• Trans-
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• v.12
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• pp.245-274
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• 2022

The interactive cinema is based on the interactivity between the cinema and the audience. The discussion of interactive cinema can be divided into two poles. One is to positively look at the possibilities of interactive cinema as a new format and to test with them in various ways. The other is the perspective of a critical warning that the interactivity of interactive cinema risks reinforcing biases while instilling the illusion of freedom and activity in the audience. Considering both of these perspectives, we try to find a way to realize the political and aesthetic possibilities of interactive cinema through characteristic analysis. To this end, we analyzed the interactive film , which has received public and critical attention, based on Brecht's epic theater as a theoretical and practical reference. We analyzed the text/contextual characteristics of this work in three dimensions - an interactive multi-branching structure, a self-reflecting Mise en abyme structure, and an active enjoyment of the audience - and compared them with the epic theater theory. Through this, we examined the conditions and possibilities of interactive cinema as a new epic theater in the new technological/media environment of the 21st century.

• The Journal of the Korea Contents Association
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• v.21 no.10
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• pp.332-343
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• 2021

This study shows that reality in interactive documentaries can be distinguished between narrative reality and visual reality, which can be defined as a feature of reality-based interactive documentaries. This study reveals the visual reality in that all audiences who visually watched "The Maribor Uprisings" were immersed in the movie presented by the producer, and thus sympathized with the problems of non-violent protests and social conflicts through two-way communication between the audience and the actors. This study also confirms that epic reality in that it can selectively participate in the narrative of movies through questions about democracy in action. Besides, this study finds that the reality expressed in the interactive documentary deepens the audience's 'immersion', showing that the direction of the narrative can be determined by reflecting the opinions of the audience on an event or narrative of the movie. In this process, the audience was found to have the characteristics of being able to recognize and rediscover events in the movie as if they were close to them.

• Journal of Digital Contents Society
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• v.8 no.2
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• pp.227-233
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• 2007

Movie Films and Games, to be close to their industries, needs in crossover fields, are affected to each other. Interactive movie is an effective authoring method accommodating this trend on demands. However, studies which explore and examine various forms of Interactive effected films and storytelling approaches are scarce. This call for elucidation is basis of this research which applies the notion of Interactive movies and games to analyzing of trends and composition limits of Interactive movies, and improvised methodology of ability on merits for the next generation media cultures.

• Journal of Korea Game Society
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• v.19 no.3
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• pp.101-112
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• 2019

This study examines the potentials and limitations of interactive movies at present by reading the narrative of the interactive movie, through the concept of gamification. The 'quest' of the is to choose an option to play out the story in unpredictable world, and the 'reward' is the hierarchy of the ending. It is necessary to reduce uncertainty between option and ending, intensify playfulness, and provide a variety of discriminative endings in order to make viewers immerse deeper in interactive movies. Such an analysis implies that the intensification of gamification elements may influence the immersion in interactive movies positively.

• Journal of Digital Contents Society
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• v.19 no.9
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• pp.1679-1688
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• 2018

The development of digital technology has not only led to the development of expressive technology, but also to change in the process of production, expression media, production formats and methods, and communication with the audience. In one form, motion poster using LCD display instead of paper poster was introduced. This not only suggests the generation of posters with sound and movement on the ground, but also the possibility of expansion using the features of a platform called LCD displays. As part of this extension, this paper focuses on the "interactions" element and suggests a new interactive motion poster.

• The Journal of the Convergence on Culture Technology
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• v.5 no.1
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• pp.243-248
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• 2019

As digital media technology continues to evolve, media arts are being created using new technologies. Among them, interactive media provides new experience and interest to the audience in that the audience is completed only by participating in the works. The use of these characteristics as a marketing strategy has led to an increase in sales and a positive image of the company. Through this study, we analyze the case of interactive media contents and infer the usage plan and elements. In addition, we propose a prototype of interactive media contents that can be used as a strategic marketing element by exploring ways to utilize interactive media as a marketing element of the film industry. This suggests the development direction of interactive media that provides a continuous and new sense of immersion to the audience, and suggests subsequent research on effective use of the industry as well as movie marketing.

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

• The Journal of the Korea Contents Association
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• v.15 no.1
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• pp.114-122
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• 2015

This study has a main purpose on discussing the issue how the construction of film narrative will be changed by audience's desire to intervene into film narrative through the active participation, out of watching a film passively in movie theater. Compared with the collective theatergoing experience in big screen was defined as the past cinematic identity, the absolute value of movie theater fragmented increasingly in the era of media diversification facing with digital media convergence. As this situation can be compared with "the author's death" Roland Barthes predicted on the mono-media of the book, thus, we are to take the time to discuss the new emerging 'movies'. The most important thing in this discussion is the aspect of the transformation of narrative in the future screening. Especially, while 3 act structure and configuration evoking a catharsis in film narrative are elements defining aspect of the past narrative, then, the future narrative in film will change to the structure interacting with audience actively. This paper had a discussion how could be possible the aucience interaction in only movie valuing the passive experientiality uniquely in screening over the other media through investigating the attempts of interactive cinema so far and the possibility of future.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2017.06a
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• pp.241-242
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• 2017

최근 영화, 광고, 미디어 전시 등의 분야에서 다양한 특수 효과가 처리된 장면의 연출이 적용되고 있다. 특히, 미디어 전시, 공연 등에서는 관객 혹은 공연자의 움직임에 반응하는 예술적 영상의 인터랙티브 표현들이 시도되고 있다. 이에 본 논문에서는 광고, 전시 등에서 효과적으로 활용될 수 있는 인터랙티브 포토 모자이크(photographic mosaic) 영상을 생성하는 시스템을 제안하였다.. 제안 시스템에서는 관객의 출현을 인지하고, 관객의 얼굴을 자동으로 캡쳐하여 관객의 얼굴 사진을 이용한 모자이크 영상을 실시간으로 생산한다. 이 때, 흥미 유발을 위하여 모자이크를 구성하는 관객의 얼굴 사진 조각들이 움직임을 가지는 작은 사각의 입자로 표현되어 서로가 충돌하며 자연스러운 움직임을 통하여 하나의 영상으로 맞춰가는 모습이 보여지도록 하였다.

• 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.