• Proceedings of the Korean Radioactive Waste Society Conference
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• 2011.05a
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• pp.95-96
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• 2011

• Proceedings of the Korean Radioactive Waste Society Conference
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• 2012.10a
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• pp.209-210
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• 2012

• Proceedings of the Korean Radioactive Waste Society Conference
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• 2011.10a
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• pp.211-212
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• 2011

• Journal of Digital Convergence
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• v.12 no.9
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• pp.325-333
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• 2014

The purpose of this research is to analyse the structural aspect of storytelling in contemporary cinema which is focused on the Apichatpong Weerasethakul's film. The structural/materialist filmmakers insisted the formal experiment of film form itself and the methodology to create meaning by using it. Apichatpong Weerasethakul accepted and recreated aesthetic result of the structural/materialist film to transform his own cinematic style. As a result, he expanded his film aesthetic to post-modern film aesthetics. For this, he created the structure of film by using diegetic and non-diegetic sound and image creatively. The conventional storytelling method of contemporary cinema is based on the classic theory of 'poetica' of Aristoteles, which creates illusory diegesis of cinema. but Apichatpong Weerasethakul seeks and re-constructs storytelling methodology based on the product of structural/materialist film.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.1156-1159
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• 2009

Since the middle of the 1960's, revitalization of the media art has showed a new paradigm shift as a alternative to existing art genre. According to advances in technology the form of art becomes various. Nowdays, art work which is mixed with media and other genre is popular because of hybrid culture. The image medium has flexibilty to incorporate with other genre because of medium character. The media installation that applied the image medium means to mixed work of sculpture and media. The sculpture and media has been broadened the field through the media installation. this study discuss art works projected image on sculpture among various media installation works. The materiality of the sculpture and the vision of the image mix up each other. It is associated with M. Merleau-Ponty's sens theory.

• Cross-Cultural Studies
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• v.51
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• pp.133-160
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• 2018

The films of Apichatpong Weerasethakul and Tsai Ming Liang expose one of the main features of modern Asian cinema: corporality. In their films, the various emotions of characters are expressed and exchanged through the body, not the language, so their film world is a world in which language has lost its function and symbolic order has collapsed. In Apichatpong Weerasethakul and Tsai Ming Liang movies, body language plays a more important role than general language. t=The body performs semiosis, pointing to wildness, anti-civilization, rite, alienation, illusion, etc. At the root of this variety of semiosis is the common denial of Western material civilization which has been rapidly transplanted in modern Asian countries. In addition, while the body of the two directors' films are seen as a sign of wildness, or anti-civilization that contains the intention of escaping from the oppressive and inhuman modern civilization, the body as a sign of illusion, and embraces the will of resistance to civilization. The illusion of experience in their films is ultimately a manifestation of the will to resist the physical and emotional pressures of reality and to continue the irrational persistence.

• Cartoon and Animation Studies
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• s.29
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• pp.103-128
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• 2012

Study about existence of illusion which human beings feel from imitated image based reality have been continuing by copy theory and conventionalism for a long time. Traditional copy theory which had controlled representation theory from plato have explained illusion by similarity of image and representation objects. According to copy theory, image is natural sign unlike language but the late in the 20th century, conventionalism from N, Goodman insists they are not any special similarity between image and representation objects. They insist image and conventional sign just as language. These opposit theory rearranged conventionalism by the entrance on the cognitive science. The copy theory couldn't explain the problem of representational gap between reality and duplication, but photo media makes new paradigm about theory of the illusion. The problem of representational gap was disappeared by CGI images on the base of digital media. We are exposed exquisite duplication for a example, movie, advertisement, printings. Sometimes duplications are more real than the original works. Digital is a non-material object by 0 and 1. Specially real lighting skill and mechanism are copied perfectly by photon mapping skills and the duplications are produced more real than the original works. By disappearance of representational gap, we need new theory model for explaining of digital illusion and copy theory can be the key.

• The Korean Publising Journal, Monthly
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• s.224
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• pp.8-9
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• 1997

근대문화사에서 공백으로 남아 있던 그대 작가들의 문학전집 출간이 이어지고 있다. 백석.노천명.김유정.이태준.김태준 등 그동안 이념의 장막에 가려 소외돼왔던 문인들도 포함돼 있어 더욱 주목된다. 작가정신의 정수를 보여준다는 점에서 이들의 전집물 출간을 적극 환영하고 있다.

• Proceedings of the Korean Radioactive Waste Society Conference
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• 2008.11a
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• pp.105-106
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• 2008

• Proceedings of the Korean Radioactive Waste Society Conference
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• 2010.05a
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• pp.133-134
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• 2010