• The Journal of the Korea Contents Association
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• v.21 no.7
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• pp.105-118
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• 2021

The purpose of this study is to explore the American Youth Film Director Damien Chazelle and his cinema world. Chazelle as a youth director directs three movies as (2014), (2016), (2018) in Hollywood, and represents youth directors in Hollywood. For this study, adopt two research methodologies which are 'Auteurism' and 'culture studies', and explore traits of esthetics, subject and context meaning by analyzing representative three movies. Lastly examines significance of his movies in Hollywood history. This study concludes that Chazelle is a 'Auteurism director of self-reflexivity' who has three things in common as 'narrative: success myth', 'mise-en-scene: Chazelle's world', 'self-reflexivity: Auteurism film directing'. Youth film director Chazelle is opening up the future of Hollywood as a 'Auteurism film of self-reflexivity' and the creative film directing of the youth generation.

• The Journal of the Korea Contents Association
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• v.5 no.1
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• pp.117-126
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• 2005

In the present, animations of auteurism and aestheticism became a unique genre of art that expresses directors' idea. 'Tale of Tales' by Yuri Norstein, a Russian animator, is a paper animation that emphasizes the cut out technique and picturesque feeling as well as complicated structure of sequence in expressing metaphysical themes in the author's historical realism. It is evaluated as unique and creative. The present study analyzed the montage technique applied through the development of several symbolic images, the diachronic expression of contradictory worlds, the unique foreshadow of revealing the causes of results later, rapid repetition of urgent and serious situations, the movement of the camera to express the psychological distance between two characters in different situations and the process of editing. The derived results of this study are expected to be helpful in the works of animators of auteurism and aestheticism.

• Cartoon and Animation Studies
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• s.50
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• pp.1-22
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• 2018

This study investigated realism sceneries shown in animation movies of auteurism. Although animation has properties of mechanical images arranged by short cuts, it essentially starts with the images dealing with space art based on the consciousness of an author. In this aspect, sceneries of animation movies can be the most proper subject for study from the viewpoint of image. Generally, sceneries of animation movies maintain the neutral position as a stage setting for story. However, as for auteurism animation, the sceneries have subjective meaning as major media to express the work or the vision and value of the author on the world. The representative animation movies that reflect the role and meaning of realism sceneries among auteurism animations are and . The former shows Korean sceneries and the latter presents local sceneries of Japan quite well. Reviewing the characteristics of sceneries shown in two movies, the sceneries of are the discovery of internal consciousness of the author that signifies pure innocence of childhood into the voice of nature through the style of the author. Meanwhile, sceneries of adopted nature landscape surrealistically based on the internal consciousness of the author and described the forest as the absolute utopia of the author. As such, the sceneries shown in two movies were utilized as the "framework of thought" of the authors that intensify the viewpoint of the movies on the world through empirical interpretation and detailed description of neutral landscape based on internal consciousness of the authors.

• The Journal of the Korea Contents Association
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• v.9 no.12
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• pp.138-145
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• 2009

Humanism connotes dignity and esteem with the essential idea of human and more human. This paper has conducted a inquiry of the understanding about human and humanism represented by visual image of film. Especially, this study investigated the way to adhere to reflective attitude about human and society. It is based on theoretical discussion of formalism and auteurism and analyzed the way of constructing time-space structure of (by Lars von Trier) which is known the typical formalism film. According to the findings, appeared to appropriate the ocularcentrism aesthetic to film form and give the self-regulation to definite the idea of film art through picturesque imagination of dramatic stage. Such a result means that it converts the filmic time-space to the virtual things and practicalize the classification of the ethical doctrine of innate goodness and innate sin of human and the definition of humanism. Also it means formalism film overturns the existing institutional mode of representation.

• Cartoon and Animation Studies
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• s.44
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• pp.143-161
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• 2016

This study was conducted focusing on the role of auteurism animation. The purpose of auteurism animation is to criticize irregularities of a society in witty and fierce way through satires from the sharp perspectives of a animator that is not bound by tastes of people or the interests or standpoints of specific groups, and thus to induce positive changes in a society as a purifier. In the context, this study investigated satires shown in by Jan Svankmajer and by Norman Mclaren among the animators who utilize animation as a tool to produce social meaning. As a result, the following characteristics and meanings were found. First, Dimensions of Dialogue is an animation that satires absurdity and irregularities of a human society in symbolic and exceptional way through directing by segmentations of images and omnibus structures. The satire carries the lesson of improvement in the hidden part of cynical attack to history, society, and human beings. It also maximizes absolute reality and engagement of images of Jan Svankmajer through unique and grotesque images of the animator such as alienated world, confusing shapes, and amusement of irregularities. Second, the movie, is an exemplary animation that applied core concept of animation through pixilation techniques based on an event story structure by causal relationship. It satires the changing process of a good man to violent madness through confrontation and conflicts for material desires, with exaggerated slipstick movements and humors as a black comedy. The satire methods of both animation works are delivered through unique image styles and symbolic wordage of the animators who triggered ironical laughter in attacking humanism and moral insensitivity that might be felt seriously otherwise. That is, the animators try to show the positive will for changing the society to a sound one through the form of negativity in terms of moral perspective in animation rather than destruction against the target. As such, the satires in both works worked as an auteurism allegory that maximizes social functions and artistic influence of animation.

