• The Journal of the Korea Contents Association
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• v.15 no.10
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• pp.66-82
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• 2015

This study looks into the differences between the two different genres of dramatic renditions on film- television dramas and movies, by studying the respective characteristics of screenplays for television and movies, and comparing the disparity in status between the powerful television drama writer and the powerless movie screenwriters as well as actual power structures within the Korean media industry. It explores the intensifying problems of high cost drama productions and poor treatment of screenwriters, as well as established practices in the movie and television industries so as to analyze problems comprehensively and seek balanced growth within these industries. The Hollywood screenwriting system is taken as a point of comparison in seeking solutions and exploring the direction that Korean film and television industries should take in the future.

• Trans-
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• v.2
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• pp.75-94
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• 2017

The film director is the responsible for artistic quality of the film. In Hollywood, the director considered as a technician only visualizes the given scenario. In the 1950s, young critics of the Cahiers du cinéma, who were at the center of Nouvelle Vague, re-qualified some Hollywood directors, for example Alfred Hitchcock, Howard Hawks and John Ford. They are considered "auteurs(authors)" because their films have their own styles. In France, the word "auteur-directoir" is often used in the film production. It refers to the person who writes the original screenplay of a movie. Auteur's legal definition of copyright is set out in Article L.111-1 of the Intellectual Property Code: "the auteur of a work of the mind enjoys the work by reason only of its creation, of an exclusive intangible property right and opposable to all. On the other hand, in the definition of producer, it is the natural or legal person who takes the initiative and responsibility for the realization of the work according to Article L. 132-23 of the same code. We study here the competence and responsibility of the French director as an "auteur" by consulting the two types of contract: director-technician and author-director. We rant to offer a reflection on the position of the film director and the relationship between the director and the producer.

• Korean Architects
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• s.496
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• pp.71-76
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• 2010

본 연재는 앞으로 2회에 걸쳐 '네덜란드의 건축정책(Architectural Policy)'과 '네덜란드의 건축센터(Architecture Centers)'의 역할을 살펴보게 될 것이다. 이를 통해 각각 중앙 정부와 지역이 어떻게 상호 관계를 맺으며 네덜란드의 건축과 도시를 조율하고 발전시켜나가는 건축 정책의 중요한 주체로서 작용하는지 살펴보고자 한다. 이러한 복합적인 층위의 역할과 그 협력 관계를 이해하는 것은 오늘날 세계 건축계를 이끌어 가고 있는 네덜란드의 건축문화를 이루는 원동력이 무엇인지를 아는 데에 있어 매우 중요한 일이다. 네덜란드는 세계 최초의 정부 주도로 수립된 건축정책을 통해 지난 20여 년 간 건축의 공공성을 표방하며 자국의 건축문화를 발전시켜왔다. 네덜란드의 건축문화는 개별적인 작가들에 의해서라기보다는 건축가(군), 건축기관, 정부 등 여러 주체들에 의해 발전되었으며 건축 정책을 통해 지속적인 시스템을 구축했다는 점을 주목해야 한다. 네덜란드 정부는 건축정책을 수립하고 그 실행을 전문적 건축기관에 일임함으로써 전문가들이 분야의 전문성과 폭넓은 네트워크를 바탕으로 건축의 공공성을 지향하고 건축실천의 방향성을 유도하는 역할을 하고 있다. 한편 지역의 자발적인 움직임으로 설립, 운영되는 지역 건축센터들은 지역의 폭넓은 커뮤니티에의 접근성을 바탕으로 정부의 적극적인 지원 속에서 중앙의 건축정책의 방향성을 지역의 커뮤니티에 전달하고 지역의 이슈를 발굴하고 발전시킨다. 본 연재는 시대적 변화 속에서 개별적 주체들의 의식 성장으로 하향식 주도가 더 이상 작동하기 힘들며 관심과 동기가 다른 다양한 주체들과의 협의와 협력이 불가피해지고 공공성의 대변자 역할을 했던 건축, 도시계획의 위상이 근본적으로 변화를 겪으면서 공공성에 대한 이해의 재정립이 요구되는 현 시대에 네덜란드의 건축정책과 건축센터의 사례를 통해 우리에게 시사하는 바를 찾고자 한다.

• Archives of design research
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• v.17 no.2
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• pp.123-134
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• 2004

Developing curriculum in the field of illustration is the main purpose of this study. During the past 30 years, illustration industry has achieved remarkable success in South Korea. Moreover the trends in styles are various today. Aspiring Korean illustrators were awarded prizes by authoritative international organization for their illustrated picture books lately. Regardless of achievement in the field of illustration, an adequate curriculum to educate illustrators was never developed. Facing the challenging circumstances of the 21th century, professors of illustration need to be specialized and they must study the ultimate curriculum of illustration. Since illustration is a visual language, the kernels of education for illustration are teaching the nature of visual communication, getting the objectivity of communicating and establishing a professional techniques for expression. Even though the basic formative arts training courses are fairly important to students who major in illustration, it is impossible to see the achievement with the current situation of curriculum. In order to make good products of illustration and competent illustrator, we must try to create education system which well-matched for an independent genre of illustration field. Besides 1 hope this study will be used as one of the teaching methods for the field of animation and cartoon as well as for the field of illustration.

