• International Journal of Computer Science & Network Security
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• v.22 no.1
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• pp.213-217
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• 2022

In the article, in connection with the goal and the hypothesis put forward, the following tasks were formulated: Based on the analysis of literature and existing pedagogical experience, the possibilities, features and pedagogical conditions for the use of educational telecommunication projects were specified. The selection of topics and content of educational telecommunication projects for use has been carried out. Research methods: theoretical analysis of psychological, pedagogical and methodological literature, projects of educational standards in computer science and information technology, study of the state of the problem in teaching practice, questioning.

• Journal of Korea Multimedia Society
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• v.25 no.2
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• pp.411-420
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• 2022

Entering the digital cinema era, movies and games are remediating each other. The shots of digital movies are being transformed into realistic content through digital Moving long-take shots that transcend time and space and move smoothly. At this time, the digital Moving long take shot that continuously captures the space in all directions without an external screen induces a game experience. In addition, the camera that constantly accompanies the person enhances the sense of immersion in the game in a way similar to the point of view of the game. While various immersive device contents represented by VR, AR and XR are emerging, the advent of <1917> suggests significant implications for post-cinema in that it creates a game experience while maintaining the traditional screen environment and cinematic paradigm.

• Lingua Humanitatis
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• v.7
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• pp.247-269
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• 2005

The decade of the 1960s in Korea is normally regarded as a transitional period, but this transition has been consistently viewed in either economic or political terms. In this paper I examine the 1960s and the 1970s as a period of cultural transition―from a neo-Confucian emphasis on "high" art to a broader, more inclusive acceptance of "popular" forms of cultural expression. Although these two realms of cultural production are often viewed as fundamentally antithetical, I argue that there is actually significant continuity in terms of both artistic expression and cultural engagement. In particular, I look at the trajectories of Korean national literature and cinema and their areas of confluence. I examine the career of Kim $S{\breve{u}ng-ok$, who in the 1960s was the preeminent literary voice of a new generation and who in the 1970s was the screenwriter for some of the most popular films of that era, and I show how Kim's career changes track parallel changes in both literature and cinema. Artistically, Kim continued his literary expressions of a new sensibility in his screenplays, bringing to cinema a new infusion of seriousness and respectability. Culturally, Kim continued his explorations of the ways in which rapid changes in Korean politics and the booming economy led to miscommunication and chaos in society. By consistently exploring processes of national identity formation and re-formation, Kim's 1960s literature can be seen as crucial instances of Korean national literature (minjok munhak). In the same manner, Kim's 1970s screenplays can be seen as foundational moments in a Korean national cinema.

• The Journal of the Korea Contents Association
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• v.17 no.7
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• pp.22-30
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• 2017

CGI not only performed a crucial role to make cinema and animation evolved into digital cinema and digital animation but also CGI, an important visual format, settled realism-centric spectacle image culture in public commercial cinema and animation. The fact that CGI visual format could be structuralized in three different view points is discovered through Iconicity, photorealism, verisimilitude, uncanny valley, hyperrealism, and spectacular realism discourse research which explain image culture. First, a formative viewpoint that comes up in an iconic difference between drawing and photograph. Secondly, a cognitive viewpoint that sees visually perceived naturalness and abnormality as a realistic probability issue. Lastly, a customary viewpoint which is rooted in aesthetic tradition of cinema and animation. After that, the features of CGI which is used in the movie 'jungle book'(2016) were analyzed using the structured visual format. Consequently, this movie has hyper-realistic photographic iconicity on the base of realistic probability. Also, by following image-aesthetic convention which uses overstated and amplified narrative as a visual format, at the same time, the movie also has sufficient image-aesthetic convention in animation by personified animal character.

• Cartoon and Animation Studies
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• s.11
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• pp.41-53
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• 2007

Due to the development of digital cinema, Animations are no longer a peripheral part of movies and become major role in making films, including live action movies. This kind of change makes the distinctive line between animations and live action movies vague. In order to prevent such side-effect, this study is aimed at building solid territory again between the two by reviewing the difference and, based on it, looking for effective cinematic techniques to produce synthesized and digitalized images. First of all, consideration on mise-en-scene is crucially required to tell this line. The mise-en-scene is a director's own unique style in making films. In other words, it is a symbol expressed by him/her. With the mise-en-scene, competitive directors explore huge possibility of image expression and know how to use it audiences can understand. Therefore, I look into a set of studies on the mise-en-scene and methodological problems because it is thought that the mise-en-scene is an important element to distinguish way of expression in animations, live action movies and digital cinema. In addition, owing to these fundamental differences, both movies have their own limitation on representation even though they imitate it each other. Synthesized images produced by both representation may not overcome that limitation and even worse bring up the lack of expression and the increase on unfamiliarity, which reduce audiences' interest. But ironically speaking, digital cinema accept each representation. And it serves as hindrance to narrative's delivery not to balance each of it. Therefore, digital cinema that integrate animations and live action movies should keep an eye on the overuse of images and pursue balanced mise-en-scene.

