• Journal of Korea Entertainment Industry Association
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• v.14 no.6
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• pp.77-89
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• 2020

The film "Parasite" portrays Korea's history and its present in a space that clearly represents the real world's hierarchy as a vertical structure. It demonstrates the problems of an insurmountable reality and the elements of various conflicts occurring below the surface of Korean society through a complex mix of human emotions and relationships. The most realistic yet unrealistic characters cross boundaries between being victims and perpetrators, defamiliarizing ordinary scenes from everyday life through their small mistakes, strange obsessions, bizarre behavior, anxious psychology, and desperate struggles. This study analyzes the expression of the film "Parasite" through its characters with the belief that the film expresses director Bong Joon-ho's consistent cinematic philosophy of taking reality beyond the traditional rules of film genres. By doing so, Bong creates a feature of the expression that shifts genres as the characters' personalities amplify related behaviors, conflicts and questions, and that this is the core of the unique nuance and distinct humor of this film. In addition, the personalities of the characters interact with all the film's elements (cinematic techniques, space, props, etc.), evoking effects of various meanings, which are transmitted through the actors'images and acting. In this respect, the study analyzes how the actors were cast in order to realistically reproduce the characters of the actors, how their acting was harmonized with the film's elements, and its features as well as how they were expressed.

• The Journal of the Convergence on Culture Technology
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• v.10 no.5
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• pp.585-592
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• 2024

Recent Chinese animations emphasize the harmony between content and form, as well as the fusion of reality, emotion, and aesthetic ideals, through character designs that blend traditional cultural elements with modern aesthetic sensibilities. We have observed that this fusion has significantly contributed to the development of the Chinese animation industry. In particular, "Nezha: Birth of the Demon Child" stands out as an important example, where traditional character images are reinterpreted in a modern way, showcasing a unique artistic direction. In this study, we have conducted an in-depth analysis of the major characters in "Nezha: Birth of the Demon Child", focusing on their form, acting, and movement elements based on the theoretical foundation of traditional Chinese aesthetics.We explored how traditional Chinese costumes, totems, and painting styles were utilized in the design of the characters' forms, and discovered that these elements imparted a distinctive artistic quality. Furthermore, we found that the acting and movement elements were influenced by Chinese cultural practices, traditional theater, and martial arts, enriching the characters' motions and expressions. Through this research, we aim to highlight how Chinese animation integrates tradition and modernity, creating new artistic value, and establishing a unique competitive edge in the global animation market.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.165-172
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• 2019

Signs of the street and scenes of the nature(tree) popping up like a still screen in a monotonously repeated routine, as if waiting for something by chance, characters appearing and disappearing without special meaning, advise you to get away from cliché meetings and breakups while repeating it. The images of people returning to their places without presenting any conclusions highlights the coincidences and unexpectedness of everyday life, but are so familiar that it is easy to be overlooked, it brings us to experience the potential of everyday unfamiliarity in such moments. The actor's performance, which deviates from the practice of well-organized characters, is improvised (unplanned and uncoordinated) emphasized on the scene and expresses the everyday nature of his differentiated character freely like the reality as if he were locked up in a film structure but not confined to it, and as if he got used to the everyday life. Also the repeated words and actions of characters, and unpredictable changes of emotions, centered by the encounters and conversations of this film of Hong Sang-soo, everything that is presented in the background of everyday life in its form, let's us pay attention to the meaning and what to be found in the film. In addition, director Hong Sang-soo, who creates a story after selecting actors to reproduce this daily process in a realistic manner, sets new relationships between the characters and the actors, presenting a new method of realistic expression, through the actor who repeatedly appears in the film. This study analyzes the everyday characters and acting of the film based on director Hong Sang-soo's directing style.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.325-334
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• 2019

Director Lee Chang Dong said that it is the most important point for revealing the invisible beauty so that the audience could feel the unseen beauty through the . Discussing about how to find beauty that is not only visible but also invisible through the main character Mi-ja from the film, who makes a decision and reactions on her daily life by her perception that are difficult for others to take same. The film tells that how Mi-ja's ideal of a beauty can be taken the role for writing a poetry at the moment of the dead poet society, making a movie in the age of dying emotion and also when it lost fundamental values and about movie media. This study analyzed the performances of the main character Mi-ja in the film, and actress Yoon Jung Hee based on Director Lee Chang Dong's directed performance. The audience will be self-questioning and reflecting their life through the Mi-ja's an unidentifiable characteristic which something that someone cannot say, something that someone cannot express, something that tells something through Mi-ja's poem and actress herself finds the character's feelings.

• 한국HCI학회:학술대회논문집
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• 2007.02b
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• pp.693-704
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• 2007

