• Journal of Convergence for Information Technology
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• v.7 no.3
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• pp.127-137
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• 2017

Sally Potter's movie, Orlando is a bold re-make of Virginia Woolf's classic novel, Orlando: A Biography, in which an English nobleman survives 400 years - as a man and then a woman. This paper focuses on a study of the film of Orlando in light of the feministic view. In Woolf's gender-bending, time-traveling novel, Orlando, Woolf probes the ideology of patriarchal society through an androgynous persona. Sally Potter's adroit revision of Woolf's novel not only duplicates Woolf's Orlando but it also catches Woolf's feminism by using cinematic expertise. The film is incredibly true to Woolf's spirit. The most explicit changes were structural so the storyline was simplified. Thus Orlando gives us a license to travel freely from a man to a woman. In short, Orlando is not about feminism but the unity and harmony of male and female.

• Archives of design research
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• v.17 no.4
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• pp.299-306
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• 2004

From oral literature to the online game, the narrative has been extended to be comprehensive of various temporal and meaningful facets. Antagonism between the desire and the obstacle propels the narrative story of the game and film. Essential to the concept of antagonism is the role of an antagonist with power to endanger the protagonist; the strength of that force grabs the spectator's interest. An antagonist becomes the obstacle that guards the distance between a protagonist's desire and ability to attain ti. Although an antagonist is the obstacle to overcome in a story, for ordinary people, the intense rivalry between the pro and antagonist offers an unlimited framework for the discussion of game with film narrative which create an interplay of desire and identification. In this paper, I am going to analyze the diverse aspects of the antagonist in the spectator's fantasy of the visual story such as film and multimedia.

• Digital Contents
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• no.7 s.122
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• pp.112-116
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• 2003

영화 '매트릭스(Matrix)'는 보는 이로 하여금 가상 현실이라는 것에 대해 한번쯤 생각하게한다. 주인공 네오를 비롯한 시온의 전사들은 소위 '매트릭스'라 불리는 가상 현실 컴퓨터 군단을 상대로 첨단 액션을 선보이면서 맞서 싸운다. 디지털로 이루어진 매트릭스의 세상과 유기물로 이루어진 인류 최후의 조직체인 시온의 대결. 영화의 결말을 보기 위해서는 올해 말까지 기다려야 하는 상황이지만, 여기에는 재미있는 개념을 발견할 수 있다. 영화 매트릭스에서 가상의 세계와 현실의 세계를 연결하는 통로는 바로 '전화'라는 것이다.

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.491-493
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• 2010

영화 속 공간의 개념은 각 영화의 감독에 따라 많은 의미가 부여된다. 그 공간은 영화 속의 이야기가 만들어지는 곳이기도 하며 주인공의 성격을 알려주는 장치로 사용되기도 한다. 또한 영화 속의 시대를 말하기도 하고 일상의 삶과 스타일을 반영하면서도 허구의, 즉 감독의 상상 속을 표현하기도 한다. 그 공간에 대한 맥락적인 의미를 영화 '아빠의 화장실'의 '화장실'이라는 공간에 초점을 맞추어서 해석하고 궁극적으로는 디자인 스토리텔링에 대해 연구하고자 한다.

• The Journal of the Korea Contents Association
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• v.13 no.9
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• pp.58-71
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• 2013

This paper will study on the films of Chang-dong Lee, focused on , , .These films concentrate on the internal mind of hero and heroine who react actively to social reality around their environment. Also these films share another common thing which retain to strong emotional tie with spectator, based on the sympathy through the identification of hero. , < Peppermint Candy> represent to the mixture of realism and de-realism.. Specially shows the mixture of the realism and fantasy. This Quest for the films of Chang-dong Lee will include discussion of a critical attitude from realism, discussion of de-realism factors, and study of screen fantasy from the respective of psychoanalysis.

