• Journal of Digital Convergence
• /
• v.14 no.12
• /
• pp.495-501
• /
• 2016

The film has always reflected the culture of the era based on reality and imagination. The visual effect in the film has mainly played a role of expressing the reality more realistically or recognizing the virtual as reality. This study examines the meaning and the effect of fantasy realism through Oasis of Lee Chang-dong. Fantastic realism has separated the reality from the imaginary space by using a dual meaning tool that affects the time and space in the film and reflects the human desire and desire to see. It was also reproduced in the real world through the medium of pigeons. In addition, it separates visualized space from non-visualized space in film narrative structure, separation of real and unreal space, segregation of consciousness and unconscious space, and separation of reality and reality space into power structure. With the development of technology, the image of the yellow image comes closer to us like reality, which will express the space of unconsciousness that we could not think of.

• Cartoon and Animation Studies
• /
• s.39
• /
• pp.59-83
• /
• 2015

Magical realism, blooming and improving in Latin America, opened the new vision about reality and rationalism, coming out from the out-styled frame of past. While having common points with unrealistic literature, which uses fantastical components, magical realism is different from Surrealism and fantasy literature that is focusing on reality and realizing reality intensely. In the early stage of this research, magical realism was restricted by the characteristics of literature of Latin America, but the research of magical realism is expanding in planning Post-Modernism nowadays. Lately, the influence of magical realism is identified in literatures, arts, films, and animations over the world; according to the research, however, research about magical realism in animations was not done in Korea before. A Korean independent animation "A coffee vending machine and its sword" was evaluated positively in many international film festivals is valuable as the research of magical realism. Throughout this study, this animation "A coffee vending machine and its sword" was analyzed by its narrative and images. The analysis of narrative consists two parts. One is about the form of narrative and the other is about contents through the story. Analysis of Image is also divided into two parts: background image and character image. In this animation, the protagonist is narrating about the fantastic accidents in his life and his own feelings towards it. The narration leads audience to understand his situation and feelings in meta-fiction. On the surface, audience watches the love story of a normal girl and coffee vending machine in this artwork, but deep inside the animation, it is visible that the directors tried to make audiences think about the life of 880,000-won Generation in Korea. The background image was represented as real places in Seoul including the landmark of Seoul, making mimesis of reality in Korea. The character image has two conflicting aspects with reincarnated warrior, Jinyoungyoung and a coffee vending machine. It is a hybrid-character transmogrifying between two characters. Likewise, "A coffee vending machine and its sword" has the characteristics of Korean magical realism through form, content and image. Through analyzing the Korean independent animation "A coffee vending machine and its sword", this research tried to find a way of using factors of fantasy, of representing reality as a dramatic device and of using magical realism of Korean animation for bond of sympathy with audience.

• Trans-
• /
• v.4
• /
• pp.87-109
• /
• 2018

The genres of fantastic of Korean films created in the 90s are diverse. The fantastics of these works are not manifested only in 'Ghosts' movies. For example, If the film Mystery Of The Cube, which is based on the mystery of Lee Sang, has a story of structuralist fantasy, we can say that a movie like Tell Me Something has a psychologically conventional fantastic. This study examines the fantastic of contemporary Korean films through 'completion of allegory based on realism'. For this, we borrows the fantastic concept of Etienne Souriau. In some films, fantastics can be found directly in the developing nature. In this case, the human being who justifies their domination of nature by upgrading their position as the objectifying subject of nature becomes 'alienated' in return. The notion of this alienation in film narratives is often revealed through allegories, particularly in the manifestation of fantasy by Étienne Souriau in the early 'personal experience'. Kim kiduk's film is a representative example of allegorizing elements of society through individual experience. Focusing on Kim Giduk's Bad Guy, this essay analyzes the process in which fantastic films of Korea in the 90s build up aesthetic fantastic through imitation of society.

