• The Journal of the Korea Contents Association
• /
• v.17 no.9
• /
• pp.60-68
• /
• 2017

Through this thesis, I wanted to understand the form of free indirect discourse of modern films. To this end, I first explored the notion of the polyphonie as a mixture of the speaker and the character' voice in order to establish a concept related to free indirect discourse. However, I could not overlook the differences in the form of novels and movies to apply the following theory to films. Based on the concept of narrative distance, I sought to explore the possibility of free indirect discourse from the dual position of the camera. Next, I introduced the concept of free indirect discourse in the film by introducing the concept of Time in G. Deleuze' CinemaII. In other words, the time from Deleuze is the past and the present cycle, and he sees the Time circulating like the Non-Euclidean space. I wanted to understand the form of free indirect discourse in films by analyzing the concept of Time as an analysis of the movie .

• Journal of Advanced Navigation Technology
• /
• v.12 no.6
• /
• pp.659-665
• /
• 2008

We demonstrate experimentally that the method of Two-pupil optical scanning technique with PAL-spatial light modulator is capable of performing real-time joint transform correlation(JTC) optical system. Optical addressing is achieved by the use of a photosensitive layer of $\alpha$ - Si which controls the electric field across the liquid crystal The demonstrated technique is based on two-pupil optical heterodyne scanning. The method is independent of a spatial light modulator (SLM) in the Fourier plane. We develop the theory of the technique and evaluate a performance of the method by experimentally estimating the correlation between the target image and the reference image.

• The Journal of the Korea Contents Association
• /
• v.7 no.5
• /
• pp.102-109
• /
• 2007

This is an analysis study about the pictorial frame of Georges Schwizgebel's animation "The Subject of Picture", focusing on Deleuze's frame theory. First of all, the shapes in the frame of the animation is the representation of the tactile sensation from the erased vestiges of the characters. It shows the metamorphosis of the erased vestiges of the shapes by Deleuze's sensibility theory. Besides, the layout of the animation's background has similar property with the aplat which was mentioned by Deleuze. It means that the background of the animation correspond to the aplat which is other boundary different from reality, and the character which has the minimum embodiment about the object makes the shape newly through the distortion of the shape. Secondly, as the problem of frames in terms of the continuity of time, the meaning in Schwizgebel's animation is created by the relation between each frame. It means that the depiction of the shape itself by the composition between each frame is composed of the frame. Eventually, Schwizgebel's work is the animation which has the characteristic of the modem cinema and is the crystal depiction that deviates from rules and logics of the object which was mentioned by Deleuze.