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

• Journal of Korea Multimedia Society
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• v.16 no.5
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• pp.647-656
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• 2013

The desire of humankind that longed for reappearance of visual makes progress within the development of linear history. The directing point at the moment was the 'eye'. Upon completion of setting the aiming point, visual image attempts reflection of main agent beyond reappearance of it and, by extension, aimed to visualize desire which was latent in the instance of main agent. It was able to experience a fantasy in paintings, photos and movies as a stage of desire, of course. Digital, however, suggested a new phasis in creating a fantasy world. This study aimed to research the fantastic nature in digital image that a fantastic image is created as a reflection of both independence and unconsciousness. As a result of research, this study revealed that digital image, as a channel that image and imaginative desire which were saved in id, is created as a perfect stage on the basis of verisimilitude, granting an experience toward realization of desire to a main agent raising id which was repressed by the ego and superego to the surface.

• Digital Contents
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• no.12 s.151
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• pp.64-70
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• 2005

디지털 테크놀로지의 발달에 따라 디지털게임은 지속적으로 그표현의 가능성을 넓혀왔다. 현실에서촬영할 수없는 많은 장면들이 디지털모핑(morphing)을 통해 영화의 환상적인 장면들을 대체하고 있는 경우만 보더라도 디지털기술은 이미지를 통해 표현할 수있는 한계를 극복하고 있는것이다. 불과 20년전만 하더라도 디지털게임은 현실세계에서 통용 되는 놀이들을 컴퓨터의 연산과 간단한 그래픽을 통해 상징적으로 재현한 수준에 머물렀지만, 최근 들어서는 소설이나 영화보다 더욱 방대한 데이터베이스를 갖춘 가상공간의 세계를 만들어 가고 있다.

• The Journal of the Korea Contents Association
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• v.20 no.9
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• pp.19-28
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• 2020

Focusing on (2017), I would like to consider the way twin motifs' desires, deaths, and fantasies are reproduced in mirror images. First, the desire of twin motifs expresses the duality of good/evil and norm/desire as a mirror of sensual temptation. Second, the death of twin motifs expresses the spread of death as a mirror of punishment. Third, the fantasy of twin motifs expresses mental defense as fragmented mirror. In , the twin motifs effectively express three keywords-desire, death, and fantasy- with three mirror images-duality, punishment and division.

• The Journal of the Korea Contents Association
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• v.11 no.8
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• pp.134-141
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• 2011

This study attempts interpretation of the elements of transcendental fantasy appeared in animation. It is about the characteristics of the different spaces from the reality appeared in animation created out of imagination. In regard to the reason why such aspects of fantasy elements appeared in the whole work appear, it presents the three structures including divisional, fantasy and comprehensive structures and characteristics of spatial images of imagination presented in Gilbert Durand's "Les Strutures anthropologiques de l'Imaginaire", through visual nature, depth, and maldistribution. Thus, this study examines the elements in animation . Transcendental fantasy elements give abstract concepts to certain images as it specifically describes them in reality. The fantasy elements operate when it is viewed through the sensibility of the characters. This study attempts to closely approach the issues on how fantasy elements operate in animation.

• Journal of Digital Contents Society
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• v.8 no.4
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• pp.563-571
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• 2007

The meaning of 'Metamorphosis' is transformation or disguise. It also means the process of modification from 'Image A' to 'Image B'. 'Metamorphosis' which has derived from many race's myth shows the various field of 'Literature', 'Music' and 'Art'. Through the development of cinematography, the still image in 'Film' and 'Animation' could be combined with time and the process of 'Metamorphosis' has been observed. Specially individual and fantastic forms in animation have created by many animators, because every factor of individual image in animation could be transformed and modified. And 'Metamorphosis' shows the sector of metaphor which is based on narration and the functional scene conversion in animation. 'Metamorphosis' which includes magical and fantastic character also provides the hilarious effect and the special film language to us.

• Cartoon and Animation Studies
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• s.15
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• pp.13-27
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• 2009

Animation fascinates people. Fascination can be defined as a state in which one's attention is irresistibly taken and remains that way even though he/she gains nothing from the object. The power of fascination of animation comes from the fact that the illusion in animation looks as convincing as the reality. In order to successfully fascinate spectators, animation should attract their eyes with visual sensation (confusion), and then quickly have them immersed into the narrative, the inner logic that rationalizes the confusion while the attraction lasts. Animation fascinates us with both visual sensation and narrative, and this fascination is the reason why we keep making animation in spite of the extra efforts it requires. Our fascination to animation is a eulogy to the fantasy so convincing that makes our perception discords with our reason.

• Cartoon and Animation Studies
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• s.35
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• pp.107-128
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• 2014

Cultural Content industries based on imagination and creativity are attracting attention and the animation high value-added industry is still spotlighted. Among them, Disney Studios make money through using their professional skills. There are the know-how has developed for a long time, and there are timeless strategy. This study is analyzing by fantasy elements for knowing the messages of Disney animation. Fantasy defined as genre of literature by Todorov and Jackson emphasized its social role and significance. Hume expanded the area of fantasy and Tolkein Jahoriski and Boyer classified the fantasy according to the purpose. Through the analyzing Disney animation , Disney's fantasy show the specific expression depending on the target. Disney is based on the three types of fantasy depending on the growth of the journey. The first area is composed of the main character's growth and satisfy the desire and escapism, The second is the word of antagonist who opposed to reality and break the rules of the dominant ideology. The last area is the utopia provided after hero beat the antagonist. Disney characters give the messages by using the fantasy like the transformation or alter ego. That show the subject of the main character's growth and the supporting characters as the expression of the multiple personality of main. These emphasize the hero's growth and give the fun. Also, in the subject of the otherness, the hero always destroy the evil who broke the rules of reality. In this way, the fantasy offered by Disney give the messages of sacrifice and family from true love. Disney has the support of their target audiences continue to be able to convey ideology.

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

• Korean Association for Visual Culture
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• v.17
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• pp.65-92
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• 2011

This thesis investigates the complex functions of the magic lantern in illusionism and enlightment which was the most popular visual media and the direct ancestor of cinema. Especially, the thesis focuses on the characteristics of magic lantern's images which had been varied with the scientific and technological development. During the early period of the magic lantern, from the late 18th century to the beginning of the 19th century, it frightened viewers by showing magic images with ghosts and spectres, 'phantasmagoria', and wondered with images of natural catastropes and interesting stories like fables and fairy tales, which fulfilled the entertainment function. Since the mid 19th century the magic lantern began to show not only pictures of the 'scientific themes' on the earth, nature and human, but also them of the ethnological on the far, exotic worlds like Africa, Amazon and Syberia etc. from the European perspective. These contents conducted the educative function and contributed to the process of Enlightment to the peoples in the pre-modern age. The two functions of the magic lantern such as entertainment and education had been neither historically followed, nor clearly divided, but the one was predominant according to the development of lantern techniques as well as the changes of the world view and the culture of the time. The entertainment function of the magic lantern based on the visual fantacy did exist in the late 19th century further, and also in the late industrial society, even in the age of highly developed science and technology, viewers want rather 're-enchantment' by illusionism than facts and truths on the reality. This is an essential characteristic of the moving image media, as it had already been presented in the images of the magic lantern.