• Journal of Korea Entertainment Industry Association
• /
• v.14 no.4
• /
• pp.133-144
• /
• 2020

This study is a new proposal for the methods of actor training and role creation in the contemporary theater and an approach to the practical utilization of the performer, regarding the actor's 'presence' as the essence of living arts, a peculiarity of theater. As the method for this, this study sorts out Vakhangov and Mikhail Chekhov's elements of acting techniques and at the same time, allows an easier approach to the theoretical concept based on the performance records found in the developmental process. The magic realism and the technique of acting discussed in priority in this study emphasize the importance of the exploration and realization of artistic inspiration in everyday life, the actor's imagination and image, and unconsciousness as a method for creating new actors and diversifying their roles. When their common views are summed up, the goals to achieve include a study of a creative method in which outer form and inner truth are combined and the implementation of a new system for creating the individual actor's originality. This study would classify the similarities and differences found through this, reveal the limit of practical efficacy and propose it as a universal method for creating the roles, asking for the actor's voluntary training and active attitudes.

• The Journal of the Korea Contents Association
• /
• v.10 no.1
• /
• pp.230-238
• /
• 2010

Since 1960, there has been growing recognition that the moving images reveal the 'realistic illusion(L'illusion r$\acute{e}$aliste)' rather than the reality itself and many theorists and film directors have tried to suggest the methodology to solve the problem of verisimilitude of the moving images. In this paper, we describe through the case analysis of the practical use of 'off-screen space' as a methodology which actualize the reality in documentaries, by minimizing the 'suture' effect which occurs the problem of verisimilitude, based on the theories of Bazin and Burch. We, consequently, believe that the application of the 'off-screen space' could be one of the appropriate possibility for the successful representation of reality in documentaries.

• Cartoon and Animation Studies
• /
• s.37
• /
• pp.439-461
• /
• 2014

Art has evolved into remarkable changes in its art form maintaining a close link with the contemporary scientific technologies that gave birth to new tools of expression in each era. Animation is an art form in an inextricable connection with technological aspects because it was spawned by the technical background like movies. In this regard, animation is often viewed very strongly by technical advancements in terms of an aesthetic approach. John Whitney Sr., one of the pioneers in computer graphics arts, turned his attention to the new technology called computer graphics as a means to visualize images and movement. The advent of a new medium had a strong influence not only on tools and means for novel expression but also on the gradual shift in thinking about arts and even the audiences' taste. In the 1980s, animation was combined with computer technology and the rapid progress of computer graphic technology opened up the era of new visual aesthetics, Today, the development of digital technology presents a different dimension of realism, either advocating hyperrealism by digital actors or presenting new illusionism by classic cartoon characters emphasized in a distortion or metamorphosis from a real life in order to consolidate animation realism. Based on the two perspectives mentioned above, this study can identify methods of digital character appropriation focused on the works of the ACM SIGGRAPH Asia and find how the relationship between art and technology has changed the digital realism and evolved the digital character as the digital technology has developed.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.5
• /
• pp.73-82
• /
• 2019

The satirical content of the absurd play, centered on Lee Keun-sam's play, represents the family image of a modern capitalist society where only duty is emphasized while the characters are lost in love with the family. They show humans becoming subordinate to economic logic as traditional relationships and family relationships change into material ones due to the rapid development of the economy. The narrator expresses the roles of the performer and the narrator together. It also presents the plot as a characteristic element of epic and absurd dramas, and directs actors as directors. It also foretells the events that will take place in the future, presents the inner consciousness of the characters in the play, and reduces and expands events and times. In terms of conflict, in order to fulfill the financial responsibility of their children, the professor translates them like a machine and the wife distributes the money they earn as they demand. The middle-aged professor and his wife are not willing to make a difference in the real world, so specific conflicts are not revealed. Therefore, no concrete conflict appears within this work. The plot of consisted of 22 epicentre compartments, consisting of a time frame from evening to the next morning. And no special events happen and show only one family's daily life. In addition, materials that show simple repetition of daily life such as newspapers, rice, birthdays, etc. are effectively showing the character of absurdity through repeated structure. The linguistic features of the absurd play focus on expressing anxiety, despair, fantasy and the sense of loss that the object's purpose has disappeared. The stage system avoids detailed portrayals of naturalist plays and creates a thoroughly simplified image that the theme of the play demands, which shows that the stage unit is also an important element that characterizes the absurdity of reflexes.