• The Journal of the Korea Contents Association
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• v.7 no.5
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• pp.128-137
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• 2007

Digital cinema industry in Korea is developing very fast. It makes the structure of Korea film industry being changed with outstanding D.I process, reduction of production cost, the convenience of distribution & screening and easy transferring to other platforms. The main reason of this fast development is due to Korea film industry monopoly structure by a few companies. In addition, Huge Korea mobile communication companies are pushing Digital cinema industry to go faster with their own net work and platforms. However, Korea digital cinema industry still has problems like standardization in releasing, the lake of data in post-production and overuse in production. It is the time that we have to think about best way for the healthy development of Korea digital cinema industry more than the fast development of it.

• Journal of Broadcast Engineering
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• v.14 no.1
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• pp.93-98
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• 2009

While the Motion JPEG2000 has been considered as a unique encoder for digital cinema due to its high quality coding and large screen format, the realization of a digital cinema system and its service cost enormous fund and time. In this paper a digital cinema transmission system with PC and RTP protocol over the Internet is proposed, and showed how tiles of moving images are transmitted, decoded independently and combined to reconstruct and display at a large screen for digital cinema service. The simulation has been carried out for tiles of 128${\times}$128, 256${\times}$256, 512${\times}$512, and 1024${\times}$1024 pixels. In the experiment, two clients of PC’s received and decoded tiles of video and constructed whole size of moving images successfully. The PSNR’s of the video ranges 30dB to 40dB at compression rate of 160:1 and 30dB to 50dB at and below 16:1, respectively. The result showed a possibility for the reconstruction of video in multi-vision.

• The Journal of the Korea Contents Association
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• v.15 no.11
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• pp.27-40
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• 2015

Live cinema theatre is the latest installment of multimedia show where the filming of the performance of dramatic texts becomes the live stage event. Here, the actors perform before the camera and all the audio-visual effects are produced and constructed live. Mediated through the camera and projection screen, the stage image becomes a real-time production situation where all the scenes are put together right in front of a live audience. The very concept of live cinema as dramatic theatre has been developed by English stage director Katie Mitchell who attempts to present the stage as a cohesive representation system; this is more than a provisional experimentation where the ever-changing notion of in-betweenness is constantly tested. It is rather a predetermined operational system where the relationship between cinema and theatre is governed by the logic of synchrony, therefore maintain their own individual institutional reality. Here, the presence of camera has an effect not only on the organization of stage but also an affect on how human body exists within the situation.

• Journal of Digital Convergence
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• v.11 no.10
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• pp.585-592
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• 2013

This study was done to investigate the effects of cinema therapy on schizophrenia patients' depression and self esteem. The research design was a nonequivalent control group pretest-posttest design. Participants were recruited from two mental health facilities in J city(20 in the experimental group and 20 in the control group). The research was carried out from March to April, 2010. The cinema therapy was conducted seven times. After the cinema therapy, depression of schizophrenia patients in experimental group was lowered compared with that of patients in control group, and the difference was statistically significant (t=-4.17, p<.001). After the cinema therapy, self esteem of schizophrenia patients in experimental group was improved compared with that of patients in control group, and the difference was statistically significant(t=5.77, p<.001). The results indicate that the cinema therapy was a useful program leading positive effects on depression and self esteem in schizophrenia patients.

• International Area Studies Review
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• v.21 no.2
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• pp.197-218
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• 2017

The research ais to examine the relationship among service factors, customer's consumption value and revisit intentions in the multiplex cinema industry focusing on multiplex cinema service in Korea and Vietnam. This research also aims to compare the influence of service factors on consumption values and revisit intention between customers in Vietnam and Korea. Data using for this research were collected in Ho Chi Minh, Vietnam and Seoul, Korea through both offline and online survey. Research findings suggest that service factors significantly influence utilitarian values and hedonic values, then both hedonic and utilitarian value have a significant influence on customer's revisit intention in multiplex cinema. Specifically, utilitarian value shows a greater influence on revisit intention in Korea whereas hedonic value shows a greater influence on revisit intention in Vietnam.