• The Journal of the Korea Contents Association
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• v.12 no.11
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• pp.100-109
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• 2012

The history of war is the interesting theme to every group because it presents the identity of nation and social aspects of the age. The war was a subject matter in culture industry, and the war films represented a battlefield with various phases. Thus, it provided important description to understand our society. The purpose of the study is to identify the phases and representation of war in films through analyzing a pattern of war films. For the comparison study on a type of war and its social effect, we need to approach the concept of inclusive representation. Thus, I categorize war films to suit the subject of research and select the objects among the various war films. On the basis of these films, this paper studies how the representations and phases of war is reflected and described in contents of films.

• The Journal of the Korea Contents Association
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• v.15 no.2
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• pp.109-121
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• 2015

Dir. Go, Yeongnam has made 110 film works during 40 years from the last of 1960's to the first of 2000's. He has the record for the most making films in Korean film world. His first film is melodrama (1964). But he makes literary picture genre film after (1977). He has made various genre film such as 47 melo films, 6 literary pictures, 3 comedy films, 22 action films, 21 anti-communism films, 1 war films, 8 detective films, 2 costume plays. This research discussed on Go, Yeongnam's activity in Korean film world and introduced his all films from the last of 1960's to the first of 2000's. In conclusion I arranged the essay of Go, Yeongnam's film world through analyzing the story of his all films.

• 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?

• Journal of Korean Philosophical Society
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• v.137
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• pp.409-438
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• 2016

The movie, Battle of Wits which is based on the cartoon by Morihideki(森秀樹) is directed by Zhang Zhiliang(張之亮), a director from Hong Kong. Morihideki's cartoon is based on the novel by Sakemikenichi(酒見賢一). The movie represents a successful one-source multi-use case. Battle of wits, which deals with the Mozi's propaganda against war, presents the thought of Mozi School(墨家) in spring, autumn, and warring states. The movie criticizes aggressive war by powerful nations. Aggressive war is an extreme form of brutality and worthless action without any benefit. Aggressive war represents 'never each love(buxiangai, 不相愛)' and 'never each benefit(buxiangli, 不相利)' as understood by Mozi. The main character of the movie endeavors and successfully defends the enemy's attack as Mozi did. It is due to the propaganda of Mozi School 'not to attack(feigong, 非攻)' that they can defend themselves from the attack from a powerful nation. It means that 'the universal love(jianai, 兼愛)', the ideology of Mozi, is concretely actualized. The philosophy of Mozi School in the Battle of Wits has its limits as follows: the thought of Mozi School is just suitable during times of war and unnecessary in times of peace, the contradiction between universal love and hatred for one person; the Mozi School's faith in the nature of human beings to confront betrayal. This limit was also proposed in the movie. However, the movie presented how the masculinity of Mozi School, supplemented by the feminity of Daojia(道家), can succeed in achieving genuine communication. When focusing on this point, the movie can be interpreted as biased towards the philosophy of Daojia.

• 월간산업보건
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• s.384
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• pp.56-57
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• 2020

영화 <작은 아씨들>은 혼란했던 미국 남북전쟁 시대를 배경으로 마치 가(家) 네 자매의 인생을 그리고 있다. 메그, 조, 베스, 에이미는 각각 배우, 작가, 음악가, 화가의 꿈을 꾸며 삶을 개척한다. 영화는 둘째 '조'를 중심으로 흘러간다. 조는 작가라는 꿈을 위해 끊임없이 펜을 드는 진취적인 여성이다. 하지만 조처럼 장시간 어깨를 구부린 채 책상 앞에 앉아 있는 작가들은 두통에 시달리기 쉽다.

• TTA Journal
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• s.127
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• pp.26-27
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• 2010

영화 <지.아이. 조(G.I. Joe)-전쟁의 서막>에서는 금속성 물질과 에펠탑을 갉아먹는 나노무기가 등장한다. 나노기술이 접목된 특수한 초소형 기계 수천 개로 이뤄진 이 무기가 가동되면 쇳조각을 비롯해 무엇이든 무서운 속도로 분해해 먹어치운다. 또 우리에게 잘 알려진 600만 불의 사나이와 소머즈, 로버캅도 팔과 다리를 개조하거나 몸 안에 보조기나 칩을 넣어 초능력을 발휘한다. 탱크를 들어 올리고, 헬기를 잡아서 떨어뜨린다. 아마 이들이 전쟁에 투입된다면 특수 부대원이라도 싸움이 쉽지는 않을 것이다. 그렇다면 실제로 이런 '초능력 병사'를 만들 수는 없을까. 현재 나노무기의 수준은 어느 정도일까.

