• Journal of the Korea Convergence Society
• /
• v.9 no.12
• /
• pp.33-38
• /
• 2018

Recently, we are trying to predict the emotion from various information and to convey the emotion information that the supervisor wants to inform the audience. In addition, audiences intend to understand the flow of emotions through various information of non-dialogue parts, such as cinematography, scene background, background sound and so on. In this paper, we propose to extract emotions by mixing not only the context of scripts but also the cinematography information such as color, background sound, composition, arrangement and so on. In other words, we propose an emotional prediction system that learns and distinguishes various emotional expression techniques into dialogue and non-dialogue regions, contributes to the completeness of the movie, and quickly applies them to new changes. The precision of the proposed system is improved by about 5.1% and 0.4%, and the recall is improved by about 4.3% and 1.6%, respectively, when compared with the modified n-gram and morphological analysis.

• Cartoon and Animation Studies
• /
• s.43
• /
• pp.343-362
• /
• 2016

The purpose of this study is to analyze the 'depth of the film image' and to discuss its aesthetic implications in the Wes Anderson's films. In this study, I have analysed his two recent representative films, (2014) and (2012). As a result, it is found that Wes Anderson created a symmetrical composition with the depth by placing symmetrically things on the Z axis or using one-point perspective. In general, symmetrical composition is a two-dimensional form. The symmetrical composition in these two films, however, has the depth perception. It gives a sense of the fantastic world, not the real world. Thus, it is the unique way of Wes Anderson's expressing the world of the fairy tale on his films. It is also found that he used the camera work, emphasizing the depth of the image. Through these devices, Wes Anderson has created his own sensational mise-en-scene for a storyline like a fairy tale.

• The Journal of the Convergence on Culture Technology
• /
• v.9 no.3
• /
• pp.461-470
• /
• 2023

This paper analyzes the spatial representations constructed by reality, filming, and narrative in the works of Hong Kong film director Wong Kar-wai, and how these spaces influence Hong Kong's urban culture, perception, and interpersonal relationships. To analyze Wong Kar-wai's films, Charles Sanders Peirce's semiotics concepts and Paul Virilio's spatial concepts were applied. Through this, we examined how the meaning embedded in the spatial representations of Wong Kar-wai's films could become a crucial factor in their success. Wong Kar-wai focused on the values of human relationships formed by society in his subject expression, directly representing the human inner world and prompting audiences to think about it. In this paper, we categorized the spaces depicted in Wong Kar-wai's films as public, private, and connective spaces, and analyzed them as a means to show the living environment and emotions of Hong Kong's youth. Through this, we determined that the spatial representations in Wong Kar-wai's films effectively demonstrate the cultural interpretation function of Hong Kong's citizen consciousness at the junction of Eastern and Western cultures and social connections. In conclusion, Wong Kar-wai's works provide a rich understanding of contemporary people's lives, emotions, and urban spaces, offering valuable insights into Hong Kong's film industry and cultural values.

• Proceedings of the Korea Contents Association Conference
• /
• 2013.05a
• /
• pp.333-334
• /
• 2013

영화는 인간의 사고와 감정에 크나큰 영향을 미친다. 프레임라는 제한된 공간에 감독의 연출로 다양한 장면과 연기자의 연기력과 배경과 사물과 시나리오라는 극본을 통하여 관객에게 커다란 감동을 전달한다. 하나의 장면을 카메라를 통하여 실사를 촬영하여 연출하기도 하지만 경우에 따라서는 SF처럼 다양한 특수 효과를 적용하기도 하고, 비디오효과를 적용하여 장면에 대한 깊은 인상을 갖게 하는데 이러한 장면에서 비디오 기법 등 다양한 효과를 적용하여 극적 효과와 진한 감동으로 명화의 장면들을 연출한다.

• The Journal of the Korea Contents Association
• /
• v.13 no.10
• /
• pp.234-255
• /
• 2013

Korean Academy of Film Arts (KAFA) is the film school run by Korean Film Council (KOFIC). KAFA was established in 1984, benchmarking American Film Institute (AFA) and in order to foster manpower for Korean Movie under the US's pressure of domestic movie market opening in Korea. The Korean Movie market was open to the world by 1987 and suffered from the low Korean-produced movie market share of around 20% in the domestic market from 1987 to 1998. During the last 30 years, KAFA plays the key role in the Korean movie making industry. Of 520 of number of their alumni, the number of directors is 101, 33 of cinematographers, 18 of producers and 21 of professors in universities' film departments. Korean Directors, Bong Joon-ho of (2013) and topped over 10 million domestic admissions to become the most-watched Korean films of all time. Now, with KAFA's relocation to Busan following with KOFIC, their new roles are promotion of the film industry in Busan, recruiting and educating new talented Korean and foreign student filmmakers, becoming an international film school.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.8
• /
• pp.209-221
• /
• 2019

