• (The) Research of the performance art and culture
• /
• no.41
• /
• pp.157-186
• /
• 2020

It illuminates the representation of Korean dance in the sense of color. The unique color and light of Korean dance reflects the essence of Korean art and the consciousness of Koreans. Therefore, analyzing Korean art, colors and meanings can provide the principle of aesthetic interpretation to re-examine Korean colors. This means that it is necessary to pay attention to the possibility of developing original contents as a humanistic basis, asking the origin of Korean art. The Korean thought and philosophy in which color and life become cultures remain the roots for another re-creating vision of Korean art. Therefore, it is time to establish a system of Korean identity as an art with the expansion of various interpretations of various aesthetic attitudes that recognize Korean dance.

• The Journal of the Korea Contents Association
• /
• v.12 no.9
• /
• pp.106-115
• /
• 2012

This paper focuses on the systematic conceptualization of the 'contents' through the differentiation between the meanings of the work of art and the contents. The 'contents' are referred to as various media products, but they are all the audience-oriented work of art. From the beginning of its birth the film medium turned out to be a kind of contents, which is involved in the specific role of audience. It also implies that the film medium could not exist without the interaction of the media text and audience. In order to understand this context, this paper analyzes the film of Alfred Hitchcock.

• The Journal of the Convergence on Culture Technology
• /
• v.10 no.3
• /
• pp.723-730
• /
• 2024

In order to trace the changes in the concept and understanding of automatically generated images, this study analogously explores the creative methods of photography and cinema, which represent the existing image fields, in terms of AI-based image creation methods and 'automaticity', and discusses the understanding and possibilities of new automatic image creation. At the time of the invention of photography and cinema, the field of 'automatic creation' was established for them in comparison to traditional art genres such as painting. Recently, as AI has been applied to video production, the concept of 'automatic creation' has been expanded, and experimental creations that freely cross the boundaries of literature, art, photography, and film are active. By utilizing technologies such as machine learning and deep learning, AI automated creation allows AI to perform the creative process independently. Automated creation using AI can greatly improve efficiency, but it also risks compromising the personal and subjective nature of art. The problem stems from the fact that AI cannot completely replace human creativity.

• The Journal of the Korea Contents Association
• /
• v.12 no.8
• /
• pp.146-156
• /
• 2012

Film was invented by human's desire to copy the real world, starting in the late 19th century. Since the birth of cinema, It was given mission to replay of the real world. On the other hand, cinema was regarded as a fictitious art form. Although the invention of film brought about experience of replaying of the real world it has been reproduced reality with creative story. And it also has been represent reality with sense of reality. Cinema's way of reproduction implied conflicting concept of mimesis. Triple Mimesis of Paul Ricoeur was an idea expanded into an analytical concept from that simple concept of mimesis. The purpose of this study was to examine the prefiguration of shown behavior in Columbine High School massacre based on Triple Mimesis of Paul Ricoeur. It also was to examine a form of representation on cinema which is 'Elephant' and studied how the form of representation on Elephant could interpret by audience. It could be define the relationship between reality and reproduction through this esthetic study. This paper attempted to build the method communication between the originator and audience with a whole analytic process of time and story on the cinematic representation.

• Cartoon and Animation Studies
• /
• s.32
• /
• pp.315-333
• /
• 2013

This study aims to investigate that today's Mixed Reality Technology did not appear suddenly but has its beginnings in 20th century Visual and Interactive Art. First, Photographic Art expressed three-D on the two-dimensional plane and mixed images of reality and virtuality. Photogram made people experience both two-dimensional images and three-dimensional effects concurrently, and Photomontage combined various photos and mixed reality and virtuality. Next, Cinema tried to combine virtuality and reality using objets and CG. Early Cinema composed films and real objets. As computer technology developed, Cinema composed objet CG on real images and then tried background CG compositing. Finally, Telepresence Art tried a new possibility of Mixed Reality breaking the boundary between reality and virtuality, subject and object. It oscillates between virtual space in reality and real space in virtuality, or represents Mixed Reality by remote control of long distance participants. In the future, for the development and direction of Mixed Reality, there will be more need of referring to Visual and Interactive Art.

• Journal of Korea Entertainment Industry Association
• /
• v.14 no.7
• /
• pp.239-249
• /
• 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
• /
• v.15 no.3
• /
• pp.65-73
• /
• 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.

• The Korean Publising Journal, Monthly
• /
• s.139
• /
• pp.18-19
• /
• 1993

영화 '서편제'의 흥행에 힘입어 '서편제 신드롬'이라는 문화현사이 거리에서 일어나고 있다. 또한 이 영화는 '판소리'를 중앙으로 불러들이는 역할을 수행했다. 학문적인 이론서뿐만 아니라 소리꾼들의 삶과 예술세계를 밝혀주고 있는 책들이 출간되고 있는 현상도 판소리의 대중화현상을 직접적으로 보여주는 증거물이다.

• Cartoon and Animation Studies
• /
• s.9
• /
• pp.235-249
• /
• 2005

Manual processing to make illusion-image of Digital Animation consists of handicraft technology indeed, such as an animation process, image addition and image revision etc.. This thesis asserts that is acquiring new art concept, resuscitating the craftsmanship of art in this digital manufacturing process. To concrete this, this paper consists of the following steps. First, reproduction and mixture in a Film. In art history which have emphasized 'Aura' of an, Reproduction by machine became that can not avoid. Various pictorial information and added images stored by digital become having an opportunity that can do easily a new film-work with reproduction and mixture It is the second rank, extension of an area of Digital Animation. Now, Digital Animation is recognized as a new creative art through illusion of meta-realism. Consequently, the process of Digital Animation is acquiringing the possibility as a new art of Digital Animation, showing the characteristics of a new media art that reconstructs imagination which past media arts could not achieve.

• The Journal of the Convergence on Culture Technology
• /
• v.9 no.4
• /
• pp.431-436
• /
• 2023

The film Aftersun(2022) is Scottish director Charlotte Wells' feature debut and is one of the films that received the most attention in the international art film scene that year. The overall structure of the film is a look back at a certain summer vacation that Sophie, now an adult, went to Turkey with Calum, a 30-year-old 'young dad', whom she lived apart after divorcing her mother when she was 11 years old. In fact, it can be said to be a reconstruction of memory, and Aftersun not only describes the contents remembered, but also reveals the process of reconstructing memories, making the film a process of post-action memory work. In this process, Aftersun proves Lev Manovich's words that cinema is an indexic art. Going back and forth between home video and cinematic diegesis, After Sun unleashes a new imaginary temporality through a two-hour conversation, traces of indexical signs engraved on home video and present times. The film urges involuntary memories in the chaotic time to the present, and makes meaning through traces and signs of intense gestures in the dialogue between media and media, past and present. The We think about the meaning through the time when the story is stopped and the implications of the gestures.