• The Journal of the Convergence on Culture Technology
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• v.9 no.4
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• pp.105-112
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• 2023

This study is an example of a Cinema Therapy class through the movie Life of Pi (2013). Cinema Therapy proceeds through the process of identification, empathy, projection, and observational learning through the cinema. Through research, students objectively examine the situation of the characters in the movie, identify themselves, and empathize with them. Students evaluate the situation of the character in the movie, and indirectly experience the hardships facing the character in the movie through the answer to "What would you do if I were the main character?" and think about what they would do. I admire the outstanding points of the main character and reflect on my life. Through this process, students examine the situation of their emotions and problems and specifically suggest ways to solve them. In the end, students' emotions can be fully healed through the movie. Healing through the cinema should start with the selection of the cinema in consideration of the healer's client. It is also necessary to sufficiently present a specific method of applying this. It is expected that the cinema healing plan will be able to develop further by presenting various healing methods in the future.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.285-294
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• 2020

"The Man Standing Next" was a 'anger-character movie' that shows a fierce psychological game between the characters. Inspired by this point, it was analyzed the narrative structure of this film based on scene unit applying the 'Five-stage Anger Model' formulated by Lakoff and Kövecses and others. The results showed that the causality and feasibility of the protagonist's anger behavior were highly reflected above the model. In particular, among the five steps, the film-maker spent the longest time on 'anger control' justifying the hero's motivation for punishment or retaliation, while giving the shortest time to 'loss of control' to maximize the urgentness of the punitive actions. The detonator causing his anger at each stage was disposed two to six times each stage with neglect, contempt, arrogance, ostentation, mockery, unauthorized intervention, etc. Sneering of "Chief Security Officer" and insulting of "The President" make the protagonist feel the scorn of a terrible friend-murderer each functioned as a "rage trigger." In conclusion, the film follows the above sophisticated model in its narrative structure. Though it was a political drama that sets up a lot of anger scheme caused from public reasons, it reflects ordinary people's routine anger, which corresponds to 24 percent of the list of Nobaco's Provocation Inventory (PI). The producers elaborately reflected the anger procedure theory and balanced the public and private drivers of rage. It was considered to be derived from the intention to enhance communication with the audience increasing their understanding and aspiration for political movie that are usually heavy and unfamiliar.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.42 no.5
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• pp.1020-1026
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• 2017

Korean movies are now entering the global market without staying in the domestic market. Especially, despite the fact that the foreign films are imported and opened to the domestic market very much, there are more domestic films that have succeeded in box office success. In this paper, we try to clarify the characteristics of the voices of movies in order to feel horror among various genres of domestic movies. For this reason, the criterion for the success of the movie is the number of paying audiences, so differences of the voice of the characters of the horror movie that succeeded to hit the box office and the voice of the characters of the horror movie that failed to hit the box are analyzed for verifying the success conditions in voice. In addition, we would like to suggest what kind of voice should be used in order to succeed in the horror movie from the voice point of view.

• TTA Journal
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• s.173
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• pp.60-61
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• 2017

유인원 무리를 이끄는 카리스마 넘치는 리더십을 가진 시저(앤디 서키스 분). 하지만 영화 <혹성탈출:종의 전쟁>의 주인공 시저는 인간이 아니다. 시저는 바이러스에 감염되어 지능이 높아진 침팬지일 뿐이다. 바이러스로 인해 침팬지가 인간과 같은 지능을 가질 가능성은 없지만 이를 단지 영화 속 상황일 뿐이라고 가볍게 넘길 수는 없다. 영화 <터미네이터>의 킬러 로봇처럼 지능을 가진 로봇의 출현을 앞두고 있기 때문이다. 두 영화 모두 인간 이외의 지능을 지닌 존재로 인해 인간은 그들과 전쟁을 벌이게 된다. 과연 지능이란 무엇이기에 인간 이외의 존재가 지능을 지니게 되는 것을 두려워하는 것일까?

• Korea Information Processing Society Review
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• v.11 no.1
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• pp.20-28
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• 2004

영화 '스타워즈'를 보면 적들과 대치하고 있는 일촉즉발의 위기 상황에서 '해결사'가 나타나 공주의 메시지를 공중에 홀로그램으로 재생시켜 모면책을 알려주고 순식간에 사라지는 장면이 나온다. 그리고, 영화 '마이너리티 리포트'에서는 주인공 톰크루즈가 가족과 찍은 동영상을 일반적인 디스플레이가 아닌 공중에다 홀로그램을 펼쳐놓고 3차원 입체영상을 만들어 회상하는 장면이 나온다.(중략)