• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.131-138
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• 2019

The film enters the color film from black and white, and the screen image changes qualitatively. The color in the film not only has the reproduction function of the restoration object like the objective appearance, but also has the function of conveying different subjective emotions. It can express the color and can't express it. The artistic effect conveys the information content that the story itself can't convey, so the color of the film becomes an important part of the film language. The color in the film is presented on the screen in the form of single-screen color, scene color, full-color color tone, and various color chains designed according to different contradictions and conflicts. Because the film art and art means are assembled by montage, he colors in the picture also form a montage form. People call it "color montage". People's subjective nature of color criticism and acceptance of color language also depend on various local tones. The accurate expression of the relationship, the unique attribute of color determines that the color must enter the structural state in order to express its unique charm. The color of the film only has the real aesthetic value when it enters the level of "color structure". This paper studies the color of Chinese and Western films from the differences between the color thinking of Chinese and Western film directors and the cultural implication of Chinese and Western film colors. The western film director emphasizes the structure of color and pays attention to the use of tonal montage to convey the characters. Emotions reflect the characteristics of a subjective color. Beginning with the "fifth-generation" director of Chinese film, the new journey of film color language has been opened. In the process of blending love and scenery, the film style of "image-in-one" has been achieved.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.131-138
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• 2019

In general, film acting refers to American method or Hollywood method. Hollywood method is a term to denominate collectively actors from Group Theatre of Lee Strasberg which accepted Russian Stanislavski's system as American acting. We can find out the origins of Korean acting in the attitude of actors who imitate Hollywood. Hollywood method, which seem to be more systematic and rational in the previous Sin-pa, has begun to be accepted in the fields of actors, directors, critics, and educators. The perception of Hollywood method in Korea is part of the search for the identity of Korean film acting. This article approaches from the perspective of four fields. First, it is Korean actors' perceptions about Hollywood methods. Second, I examine the attitude of the direction of staff and technical aesthetics regarding Hollywood method. Third, it is evaluation aspect in criticism area. Fourth, it is an aspect of education.

• Archives of design research
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• v.18 no.1 s.59
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• pp.245-252
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• 2005

In this paper, I am going to analyze a commercial film narrative focused on a temporal order through the theory of narrative discourse by Gerard Genette. Advertisements has a special quality or feature to be convertible into mythological hyper reality to advertise an product effectively. In this process, narrative in a commercial film has visual variations using a temporal order to show an glamorously advertisements in television. The reason that narrative in a commercial film is subject to variation with a temporal order, duration, frequency is to get some aesthetic effect for making sure people see them. Under the influence of postmodernism, image making like a pop-art became the first consideration in a commercial film with the consequence that representation as a signifier came to be more important than object as a signified. As a commercial film have more sensational image as a result of visual variation, images in a commercial film became vague so that it does not explain or express an advertising concept dearly. However, those aspects have assets that it gives the TV audience a room for interpretation in advertisements by themselves.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.145-153
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• 2019

As a category of film types, suspense thriller is constantly introducing a new element in the endless historical development and owns new vitality. The long-standing essence is that it doesn't vulgarly cater to the public, but stimulates more creativity. In this thesis, starting from theoretical foundation of creation in American contemporary suspense thriller, the author analyzes playwriting characteristics of suspense thriller and analyzes the exquisite description of characters' mental world and external presentation in detail from multiple structure modes to multiple perspectives. Also, the author comprehensively elaborates playwriting characteristic features of American contemporary suspense thriller by combining with playwriting theme, structure and viewpoint and takes the classic work of American suspense thriller by David Fincher as an example to analyze the unique value of thriller playwriting.

• Trans-
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• v.12
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• pp.245-274
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• 2022

The interactive cinema is based on the interactivity between the cinema and the audience. The discussion of interactive cinema can be divided into two poles. One is to positively look at the possibilities of interactive cinema as a new format and to test with them in various ways. The other is the perspective of a critical warning that the interactivity of interactive cinema risks reinforcing biases while instilling the illusion of freedom and activity in the audience. Considering both of these perspectives, we try to find a way to realize the political and aesthetic possibilities of interactive cinema through characteristic analysis. To this end, we analyzed the interactive film , which has received public and critical attention, based on Brecht's epic theater as a theoretical and practical reference. We analyzed the text/contextual characteristics of this work in three dimensions - an interactive multi-branching structure, a self-reflecting Mise en abyme structure, and an active enjoyment of the audience - and compared them with the epic theater theory. Through this, we examined the conditions and possibilities of interactive cinema as a new epic theater in the new technological/media environment of the 21st century.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.273-282
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• 2022

The narrative of the film, Sweet Smell of Success has a multi-layered structure. In Clifford Odets's scenario work, numerous lines for the main plot and subplots repeated a cycle of creation, decomposition, deletion, and modification to enhance the density of the story. As a result, whenever an actor spoke a line or paused, an action or an event that would trigger another line was created, giving depth and persuasiveness to the character's performance. The music of Sweet Smell of Success has multi-layered elements. The non-diegetic music was covered by the orchestral pieces performed by Elmer Bernstein's big band orchestra and the jazz pieces performed by Fred Katz's combo band. The diegetic music was mostly covered by the jazz pieces performed by the Chico Hamilton Quintet. The practical task of the film music was to reinforce or supplement the effect of the narrative driver, and the additional task was to realize the estrangement effect and the aesthetics of stagnation. The possibility and significance of intertextuality of subplots and double sound of this film are not simply confined to the limits of the film noir genre.