• Cross-Cultural Studies
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• v.26
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• pp.405-444
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• 2012

This paper is based on the view that film should be conceived as a form of cultural practice whose meaning is always in the process of being produced within diverse socio-cultural contexts and aims to examine the ways in which the meaning of Korean film is (re)mediated or received in diverse cultural contexts outside the country. In this paper, we employ two theoretical grounds. Firstly, it positions itself in line with the audience studies within the field of cultural studies where the audience is conceived as active agents who produce the meaning of a popular culture text. The recruitment of the theoretical propositions from the audience studies enables recognition of the significance of the reception in film practice which recently seems to be oriented on production and distribution. Secondly, we conceive transnationality of film as that which is being produced in the process of transaction between the film and the audience, that is to say, transnationality is a form of discourse that emerges upon cultural interaction. The empirical work involves examination of a set of reviews of four films--Chihwaseon, Oldboy, Thirt, Poety--that have been published in daily newspapers and some popular film magazines in the U. S., the U. K. and France. Through the analysis of the film reviews, we identify four interpretive schemes or rather discourses recruited via which the Korean films are approached and understood: auteurism, formalism, universal themes, emotional response. We propose that these four kinds of discourse provide a common ground for the audience from different cultural backgrounds to understand Korean film. Furthermore, we also suggest that transnationality of Korean cinema needs to be reconsidered in terms of the reception as the audience from different socio-cultural backgrounds should be understood as active agents who are capable of engaging in Korean cultural texts such as film in their own way producing various meanings and these are also constituent of the meaning of the cultural texts.

• The Journal of the Korea Contents Association
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• v.22 no.1
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• pp.415-430
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• 2022

The purpose of this study is to explore the Canadian Film Director Sophie Deraspe's . Director Sophie Deraspe adapted a Greek Sophocles's novel to the Film in a modern way. For this study, adopt two research methodologies which are 'Author-structuralism' and 'culture studies', and explore traits of esthetics, narrative, subject and context meaning by analyzing . This study concludes that Firstly director Sophie Deraspe is a 'Quebecious writer-director' who represents cultural identity of contemporary Qubec, Secondly, express immigrants in Qubec using Greek Sophocles's novel tragedy as an allegory in narrative, Thirdly, enhances the dramatic effect in esthetics using virtual mise-en-scene as insert, fantasy, SNS, etc. And lastly, can confirm re-territorializing the cultural identity from the distinct characteristics of regional past tradition to the universal hybridity discours in subject. Therefore, Sophie Deraspe's is a work that symbolizes a new trend of 'New Quebec Cinema' in Canada.

• Broadcasting and Media Magazine
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• v.10 no.1
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• pp.99-112
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• 2005

Christian Metz, the precursor of cine-semiology, considered cinema as a language in the sense that it is a set of messages grounded in a given matter of expression, and a signifying practice characterized by specific codifications. According to Metz, film forms a structured network produced by the interweaving of cinematic codes, within which cinematic subcodes represent specific usages of the particular code. For Metz, cinematic language is a totality of cinematic codes and subcodes, and history of the cinema is the trace of the competition, incorporations and exclusions of the subcodes. He also suggested a filmic text is not just a list of codes in effect, but a process of constant displacement and deformation of codes. Following Metz' textual analysis methodology, I investigated the formal configuration of Hayao Miyazaki‘s animation, Spirited Away. It is interesting to trace the interweaving of cinematic codes in Spirited Away, i.e. codes of lighting, color, movement, and auteurism, across the animation. I focused on the first scene at the bridge to Yubaba's bathhouse, analyzing each cinematic code and its subcode applied. The first bridge scene is carefully constructed to stand out the confrontation of Chihiro (with Haku) and the bathhouse. The bathhouse is not just a building, it represents the powerful witch, Yubaba, yet to appear on the scene, and functions as an antipode to Chihiro. In each shot, every subcode within the codes of framing, direction, angle, color, lighting and movement is used to maximize the contrast between the dominant bathhouse and the feeble 10-year-old girl. In Spirited Away, the subcodes within each cinematic ode are constantly competing and displacing each other to augment the antithesis between the characters and develop the narrative. As Metz's argument that film constitutes a quasi-linguistic practice as a pluricodic medium, Spirited Away communicates with the spectators with the combination and displacement of these cinematic codes and subcodes.