• Cross-Cultural Studies
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• v.47
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• pp.131-161
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• 2017

This work introduces Nada (1944) by Carmen Laforet in humanities in Korea, to add new knowledge about Spanish literature and therefore broaden and enrich humanities. When the opera prima of this Barcelonian author came to light, critics and the readers were shocked at a work that departed from the expiring Spanish novel under Franco's anti-intellectual and anticreative regime, to renew it indefinitely. That was more than 70 years ago, and today the freshness of Andrea's story continues to be prevail, thanks to its most outstanding feature: polyphonic ambiguity in its text, which allows the novel to include and develop different and contradictory meaning. This investigation addresses several critical readings of Nada, produced and extended inside and outside Spain. These readings, together, reveal the exceptional flexibility and complexity of Nada, a work of fiction that reflects and recreates multiple aspects of the human being.

• Cartoon and Animation Studies
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• s.37
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• pp.413-437
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• 2014

As the public Japanese art, print can be said to have started from Ukiyo-e print of Edo period(江戶時代, 1603~1867). Ukiyo-e(浮世繪) print, which 3 persons jointly produce, henceforth has gradually declined since the meiji period(明治時代, 1868~1912) due to the development of new print technique and introduction of western art. Since then, during the daiso period(大正時代 1912~1926), creative print movement grew up. Creative print is, differently from Ukiyo-e print, to be produced by one person, from the original picture to print, focusing on creating the artist's own work by being the main agent of the work. During before and after 1900s, print was evaluated low in Japan, compared to western painting, sculpture, etc. Nevertheless, the facts that several Japanese print artists received awards from international exhibits since 1950s became a big topic internationally, which became an opportunity to hold Tokyo International Print Biennale in 1957 in Japan, the first international art festival. From then on, print was recognized as an art genre while new recognition on it was gradually accepted also in Japan. In 1970, a controversy on it arose, while the characteristic of print as a medium of modern art became strong, accordingly, a controversy on it arose. However, in 1980, it firmly established itself as an art genre by overcoming the crisis through various efforts in the dimension of print artists and university education. Since then, print artists who produce new works with completeness by applying traditional technique and modern expression mode emerged, and until now Japanese modern print art is highly recognized by the world through the continuous overseas activities, research on print art, and cultivation of young print artists. This research looked back on the historical process when Japanese modern print art was created, which represents Asia, and investigated the cause that it could have win an international fame.

• Journal of KIISE:Computer Systems and Theory
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• v.28 no.9
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• pp.415-423
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• 2001

Recently, there are many attempts to reproduce real world fine art pieces in digital forms. The digital representations are convenient to store and/or transmit. In contrast, mobiles, or moving sculptures, such as those designed by Alexander Calder cannot to reproduced realistically by usual reproduction techniques. Since mobiles are originally designed to generate motions in response to external forces applied to it, people could not fully enjoy them through photographs or static images. We present a virtual mobile system where use can easily control the mobile and can feel the impressions that the artist originally intended to provide. A real-world mobile is reconstructed in a three-dimensional physically-based model. and then virtual wind is generated to give motions to it. The motions of the mobile are generated by constraint dynamics and impulse dynamics techniques, which are modified to fully utilize the characteristics of the mobile, and finally give interactive displays on the PC platforms. The techniques presented can easily be extended to simulate other interactive dynamics systems.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.87-122
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• 2019

This paper examines how the melancholia and death drive foregrounded in Kwak Ji-kyun's films have changed the affect and production trend of South Korean melodrama films of the late 1980s and thereafter. It particularly analyzes Kwak's The Home of Two Women (1987) as his exemplary melodrama film. Kwak is not only an auteur filmmaker of the 1980s and 1990s but was also a herald of South Korean New Sentimentalist films back then. The New Sentimentalist filmmakers have aspired to sophisticate the South Korean melodrama film not only by de-sentimentalizing it from the shimpa quality but also separating it from excessive emotion of shimpa that had long dominated the national cinema. This affective sophistication is directly linked to the sense of loss and melancholia/depression of the characters in the film caused by the death of one's beloved. This New Sentimentalist affect is best represented in Kwak's The Home of Two Women through its depiction of the internal conflicts of artists struggling to artistically sublimate the death drive and sense of loss. By textually analyzing The Home of Two Women, this paper not only reevaluates Kwak's film style but also reposition the topology of the New Sentimentalists in Korean film history.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.154-175
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• 2020