• Cartoon and Animation Studies
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• s.31
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• pp.227-248
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• 2013

With the advancement of computers, opening title sequences in movies are continuously improving. Initially, titles and opening credits were created using what is called the optical method, whereby text was photographed on separate film and then copied onto the movies film negative. In contemporary movie making, however, the title sequence may be seamlessly integrated into the beginning of the movie by an insertion method that not only allows for more diverse technical expression, including the use of both 2D and 3D graphics, but also for its emergence as an independent art form. As such a title sequence, in as little as 50 seconds or up to 10 minutes, is able to convey the films concept while also suggesting more implicit intricacies of plot and thereby eliciting greater interest in the movie. Moreover, according to the directors intent and for a variety of purposes, the title sequence, while maintaining its autonomy, is inseparable from the movie as an organic whole; therefore, it is possible to create works that are highly original in nature. The purpose of this study is to analyze the kinetic typography that appears in title sequences of ten films produced by the Korean entertainment industry in 2012. Production techniques are analyzed in a variety of ways in order to predict the future direction of opening title sequences, as well as present aesthetic and technical models for their creation.

• (The) Research of the performance art and culture
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• no.34
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• pp.111-131
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• 2017

Korean Shamanism has long been regarded as the peripheral cult or supersition by the majoriy of the society. This fact is a result by the influence of the mass media, especially the motion pictures, which intentionally reflected the negative images of the Shamanism. The documentary films, which stress the objectivity and the reality, rather disclose the neutral position toward the Shamanism. In fact, the directors of the documentary films who have more or less close relationship with the Shamanism have tried to exhibit the mental world and the traditionality of the Shamanism. In this paper, I will explore the value of Shamanism reflected in the documentary films. I focus of two films; directed by the Korean and directed by a foreigner. In this way, I can compare the attitudes of the two directors toward the Korean Shamanism. The director of confessed that he was attracted by the aspect of a musical underlied in the shaman ritual. However, the film does not show the artistic beauty of the shaman music because the director failed to understand the essential aspect of the shaman ritual, that is, the music. In this way, the director failed to show the distinct characteristics of the shamanism to the audience. The director of , a music herself, was focused on the music of the shamanism. The story flows to the adventure to seek a "master" with a long journey to enjoy diverse genres of Korean performing arts. This story resembles the epic shaman song, the Princess Bari. In this way, the audience can easily grasp the beauty of Korean culture. Music is said to be a universal language and, at the same time, a non-universal language which reflects a special trait of a cultural community. The Korean shaman ritual music is a non-universal language that is an accumulation of the Korean culture for a long time. The Korean director fails to exhibit the essential characteristics of the Shamanism since he does not have enough knowledge toward the shaman ritual music in . However, the foreign director, who is a music herself, successively disclose the underlying beauty of Korean shaman ritual music and Korean traditional culture in .

• Proceedings of the Korea Contents Association Conference
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• 2004.11a
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• pp.121-124
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• 2004

The Contemporary animation style based on technology become various within some categories and genres as recreating the importance and meaning of many formalities. According to the variation of the contemporary animation style, The computer animation that has affected on continuous development of science and its following broad-band culture takes charge of the important position in producing the contemporary visual art. On this thesis, I will research < Ani-matrix > which has 9 episode each for the different Matrix world focused on its animation style. I will analyze their forms of expression into the both aspects of esthetics viewpoint technologically and film making style traditionally regarding to the matter of reality and reemergence on a viewpoint of a realistically esthetics. Also I will analyze mutual connection among the reinterpretation for the reality, philosophical message, and animation style within < Ani-Matrix> suggested by influence of Post-modernism. Thus, I intend to prospect the formation of animation style followed by its esthetics construction and effect on computer animation of the film genre.

• The Journal of the Korea Contents Association
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• v.15 no.2
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• pp.130-138
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• 2015

Korean movies with a great variety of styles have recently succeeded in drawing people's attention Rule number one is "the more entertainment, the more audiences". On the top of box offices are always the movies that have a number of spectacular scenes, pounding sounds and big budget characters. Hong Sang Su movies, however, receive attention from the public without above noted descriptions. One of his effective methods of expression is "realism" He has illustrated the trivial episodes with his own wits and ways. Not only has his style become famous and popular but he has many followers. He enjoys using ordinary emotion and sentiment that are likely to happen to everyone. This paper uses two tools. One is the traditional analysis of realism. The other is how he can approach the public meaningfully by listing common elements he frequently uses in his movies. Nevertheless, we can't fully understand his realism by explaining how he shows our everyday life and how much his movie looks like it. Though admitting there are so many preceding papers on his works but this paper will try to look deep into his realism through the analysis of Mise-en-Sc$\grave{e}$ne.