• Venture DIGEST
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• s.135
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• pp.28-29
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• 2009

지구에 물이 사라진다면? 각국의 나라들은 물을 구하기 위해 전쟁을 벌일 것이고 물을 많이 가진 나라가 강대국이 될 것이다. SF영화의 소재냐고? 무슨 소리! 언제든지 우리의 피부로 다가올 수 있는 현실이다. 한마디로 물을 아낄 줄 알아야 강해질 수 있다는 소리다. 그 물을 아껴 보겠다며 남들이 가지 않는 길을 가는 한성대 성북구벤처창업지원센터 입주 벤처기업 보라산업(대표 박희범, www.borasanup.com)을 소개한다.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.7 no.5
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• pp.982-991
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• 2006

The screen quota system is one of the most controversial issues in the Korean film industry. There are two different points of view regarding the system. Some say it is highly effective to protect and nurture Korean movies. However, others argue that it hurts the duality of the Korean movies. The number of days, for which Korean movies have to play on local screens, has been reduced to 73, starting on July 1st, 2006. Actually, it is 50 percent fewer than the previous year. In facL Korea has implemented the screen quota. system two times. First, it was practiced from 1935 to 1945, during the Japanese colonial period. This was to regulate imported movies, especially American ones, as the Japanese government was to use movies for the political propaganda. In 1935, the number of foreign movies screened had to be less than three fourths of the total. And they gradually reduced the size by two thirds in 1936, and again by half in 1937. After the attack on Pearl Harbor when the Pacific War happened, Japan completely banned importing American movies in Korea. The reason why it regulated the imported foreign films is to increase the number of domestic movies, both Japanese and Korean. It was for making propaganda films fur carrying the war. The second practice of the screen quota is from 1967 to the present year. It was designed to boom the Korean film industry. However, the competitive power of Korean films has not been improved in spite of the practice of the system. Moreover, the film industry has gone through the depression. Korean film agencies have occupied the Korean film market thanks to the protection by government. The founding of the film agencies has been strongly regulated. So has importing foreign movies. Under the special protection like this, Korean film agencies have been enjoying the monopoly In the mean time, they have pursued income not by making quality movies but by importing foreign movies. As a result, cinema audiences turn away form Korean films and prefer foreign movies. Furthermore, the screen quota system hurts the relationship between film producers and distributors, imposing the duties only on theaters. In short, the screen quota system has satisfied neither film producers, theater runners, nor film goers. In other words. the excessive protection has weakened the competitive power of Korean film industry.

• Journal of the Korean Geographical Society
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• v.49 no.1
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• pp.77-90
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• 2014

The purpose of this study is to examine cinematic representations of places in the Korean War films on the event of 1950 'Incheon Landing', focusing on the place representations. 'Incheon Landing' of September 1950 provided a turning point for the Korean War, and the event can be interpreted totally different from the South Korean and the North Korean perspectives. Two films on the same event of the 'Incheon Landing' - a South Korean film, "Incheon Landing Operation"(1965), and a North Korea film, "Wolmido"(1982)- were selected as major sources of analysis and comparison. each director has different intentions. One film was taken from the landing army's viewpoint, whereas the other film was taken from the defender's viewpoint. As a result, one film emphasized the battle as a spectacle of glorious victory from the landing army's viewpoint, while the other film glorified those soldiers killed in the battle as heroes from the defender's viewpoint.

• Journal of Digital Convergence
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• v.17 no.10
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• pp.417-426
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• 2019

The purpose of this study is to analyze the success and failure of the movie made by the original game by comparing the box office environment of the movie made by the original game and to derive the necessary elements to make a good original movie. The specific analytical content studied the specific successes and failure factors of the remake of the game with , , and . Analyzes of the research show that the audience can be divided into game fan and non - game fans, and how to reflect the expectation on both sides of the movie is an important factor in making the movie. Also, games of different styles and genres from other themes can not be created in the same way as remixing movies, but flexible diversity and management are needed. Unconditional scenarios of games or game switching of movies can not be popular among the public, and it is very important to analyze specific target audiences.