Most Korean Buddhist paintings from the late Joseon period were produced through collaborative projects (bulsa) between clans of Buddhist monks and monk artists (hwaseung), in which the monk clans would select themes and iconography for works that would then be produced by the artists and their school. Thus, any attempt to understand the Buddhist paintings of this period must consider not only the stylistic characteristics of the monk artists, but also the conditions at the respective temple at the time of production. Applying this methodology, this paper examines the collaboration between the Buhyu monk clan and the monk artist Uigyeom and his fellow artists (hereinafter, the "Uigyeom School") that took place in Honam (湖南) and surrounding areas in the eighteenth century. In particular, the paper reveals the strong influence that the Buhyu clan exerted on paintings that the Uigyeom School produced in 1724 and 1725 at Songgwangsa Temple, the clan's main temple. Following the paintings for Songgwangsa Temple, the Uigyeom School actively participated in similar projects at regional temples under the auspices of the Buhyu clan in Honam, Hoseo (湖西), and Yeongnam (嶺南). Consequently, the Buhyu clan granted Uigyeom several honorable titles-including "Hoseon" (毫仙), "Jonsuk" (尊宿), and "Daejeonggyeong" (大正經)-that were rarely conferred to a monk artist. Such acclaim helped Uigyeom's style of Buddhist painting to become widespread throughout the three southern provinces of Korea. The paintings for Songgwangsa Temple exemplify how the Buhyu clan and Uigyeom School collaborated to visualize the thoughts and philosophies of the Buhyu clan. For the Uigyeom School, this project served as the foundation for building the reputation and esteem of Uigyeom, who became one of the most esteemed and influential monk artists of the late Joseon period. As such, the paintings created for Songgwangsa Temple in 1724 and 1725 have great significance not only for Korean Buddhism, but also for art history in general.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.155-180
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• 2019

Samsaebulhoedo(三世佛會圖) at Yongjusa Temple(龍珠寺), regarded as a monumental masterpiece consisting of different elements such as Confucian and Buddhist ideas, palace academy garden and Buddhist artist styles, unique traditional and western painting styles, is one of the representative works that symbolically illustrate the development and innovation of painting in the late Joseon dynasty. However, the absence of painting inscriptions raised persistent controversy over the past half century among researchers as to the matters of estimating its production period, identifying the original author and analyzing style characteristics. In the end, the work failed to gain recognitions commensurate with its historical significance and value. It is the particularly vital issue in that estimating the production period of the existing masterpiece is the beginning of all other discussions. However, this issue has caused the ensuing debates since all details are difficult to be interpreted to a concise form due to a number of different records on painters and mixture of traditional buddhist painting styles used by buddhist painters and innovative western styles used by ordinary painters. Contrary to other ordinary Buddhist paintings, this painting, Samsaebulhoedo, has a praying letter for the royal establishment at the center of the main altar. It should be noted that regarding this painting, its original version-His Royal Highness King, Her Majesty, His Royal Crown Prince主上殿下, 王妃殿下, 世子邸下-was erased and instead added Her Love Majesty慈宮邸下 in front of Her Majesty. This praying letter can be assumed as one of the significant and objective evidence for estimating its production period. The new argument of the late 19th century production focused on this praying letter, and proposed that King Sunjo was then the first-born son when Yongjusa Temple was built in 1790 and it was not until January 1, 1800 that he was ascended to the Crown Prince. In this light, the existing praying letter with the eulogistic title-Crown Prince世子-should be considered revised after his ascension to the throne. Styles and icons bore some resemblance to Samsaebulhoedo at Cheongryongsa Temple or Bongeunsa Temple portrayed by Buddhist painters in the late 19th century. Therefore, the remaining Samsaebulhoedo should be depicted by them in the same period as western styles were introduced in Buddhist painting in later days. Following extensive investigations, praying letters in Buddhist paintings in the late 19th century show that it was usual to record specification such as class, birth date and family name of people during the dynasty at the point of producing Buddhist paintings. It is easy to find that those who passed away decades ago cannot be revised to use eulogistic titles as seen by the praying letters in Samsaebulhoedo at Yongju Temple. As "His Royal Highness King, Her Majesty, His Royal Crown Prince" was generally used around 1790 regardless of the presence of first-born son or Crown Prince, it was rather natural to write the eulogistic title "His Royal Crown Prince" in the praying letter of Samsaebulhoedo. Contrary to ordinary royal hierarchy, Her Love Majesty was placed in front of Her Majesty. Based on this, the praying letter was assumed to be revised since King Jeongjo placed royal status of Hyegyeonggung before the Queen, which was an exceptional case during King Jeongjo's reign, due to unusual relationships among King Jeongjo, Hyegyeonggung and the Queen arising from the death of Crown Prince(思悼世子). At that time, there was a special case of originally writing a formal tripod praying letter, as can be seen from ordinary praying letter in Buddhist paintings, erasing it and adding a special eulogistic title: Her Love Majesty. This indicates that King Jeongjo identified that Hyegyeonggung was erased, and commanded to add it; nevertheless, ceremony leaders of Yongju Temple, built as a palace for holding ceremonies of Hyeonryungwon(顯隆園) are Jeongjo, the son of his father and his wife Hyegyeonggung (Her Love Majesty)(惠慶宮(慈宮)). This revision is believed to be ordered by King Jeongjo on January 17, 1791 when the King paid his first visit to the Hyeonryungwon since the establishment of Hyeonryungwon and Yongju Temple, stopped by Yongju Temple on his way to palace and saw Samsaebulhoedo for the first and last time. As shown above, this letter consisting of special contents and forms can be seen an obvious, objective testament to the original of Samsebulhoedo painted in 1790 when Yongju Temple was built.