A found-footage film La France est notre patrie is a documentary, in which archive images are juxtaposed with intertitles, non-diegetic music and foley, by borrowing an audiovisual strategy of silent films. The filmmaker Rithy Panh has excavated the images, which had been taken during the same period as the film history of the end of the 19^th and early 20^th centuries in Southeast Asia and Africa under French colonial rule. This paper examines the filmmaker's methods of historiography when utilizing archive images in order to represent the past by referring to Walter Benjamin's concept of historical montage and dialectical image. As the analysis illustrates the singularity of constructive methods, which include multi-layer viewpoints and montage styles of compilation and collage, it reveals how La France est notre patrie elicits the essay film modes through its self-reflexivity, leads audience to the threshold of critical thinking about time and history and creates a discourse of counter-memory.

• Journal of Korea Society of Industrial Information Systems
• /
• v.16 no.4
• /
• pp.67-73
• /
• 2011

Teaching and learning between instructor and students and testing for evaluation are progressed remotely in distance education. Current research trends are focused primarily on the distance learning services. Testing to estimate the effectiveness of training is important as lecturing, but it has not been studied much until now. In this paper, we suggest DEIS(Distance Education Invigilation System) for a fair examination. DEIS identify examinees by verifying their real name with I-PIN and comparing the still image of the candidates the software stored on the server and the photos that are registered at the enrollment.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.8
• /
• pp.223-230
• /
• 2019

This paper aims to derive the specificity of film music of Baz Luhrmann, a Hollywood film director, focusing on his representative works such as Dancing Heroes, Romeo and Juliet, and Moulin Rouge. Frist, Dancing Heroes captures various dance music genres through dynamic shooting techniques and shows trendy sensibility by using the main theme song 'Time after Time,' sung by the main character, Tina. Second, Romeo and Juliet, the original work of Shakespeare, keeps thier lines and stories while decorating gorgeous fashion and rock music in jukebox style. Also, it is harmonized with the most modern and trendy MTV-style video. Third, Moulin Rouge presents film music through the 'mix and match' method, which consists of jukebox-type trendy songs containing classical back stage musical and Bollywood musical images. In conclusion, the style of Baz Luhrmann has been reborn as a unique way of directing Buz Luhrmann's film music that it is expressed by connecting various juke box style music with amazing visual effect. Through director's style, it is possible to suggest the direction of various film music to the industries.

• Proceedings of the Korea Contents Association Conference
• /
• 2016.05a
• /
• pp.125-126
• /
• 2016

가로 공원 건축물의 외벽 그 밖에 공중에게 개방된 장소에 항시 전시하는 경우에는 파노라마의 자유(freedom of panorama)라는 원칙에 의거하여 몇 가지 예외를 제외한다면 그 저작물을 복제하여 자유롭게 이용할 수 있지만, 개방된 장소라고 하더라도 건물의 내부에 전시되어 있는 경우에는 영상저작물에 타인의 저작물이 복제되어 상영되는 경우에는 저작권 침해가 되는 것이 현대 사회 저작권법의 원칙으로 인정되고 있다. 그러나 제작자 및 감독들은 이러한 저작권법의 원칙을 인지하지 못하여 영상저작물을 제작할 때 이러한 법원칙을 고려하지 못하여 타인의 저작물(미술저작물 및 음악저작물) 등이 그 영상저작물에 삽입되는 경우가 자주 발생하고 있고, 이에 따라 저작권 침해 소송이 최근에 발생하고 있다. 본 논문에서는 우리나라 저작권법 제35조 제2항과 관련된 판례들을 분석하여 영상제작자들에게 주의를 하고자 한다.

• Korean Journal of Remote Sensing
• /
• v.35 no.6_2
• /
• pp.1095-1106
• /
• 2019

Damage of forest fire should be investigated quickly and accurately for recovery, compensation and prevention of secondary disaster. Using remotely sensed data, burn severity is investigated based on the difference of reflectance or spectral indices before and after forest fire. Recently, the use of high resolution satellite and UAV imagery is increasing, but it is not easy to obtain an image before forest fire that cannot be predicted where and when. This study tried to analyze availability of high-resolution images and supervised classifiers on the burn severity classification. Two supervised classifiers were applied to the KOMPSAT-3A image and the UAV multispectral image acquired after the forest fire. The maximum likelihood (MLH) classifier use absolute value of spectral reflectance and the spectral angle mapper (SAM) classifier use pattern of spectra. As a result, in terms of spatial resolution, the classification accuracy of the UAV image was higher than that of the satellite image. However, both images shown very high classification accuracy, which means that they can be used for classification of burn severity. In terms of the classifier, the maximum likelihood method showed higher classification accuracy than the spectral angle mapper because some classes have similar spectral pattern although they have different absolute reflectance. Therefore, burn severity can be classified using the high resolution multispectral images after the fire, but an appropriate classifier should be selected to get high accuracy.