공이 함께 등장한 씬을 선별한 726개의 이미지 중 496개의 이미지가 마스킹이 됨으로서 68%의 성능을 보였다. 반면에 230개의 이미지 파일에서는 다소 문제가 발견되어 32%의 오차가 발생했다. 오차를 개선하기 위해서 주요 인물을 학습시킨 뒤 마스킹을 씌우는 작업을 함으로써 현 확률보다 높은 확률로 정상적으로 이미지가 추출될 수 있도록 시험해 볼 것이다.

• Product Safety
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• s.46
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• pp.26-31
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• 1996

만화같이 생긴 주인공의 턱이 탁자에 떨어지기도 하고, 가슴속에 있던 심장이 갑자기 쿵쾅거리면서 밖으로 튀어 나온다. ('마스크')컴퓨터 그래픽으로 연출한 사자가 마치 사람처럼 연기할 뿐 아니라 갈기의 움직임과 동작이 극도로 자연스럽다. ('쥬만지')소름끼치는 눈빛, 포악한 동작, 자연스러운 피부와 근육의 움직임을 보여 주는 티라노사우르스가 20세기에 등장하여 모든 사람들을 경악시켰다. ('쥬라기 공원') 최근까지 화제를 모았던 헐리우드 영화의 일부분이다

• Digital Contents
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• no.6 s.61
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• pp.80-81
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• 1998

청춘남라면 누구나 그림같은 사랑, 영화 '타이타닉'의 주인공을 꿈꾼다. 그러고 '과연 나의 천생배필은 어디 있을까' 생각한다. 더욱이, 인터넷으로 세계가 하나된 지금은 그 상대가 해외의 유학생이나 교민일 수도 있고 심지어 레오나르도 디카프리오같은 외국인일 수도 있다. 이런 꿈을 현실로 실현시킨 업체가 있어서 찾아가 봤다.

• 주택과사람들
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• s.189
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• pp.100-107
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• 2006

600여 만 평에 걸쳐진 대관령 능선을 따라 아름다운 설원이 펼쳐지는 평창. 이곳을 찾는 사람들은 누구나 영화와 드라마의 잔상을 떠올리며 겨울 동화의 주인공이 되어 돌아간다. 이처럼 설원의 도시, 고원 휴양지로 알려진 평창이 2014년 동계 올림픽을 준비하며 야심찬 계획을 세우고 있다. 과연 평창에는 어떤 움직임이 일어나고 있는지 사뭇 궁금해진다. 강원도 평창, 그 현장 속으로···.

• 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 the Korean Society for information Management
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• v.31 no.4
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• pp.161-178
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• 2014

Recently, many information services allow users to collaborate to produce and use information. Sharing information is also important for users who have similar taste or interest. As various channels are available for users to share their experiences and knowledge, users' data have also been accumulated within the information services. This study collected movie lists made by users of IMDB service. Co-word analysis and ego-centered network analysis were adapted to discover relevant information for users who chose a specific movie. Three factors of movies including movie title, director and genre were used to present related movie information. Movie title is an effective feature to present related movies with various aspects such as theme or characters and the popularity of directors affects on identifying related directors. Genre is not useful to find related movies due to the complexity in the topic of a movie.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.496-501
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• 2021

The representation of shamanism or shaman in Korean cinema has changed according to eras. Since the 2000s, shamanism and shaman appear more frequently than before as the main subjects and characters in movies. The full-scale exploration of shamans usually takes places in documentary works, such as <'Mudang'>(2002), (2006) and (2011). Shamans are summoned in more various appearences in feature films. In this article, we will compare and analyze the representations of shamanism and shaman in recent Korean occult genre films. (2015), (2016), and (2017) are works that utilize new subjects and visual effect styles that were difficult to see in Korean horror films before. In these three films, the meaning of shaman and gut shows distinct differences from each others. Through the analysis of these films, we would like to explore the characteristics and possibilities of Korean occult films.