지금까지 사이버문화에 대한 연구는 해당 문화의 가장 큰 특성 중인 익명성과 그것이 개별 이용자들의 정체성에 미치는 영향에 대한 많은 관심이 있어왔다. 최근 주목을 받고 있는 싸이월드나 블로그 등 CMC환경에서 매체가 일반적으로 여성의 라이프스타일 및 여성성과 연관되어 정체성의 구성에 영향을 미치게 되며, 이러한 이용 형태를 마케팅과 접목하여 높은 여성 참여와 구매력을 이끌어내고 있다. 반면 온라인게임은 남성 중심의 매체로써의 특징을 가지고 있으며, 상대적으로 여성의 온라인게임 이용 행태 분석 및 마케팅 전략 연구가 미흡하였다. 온라인게임에서 여성 이용자의 참여나 구매력을 이끌어 내기 위해서는 우선적으로 남성 중심적 매체에서 여성 온라인게임 유저의 이용 행태 분석 이 선행되어야 하며, 이를 통하여 여성의 온라인게임 소비 패턴과 특성을 파악하고, 나아가 고객 충성도, 구매력과의 관련성 속에서 마케팅적 시사점을 도출하여야 할 것이다. 본 연구는 온라인게임 여성 유저의 심층 인터뷰를 통하여 우선적으로 연령별 게임 이용 패턴 - 게임이용 장소, 초기 진입 방식, 커뮤니티 활동, 아이템 구매 형태 등 - 에 대해 알아보고, 다음으로 여성 유저의 게임 플레이 방식으로 게임 내 캐릭터의 전유 방식(몰입)과 게임 플레이 스타일을 고찰하고자 한다. 이때 여성의 온라인게임 이용 방식이 남성적 매체라는 구조적 공간 내에서 여성의 성적 특성이 온라인게임 소비 행태에 어떠한 영향을 미치며, 또한 여성 유저의 이용 방식에 따라 고객 충성도에 미치는 효과에 대해 알아보도록 한다.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.231-242
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• 2019

(2014) directed by British-born second generation Iranian-American Ana Lily Amirpour, set in 'the Iranian ghost-town Bad City' attempts to make how the hybridization of multi-cultures makes interesting interpretations culture-politically, presenting a female vampire skateboarding in a striped t-shirt and a black chador. In traditional horror films, mainly male-Dracula was the center of the vampire narrative as other, but since the post-modernism era, vampire films try to shift women from the passive and dependent victim to the subjective and independent main agent. And the main character of the film, 'The Girl' who is a female Muslim vampire takes a step forward to punish men who commit gender violence. Shot in black and white, the film puts images ahead of narrative, while featuring Iranian actors, speaking Farsi. Furthermore, the film crosses over Iranian politics into American-European pop cultures with this eclectic mix of Iran's rock, British electro-pop and Ennio-Morricone-like western stylings. This study focuses on the style featured in which has successfully transformed and transplanted a vampire story into a critical contemporary discourse, mixing multiple genres and citing cultural trends while not following the traditional conventions of vampire films.

• The Journal of the Korea Contents Association
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• v.20 no.4
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• pp.151-158
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• 2020

SNS on the mobile platform is an essential element and tool for communication and has become a part of life for many people. Having been accustomed to non-face-to-face communication, people today have chosen to use emoticons instead of text to express their feelings and the use of emoticons is constantly growing. This is because the emoticons in various styles of drawings and movements can evoke emotional and sentimental reactions in users and express their tastes in addition to feelings. The current study was conducted to analyze the use of initial emoticon characters released by two most leading SNS platforms in Korea--Kakao for Kakao Talk and Naver for Line--and their expansion to various platform businesses. Based on the cases of the two companies, it discussed the development and goals of Korea-made emoticons in the future as cultural contents.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.129-134
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• 2009

Recently, percentage of people who use SMS service is increasing. However, it is difficult to express own complicated emotion with text and emoticon of exited SMS service. This paper focuses on that point and practical uses character animation to express emotion and nuance correctly, funny. Also this paper suggests emotion based gesture animation generation system that use character's facial expression and gesture to delivery emotion excitably and clearly than only speaking. Michel[1] investigated interview movies of a person whose gesturing style they wish to animate and suggested gesture generation graph for stylized gesture animation. In this paper, we make focus to analyze and abstracted emotional gestures of Disney animation characters and did 3D modeling of these emotional gestures expanding Michel[1]'s research. To express emotion of person, suggests a emotion gesture generation graph that reflects emotion flow graph express emotion flow for probability. We investigated user reaction for research the propriety of suggested system and alternation propriety.

• The Journal of the Korea Contents Association
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• v.18 no.11
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• pp.205-212
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• 2018

Learning how to express and express the characteristics of acting expressions required by different media is easy to express the acting required in various mediums. The style of acting required by each medium is different depending on the characteristics of the medium. In particular, digital acting using computer graphics technology expresses actors as if they are in the space by imagining the imaginary space. Through computer graphics post-production, the actual space that will be visible on the final screen is completed and creates a story based on the actual situation. The role of digital actors in applying motion capture to movies is becoming increasingly important. Natural cross-reaction acting between live-action actors and digital character actors has become a trend in animation films where only digital actors appear. In animation films, a real actor plays a major role in connecting the characters of a digital actor. The core of a digital actor is the realization of a unique character performance. In the era of trans-media, the importance of digital acting is increasing day by day.

• Journal of the Korea Computer Graphics Society
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• v.27 no.1
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• pp.1-8
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• 2021

This paper proposes a simple deformation method for editing the trajectory of a walking motion with preserving its style. To this end, our method analyzes the trajectory of the root joint into the graph and deforms it by applying the graph Laplace operator. The trajectory of the root joint is presented as a graph with a vertex defined the position and direction at each time frame on the motion dataThe graph transforms the trajectory into the differential coordinate, and if the constraints are set on the trajectory vertex, the solver iterative approaches to the solution. By modifying the root trajectory, we can continuously vary the walking motion, which reduces the cost of capturing a whole motion that is required. After computes the root trajectory, other joints are copied on the root and post-processed as a final motion. At the end of our paper, we show the application that the character continuously walks in a complex environment while satisfying user constraints.