• Journal of Popular Narrative
• /
• v.25 no.1
• /
• pp.281-313
• /
• 2019

This paper was written to investigate the narrative traits of Lee Ae-rim's Comic Books. Lee Ae-rim arrived on the scene with the boom of comic book magazines in the 1990s. Although she started her career as a Comic Book writer, she expanded her own area gradually and has been working actively as an animation director as well. The superficial characteristics of Lee Ae-rim's works can be summed up as sexuality, grotesqueness, and fantasy. In other words, Lee Ae-rim's comic books are mainly characterized by the visualization of sexual, grotesque, and fantastic shapes. Lee Ae-rim has faced challenges with her own overwhelming and compelling images like no one else. For that reason, it is true that people haven't paid careful attention to the hidden stories behind her pictures. This paper considers that looking back on the narratives that Lee Ae-rim has been interested in, from early days to recent days, that is to say, the contexts of stories, is a shortcut to reveal a point of contact between her past, present, and future. Especially, this paper focused on the properties of the circulated and repeated stories, the stories ruled by fate and coincidence, and the stories in which elements of fantasy encounter an attempt of violation. As a result, it was found that the narratives of Lee Ae-rim's comic books demand us to face suppressed desires in a new way, by wrapping up the most fundamental aspects of human being in universality and constancy with specificity and grotesqueness. The reason why Lee Ae-rim has continued the avant-garde and omnidirectional works thus far explains what our society suppresses, inversely. Moreover, the narratives of Lee Ae-rim are significant, by being devoted to the right function of art not only to disclose suppressed desires but to satisfy them. Making an in-depth investigation of the narratives of Lee Ae-rim's comic books in various contexts, this research is intended to establish a diversity of Korean comic books, by adding meaning to the creative values of individual writers.

• Cross-Cultural Studies
• /
• v.25
• /
• pp.313-336
• /
• 2011

The objective of this thesis is to unfold Latin American trends overlapping with Korean contemporary novels as an interesting scene in the circle of Korea literature at the beginning of the 21st century. This study was conducted largely in two directions. One is examining how long novel A Guest of Seok-yeong HWANG, a representative realist writer in Korea, and another long novel One Hundred Years Motel (Baeknyeon Motel) of Cheol-woo IM, a writer who has expressed Korean shamanic flowering as his fictitious characteristic since the 1980s, meet and interact with the world of magic realism in long novel One Hundred Years of Solitude of G. G. Marquez born in Colombia, Latin America, and the other is discussing the fictional techniques of H. L. Borges overlapping with short stories in novel collections The Age of Twenty and Fictions of Midnight by, respectively, young writers Yeon-soo KIM and PARK Hyeong-seo who displayed a unique world of fictions in the 2000s. For these purposes, we developed the points of discussion from the viewpoint of 'the meeting of two essences' for Seok-yeong HWANG and Marquez, of 'the meeting of two 'hundred years'' for Cheol-woo IM and Marquez, of 'novel writing as the finding of the original' for Yeon-soo KIM and Borges, and of 'novel writing surrounding fictions' for Hyeong-seo PARK and Borges. Around 2000, the trend of Latin American novels emerged as a phenomenon in Korean novels. It was probably a natural consequence of contemporary writers' struggling with genres and post-genres, the overturn of the center and the periphery, and blurred boundaries. Seok-yeong HWANG, Cheol-woo IM, Yeon-soo KIM, and PARK Hyeong-seo borrowed the contents and techniques of Latin American novels, but further research is required on how continuously their works internalized the characteristic properties of Marquez-style, Borges-style or polyphonic Latin American novels and, by doing so, how much they expanded or determined their own line. This is why this study has been performed productively out of vital importance. In every age throughout history, there have been the phenomena of encountering and sympathizing, and overlapping and spreading with foreign novels. This study is meaningful in that it illuminated the aspects of Korean contemporary novels in the flow of world literature through tracing the origin and reality of the trend of Latin American novels emerging conspicuously through overlapping particularly with Korean novels published in the 2000s.